The best glamping sites in New Zealand are made for travellers who want to explore and stay amid the country's spectacular natural landscapes without having to rough it. Either hit a few of these as you road trip through the North and South Islands or find a location you love then stock up and stay for a good few days. Whether you're after seaside glamping or a mountain escape, with fantastic lodgings scattered across the countryside, Aotearoa's best assets are on full display at these glamping destinations that get you closer to nature than any hotel (although there's no shortage of great hotels in New Zealand). Recommended reads: The Best Places to Go Glamping in Australia The Most Romantic Places to Stay in Bali The Best Spas in Auckland The Best Spas in Wellington Glam Camping, Queenstown At Glam Camping, you'll find a collection of geometric dome tents perched along a hillside looking down on the green valley and lake just a 20-minute drive from Queenstown. During the day, take the 90-minute walk around Moke Lake or go horse riding. You can even join a morning yoga class or organise a wine tasting tour around one or many of Queenstown's famous vineyards. But we are particularly excited about the Glam Camping's food and drink offerings. You can opt to cook your own food (with all the produce provided by the hosts) or let a private chef treat you and your travel buddies to a three-course feast on the property. [caption id="attachment_880413" align="alignnone" width="1920"] SJL Photography[/caption] Kawakawa Station, South Wairapa This sprawling farming property spans across rolling grassy hills by the South Wairarapa coastline. And until the end of April 2023, the Kawakawa Station team invites guests to stay in a series of large tents hidden within the pastures. But, unlike other bell tents, these have clear ceilings so guests can stargaze from the comfort of their own bed. It also has a fully equipped kitchen on the property, so you can prep your meals without needing to bring a heap of gear. You can easily spend a few days at this New Zealand glamping site, hanging out among the sheep and strolling around the property. But, if you're after a proper adventure, Kawakawa Station also offers an epic hiking experience. The three-day hike along the Station Walk takes you through forests, along creeks and right down to the coast. The team will put you up in a bunch of different accommodations along the way, too. Coromandel Luxury Escapes, Coromandel It's in the name but still deserves being repeated — Coromandel Luxury Escapes is a truly luxurious glamping site in New Zealand. It is all powered and comes with a mini fridge, oil heater, large king bed as well as a private free-standing outdoor bath. A massive deck with a BBQ is also there for you when you want to cook up some locally caught fish. Apart from the site, one of the biggest selling points is the location. It's close to some of New Zealand's best beaches, including the picturesque New Chums Beach. And, if you're up for a 50-minute drive, you've got to visit Hot Water Beach. Here, you can dig a hole in the sand to find naturally hot water bubbling up to the surface — just be careful when digging, as this water can reach temperatures beyond 100 degrees Celsius. Use Coromandel Luxury Escapes as your base when exploring the Coromandel region which is just a two-hour ferry ride from Auckland. Lavericks Bay, Christchurch The Lavericks Bay glamping spot has two tents making up this wonderfully bucolic site. Seclusion is almost totally guaranteed. Apart from the property's wandering sheep. You'll feel as if you have the entire bay and rolling countryside to yourselves — for exploring or just sitting back and taking in the views. During the day, head to the beach for some leisurely swimming at the property's private beach to check out the resident dolphins and seals that tend to float past. And, at night, you can't say no to a dip in the large wooden hot tub in which you can do some proper stargazing. There's no light pollution here, so you'll be guaranteed a stunning night sky. Waitomo Hilltop, Waitomo The Waitomo Hilltop glamping site feels like it's pulled from a fairytale. Atop a hill, in the green Waitomo countryside lies this luxury tent that's been kitted out with everything you could need. Cook up fresh pizzas in its woodfired oven, rug up by the fire pit watching movies via projector or take a dip in one of the outdoor baths overlooking the countryside. There used to be just one glamping tent available, but Waitomo recently finished creating another equally luxurious site. The new campsite has two tents joined together with a glass walkway — including three separate bedrooms, a lounge area and a massive kitchen and dining room. It is technically a tent, but looks far more like a bricks and mortar home. The Black Yurt, Oakura This one is for the keen surfers out there. You're a short walk away from Oakura's surfing beach which is known for having some fairly reliable swell. The Black Yurt is also close to town — walking distance from plenty of boutique stores, restaurants and bars. It may be one of the least remote New Zealand glamping spots on this list but it still feels miles away from crowds. The large yurt is surrounded by palms and native bushland, offering up some well-needed privacy. The interiors of the yurt are also extra cushy. There's a king bed, a queen futon mattress as well as some schmick bathroom facilities. And, if the weather is good, you can open the dome and windows to let the outside in. [caption id="attachment_879080" align="alignnone" width="1920"] Lisa Sun Photography[/caption] Tawanui Farm, Cheviot It doesn't take long to find jaw-dropping vistas outside of New Zealand's main cities. Just an hour-long drive from Christchurch lies Tawanui Farm, a working sheep, cow and deer farm. Here, the Loughnan family have set up two geodesic domes, a central camp kitchen (with couches and cooking gear all provided) and a large hot tub looking out over the pastures. It's easily one of the best New Zealand glamping sites out there. Each dome sleeps up to four people, and no matter how many guests you book for, you'll get the entire site — that makes Tawanui Farm great for larger groups. Either laze around playing boardgames and drinking in the hot tub or use it as a base to explore the rest of the region. You can fish at the local Hurunui River, swim and surf at Gore Bay or take an ATV farm tour to learn a little more about Tawanui Farm. Dealer's choice. Kanuka, Rotorua This is just about as remote as it gets. A single Kanuka glamping tent is hidden up in the bush, right next to Lake Tarawera, and can only be reached by a boat ride or hike. The campsite comes with a large tent and queen-sized bed, a bush kitchen with everything you need to cook up some grub, a dining area as well as a separate bathroom. The essentials are sorted. And, once you're all settled in, what you choose to do around here is totally up to you. The Kanuka team can provide a kayak for exploring the lake, there's a sandy beach less than 50 metres away and you can hike along a number of trails (with one leading to a natural hot pool in the bush). Ah, you've got to love New Zealand and all its thermal hot springs. [caption id="attachment_880412" align="alignnone" width="1920"] Dan Kerins[/caption] Camp Kekerengu, Kaikoura Coast If you're travelling with a bunch of mates or a big family, Camp Kekerengu is perfect. Here, you will find three large tents, a group kitchen and a covered lounge area — all with uninterrupted sea views. But, be prepared for living it a little rougher than you might like. The entire glamping site is off grid. This will force you to fully unplug and enjoy nature. You're a short walk from the beach, close to several walking trails and simply surrounded by wide open plains and rolling mountains. It's stunning. And is the perfect example of why people love to go glamping in New Zealand. Here, you get the best bits of Aotearoa's natural landscape all in one location. Feeling inspired to book a getaway unlike anything else out there? Only through Concrete Playground Trips, our new travel booking platform, can you now purchase holidays specially curated by our writers and editors. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips at destinations all over the world. Top images: Waitomo Hilltop
Just because you're cooped at home doesn't mean you have to sink into a monotonous existence of spaghetti and canned tuna. You can, in face, add a bit of flair to your cooking repertoire without leaving the house, thanks to a new series of free virtual cooking classes from one of the world's greatest chefs. Massimo Bottura — the Michelin-starred chef behind Italy's famed Osteria Francescana (which is temporarily closed during Italy's nationwide lockdown) and Gucci's glam new LA eatery — is keeping his quarantined spirits high by sharing his culinary secrets with the masses via nightly tutorials live streamed on Instagram. The fittingly titled Kitchen Quarantine is designed to help spread feelings of connectivity, curb boredom and teach a few new tricks, at a time when an increasing chunk of the world's population is in lockdown (as Italy is), self-isolation or self distancing. And of course, with Bottura's famously cheery personality, the guy's just a total joy to watch. https://www.instagram.com/tv/B9zQFp3JbJM/?utm_source=ig_web_copy_link Handily enough, the videos are in English, and they've so far covered dishes like a vegetable thai curry and cream tortellini. The show's live on Instagram nightly at 8pm CET, which is 6am AEDT, 5am in Brisbane and 8am NZDT. But if that's a little early, you can also catch the videos screened later on San Pellegrino's Fine Dining Lovers YouTube channel. Bottura's Instagram also has a series of Q&A's with the chef, which you can catch any time.
Family feuds are a deadly business in Bad Sisters, Apple TV+'s latest must-see. Just don't believe the first word in its title for a second. Starring, co-written and co-developed by Sharon Horgan, as Catastrophe was before it, this ten-part streaming series focuses on the Garvey girls, a quintet of Irish siblings who became bonded by more than blood when they were orphaned years earlier. Horgan's Eva took on the matriarch role and has doted on her siblings Grace (Anne-Marie Duff, Sex Education), Ursula (Eva Birthistle, The Last Kingdom), Bibi (Sarah Greene, Normal People) and Becka (Eve Hewson, Behind Her Eyes) ever since, even now that they range from their late twenties through to their forties. Used to doing whatever they must for each other, there's nothing bad about their sisterly devotion — but it just might include killing Grace's husband. A pitch-black comedy, a murder-mystery and a family drama all in one — an Irish riff on Big Little Lies, too, although it's actually adapted from Belgian TV's Clan from back in 2012 — Bad Sisters ponders two questions. Firstly, it wonders what lengths loyal siblings would truly go to to protect one of their own. Secondly, it contemplates what comeuppance women pushed to their limits will exact upon the source of their misery. Indeed, it's a darkly funny revenge fantasy as well, and a puzzle to compulsively sleuth along with. Do the Garveys get their wish? How will they try to make their dream a reality? Will their various murder plots work? What'll go wrong next? These queries also keep coming, and unfurling the answers makes for equally riveting, entertaining, empathetic and amusing viewing. Bad Sisters begins on the day of a funeral, farewelling John Paul Williams (Claes Bang, The Northman) after Grace makes sure that his erection won't be noticed first. Her dead husband has long been nicknamed 'The Prick' anyway, with his four sisters-in-law all thoroughly unimpressed, to say the least, about the toxic way he openly treated his dutiful wife. They're all sick of the underhanded abuse he also directed towards each of them, as well as anyone he didn't like, and the unearned air of superiority that always came with it. Calling him manipulative, callous, misogynistic, racist, narcissistic, spiteful, vicious, pitiless, ruthless, flat-out intolerable — they all fit. When a guest offers condolences at JP's wake, Eva's response is: "I'm just glad the suffering's over". When she's then asked if he was ill, she replies with a blunt and loaded "no". Relief lingers during JP's sendoff, but so does tension. Eva, Ursula, Bibi and Becka long wanted The Prick dead and, as flashbacks show, had been planning to bring about that very end. Complicating matters: two insurance agents, aka half-brothers Thomas (Brian Gleeson, Death of a Ladies' Man) and Matthew Claffin (Daryl McCormack, Good Luck to You, Leo Grande), who start nosing around as John Paul is being laid to rest. Their family-run outfit is meant to pay out on his life insurance policy, but it's a hefty amount of cash and will bankrupt the firm. And with Thomas' wife Theresa (Seána Kerslake, My Salinger Year) heavily pregnant and on bed rest, the Claffins already have their own share of family stresses. As brought to Apple TV+ by Horgan with United States of Tara, New Girl and 30 Rock's Brett Baer and Dave Finkel, Bad Sisters uses that insurance investigation to justify its jumps backwards — and it's a savvy tactic. In its weekly instalments, the series works through JP's awfulness and the Garveys' campaign of vengeance in two directions, contrasting the sisters' motivations in the months leading up to their brother-in-law's death with the aftermath. That said, exactly how Grace ends up a widow, who's responsible and which of the siblings knows what all drive the show's whodunnit angle, sharply and entertainingly so. Bad Sisters teases out the precise reasons that Eva, Ursula, Bibi and Becka can't stand JP, too, because The Prick's abysmal behaviour made enemies out of everyone around him over and over. Boasting a devilish setup is just one of Bad Sisters' drawcards. What a premise it is, though. The whole 'offing your arsehole brother-in-law' idea may seem obvious at the outset, but this is a series with both bite and warmth as it unpacks what happens when women don't have any other options but potentially breaking bad — and sticking together. The pervasive feeling: wish fulfilment and catharsis, as Grace's siblings attempt to make everyone's lives better, even if it requires one of the most drastic moves there is. Just as Horgan inhabits her part with fierce affection, as characters played by the This Way Up star tend to sport, the entire ten-episode run bubbles with unfailing determination. It's dedicated to seeing the horrors of coercive control and the harrowing ordeal that is life with someone like JP, but it's as devoted to maintaining hope in the Garveys' sense of sorority. Bad Sisters is also unflinching about perfecting the right balance between twisted, heartfelt, weighty, amusing, sincere and audacious — as resolute as it is about filling its frames with scenic Irish sights. The show's roster of writers and directors, which includes Dearbhla Walsh (Tales From the Loop), Rebecca Gatward (The Spanish Princess) and Josephine Bornebusch (Love Me) behind the lens, ensure four outcomes: lapping up every twist and turn; wishing you're a Garvey yourself; planning a getaway to Ireland; and feeling seen if you've ever been treated terribly by someone you love or even someone you know, be it a relative, friend, neighbour, boss, colleague or acquaintance of an acquaintance. There's no doubting the impact of Bad Sisters' on-screen talents in making it such an instantly addictive Irish delight, however. It isn't merely the central murder-mystery that lures viewers in — and the comic way the series cycles through the Garveys' schemes — but also the show's wonderful leading ladies. From Horgan through to Hewson, the eponymous sisters are exceptionally well-cast, with all five actors conveying the clan's strengths, flaws, differences, fights and camaraderie, including at an individual level and together. Duff is especially heartbreaking as the spouse who has convinced herself that her husband's exploitation and cruelty is normal, while the Bang ensures that the potently odious, easily despised JP is abhorrent on every level but never cartoonish. They're all ably supported by the charmingly bumbling Gleeson and just charmingly charming McCormack, who help reinforce that every family has its ups and downs — including when no one is contemplating homicide. Check out the trailer for Bad Sisters below: Bad Sisters streams via Apple TV+.
Anything can happen at Dark Mofo. One of two massive arts festivals run by Tasmania's Museum of Old and New Art, the winter event has always prided itself on being a fest where the dark, sinister, confronting and boundary-pushing come together, sometimes for better and sometimes for worse. So, for its first program announcement for 2023, a wild dance theatre performance inspired by Dante's The Divine Comedy sounds completely in the event's wheelhouse. That production is A Divine Comedy, hailing from Austrian choreographer and performance artist Florentina Holzinger, and hitting Dark Mofo as both an Australian premiere and an Aussie exclusive. Playing for three days throughout the festival's Thursday, June 8–Thursday, June 22 dates for 2023, it dives into the hell, purgatory and paradise of Dante's classic work, all to explore how humans negotiate life and death. "We are thrilled to present Florentina Holzinger's A Divine Comedy for Dark Mofo 2023. She is a super-talented artist who is brazenly contemporary and culturally relevant," Creative Director Leigh Carmichael said, announcing the news. "This is the most incredibly wild theatre performance that we have presented in the history of Dark Mofo. Its scale is unprecedented and bold, a fitting highlight for our tenth festival. We can safely say the audience will be anything but bored." Holzinger is known for making challenging and provocative theatre, and for exploring gender relations — including how women's bodies are represented in art and media. For A Divine Comedy, she's staging the whole show as a giant autopsy room, in fact, then unleashing choreography that dances with existence, mortality, the end that awaits us all, and our struggle to cope with what that all means. Dark Mofo attendees will watch a cast of all-female-identifying performers spanning all ages, as well as a variety of physical, musical and athletic disciplines, take to the stage for the work. And, they'll see nude performers, slapstick acts, bodily substances and references to slasher movies as well — plus a jam-packed selection of nods to art and dance's respective histories. A Divine Comedy will play Dark Mofo from Friday, June 16–Sunday, June 18, with the rest of the fest's program set to be revealed this autumn. Whatever else joins the bill to help the event officially hit ten years, it'll be part of Carmichael's last at the helm. He'll step down after Dark Mofo 2023, making way for a new Artistic Director from 2024 onwards. [caption id="attachment_846523" align="alignnone" width="1920"] Winter Feast, Dark Mofo 2021, Dark Mofo/Jesse Hunniford, 2021. Image Courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] Wondering what else might be in store? Previous years' lineups have seen a fantastical combination of musical performances, performance art and large-scale installations come together. In 2019, the program featured the likes of artists Ai Weiwei and Mike Parr, American musician Sharon Van Etten and one of the world's largest glockenspiels, for instance. In 2022, patrons were treated to performances by The Kid LAROI, and the sounds of Chernobyl and Candyman — plus rainbow installations, and signature festivities such as the Nude Solstice Swim, the City of Hobart Winter Feast, Night Mass: Transcendence in the In The Hanging Garden precinct and the Reclamation Walk. Already keen to get booking? Fancy a Tasmania trip in the interim? Our Concrete Playground Trips Hobart getaway might also be of interest. [caption id="attachment_800592" align="alignnone" width="1920"] Lusy Productions[/caption] Dark Mofo 2023 will run from Thursday, June 8–Thursday, June 22 in Hobart, Tasmania. The 2023 program will be announced in autumn — check back here for further details. A Divine Comedy will play Dark Mofo from Friday, June 16–Sunday, June 18. A ticket ballot for the show is open until 12pm AEST on Friday, February 10. A Divine Comedy images: Nicole Marianna Wytyczak. 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.
They nailed the contemporary wine bar brief with their Collingwood corner gem, Congress, then delivered design-driven mod-Japanese at Richmond's Future Future. Now, the siblings behind Milieu Hospitality have their shifted focus to Italy, for their new all-day Northside haunt Lagotto. In the space below the group's newly hatched residential development Nth Fitzroy by Milieu, Katie and Michael McCormack have created a destination for all occasions and just about every hour of the day. With an influence that's undeniably Italian, it's a contemporary cafe, wine bar and food store that slips happily from morning to night, all week long. Inside, design work by Flack Studio nods to those European sensibilities, boasting a charming assembly of glossy burgundy accents, sweeping curves, marble-topped benches and blush-hued terrazzo flooring. [caption id="attachment_723476" align="alignnone" width="1920"] Parker Blain[/caption] Mornings here see espressos and bellinis matched to the likes of a cavalo nero and asiago omelette, or cacio é pepe eggs with pancetta. The breakfast lineup is on offer until noon. Roll in at lunchtime for plates including a crisp pork cotoletta with slaw, a rich chicken cacciatore on soft polenta, and creamy buffalo mozzarella paired with pine nuts and caponata. Sandwiches, perhaps loaded with a combination of porchetta, cime di rapa and salmoriglio, are primed for lunch on the go. But after a hefty day at work, it's the aperitivo offering that has locals flocking in to the York Street spot. From 3pm, settle in for a spritz and a grazing session, tucking into the likes of four-cheese arancini, a serve of meatballs and focaccia, or the selection of cheese and charcuterie. Classic cocktails star alongside a considered list of wine, on offer by the glass or the bottle. And, if you'd like to take home more than just memories, check out the the food store selection. Affectionately known as Lagotto To-Go, the retail corner is filled with pantry essentials, take-home feasts and reasonably priced wine. Find Lagotto at 1 York Street, North Fitzroy. It's open from 7am–7pm Monday–Wednesday, 7am–late Thursday–Friday, 8am–late Saturday and 8am–6pm Sunday. Images: Parker Blain.
Once you see the wallpaper in Decision to Leave, it's impossible to forget it. That patterned surface, nodding to both the mountains and the sea, isn't why Park Chan-wook's film is the best of 2022 — except that it is in a way. The level of detail shown, how perfectly it encapsulates and expresses almost everything about the immaculate and evocative thriller, the stunning shots that rove over it: this is masterful, powerful, sensual and sensational cinema. This is filmmaking at its greatest, too. As every year does — sans worldwide shutdowns and lockdowns, of course — 2022 saw hundreds of movies make their way to cinemas Down Under. Some were downright terrible. Oh-so-many were average. But more than a few were truly exceptional, like Decision to Leave. This year's cream of the cinematic crop spanned everything from spectacular music documentaries through to multiverse madness, and included volcano love stories and a cannibalistic Timothée Chalamet as well. Formidable talents doing what they do best, beloved veterans getting astonishing showcase roles, the best action-musical of this and many other years, not one but two ace Colin Farrell flicks: they're all included as well. Here's our overview of the year's silver-screen wonders — aka 2022's 15 best movies. DECISION TO LEAVE When it's claimed that Decision to Leave's Detective Hae-joon (Park Hae-il, Heaven: To the Land of Happiness) needs "murder and violence in order to be happy", it's easy to wonder if that statement similarly applies to Park Chan-wook, this stunning South Korean thriller's filmmaker. The director of Oldboy, Thirst, Stoker and The Handmaiden doesn't, surely. Still, his exceptional body of on-screen work glows when either fills its frames — which, in a career that also spans Joint Security Area, Sympathy for Mr Vengeance, Lady Vengeance and English-language TV miniseries The Little Drummer Girl, among other titles, is often. To be more accurate, perhaps Park needs to survey the grey areas that loiter around death and brutality, and surround love, lust, loss, and all matters of the brain, body and heart that bind humans together, to find cinematic fulfilment. Certainly, audiences should be glad if/that he does. In Decision to Leave, exploring such obsessions, and the entire notions of longing and obsession, brings a staggering, sinuously layered and seductively gorgeous movie to fruition — a film to obsess over if ever there was one. In this year's deserved Cannes Film Festival Best Director-winner, reserved insomniac Hae-joon is fixated from the outset, too: with his police job in Busan, where he works Monday–Friday before returning to Ipo on weekends to his wife (Lee Jung-hyun, Peninsula). That all-consuming focus sees his weekday walls plastered with grim photos from cases, and haunts the time he's meant to be spending — and having sex — with said spouse. Nonetheless, the latest dead body thrust his way isn't supposed to amplify his obsession. A businessman and experienced climber is found at the base of a mountain, and to most other cops the answer would be simple. It is to his offsider Soo-wan (Go Kyung-Pyo, Private Lives), but Hae-joon's interest is piqued when the deceased's enigmatic Chinese widow, the cool, calm but also bruised and scratched Seo-rae (Tang Wei, The Whistleblower), is brought in for questioning amid apologising for her imperfect Korean-language skills. Read our full review. MOONAGE DAYDREAM Ground control to major masterpiece: Moonage Daydream, Brett Morgen's kaleidoscopic collage-style documentary about the one and only David Bowie, really makes the grade. Its protein pills? A dazzling dream of archival materials, each piece as essential and energising as the next, woven into an electrifying experience that eclipses the standard music doco format. Its helmet? The soothing-yet-mischievous tones of Ziggy Stardust/Aladdin Sane/The Thin White Duke/Jareth the Goblin King himself, the only protective presence a film about Bowie could and should ever need and want. The songs that bop through viewers heads? An immense playlist covering the obvious — early hit 'Space Oddity', the hooky glam-rock titular track, Berlin-penned anthem 'Heroes', the seductive 80s sounds of 'Let's Dance' and the Pet Shop Boys-remixed 90s industrial gem 'Hallo Spaceboy', to name a few — as well as deeper cuts. The end result? Floating through a cinematic reverie in a most spectacular way. When Bowie came to fame in the 60s, then kept reinventing himself from the 70s until his gone-too-soon death in 2016, the stars did look very different — he did, constantly. How do you capture that persistent shapeshifting, gender-bending, personal and creative experimentation, and all-round boundary-pushing in a single feature? How do you distill a chameleonic icon and musical pioneer into any one piece of art, even a movie that cherishes each of its 135 minutes? In the first film officially sanctioned by Bowie's family and estate, Morgen knows what everyone that's fallen under the legend's spell knows: that the man born David Jones, who would've been 75 when this doco hit screens if he was still alive, can, must and always has spoken for himself. The task, then, is the same as the director had with the also-excellent Cobain: Montage of Heck and Jane Goodall-focused Jane: getting to the essence of his subject and conveying what made him such a wonder by using the figure himself as a template. Read our full review. THE BANSHEES OF INISHERIN In The Banshees of Inisherin, the rolling hills and clifftop fields look like they could stretch on forever, even on a fictional small island perched off the Irish mainland. For years, conversation between Padraic Súilleabháin (Colin Farrell, After Yang) and Colm Doherty (Brendan Gleeson, The Tragedy of Macbeth) has been similarly sprawling — and leisurely, too — especially during the pair's daily sojourn to the village pub for chats over pints. But when the latter calls time on their camaraderie suddenly, his demeanour turns brusque and his explanation, only given after much pestering, is curt. Uttered beneath a stern, no-nonsense stare by Gleeson to his In Bruges co-star Farrell, both reuniting with that darkly comic gem's writer/director Martin McDonagh for another black, contemplative and cracking comedy, Colm is as blunt as can be: "I just don't like you no more." In the elder character's defence, he wanted to ghost his pal without hurtful words. Making an Irish exit from a lifelong friendship is a wee bit difficult on a tiny isle, though, as Colm quickly realises. It's even trickier when the mate he's trying to put behind him is understandably upset and confused, there's been no signs of feud or fray beforehand, and anything beyond the norm echoes through the town faster than a folk ballad. So springs McDonagh's smallest-scale and tightest feature since initially leaping from the stage to the screen, and a wonderful companion piece to that first effort. Following the hitman-focused In Bruges, he's gone broader with Seven Psychopaths, then guided Frances McDormand and Sam Rockwell to Oscars with Three Billboards Outside Ebbing, Missouri, but he's at his best when his lens is trained at Farrell and Gleeson as they bicker in close confines. Read our full review. DRIVE MY CAR Inspired by Haruki Murakami's short story of the same name, Drive My Car's setup couldn't be simpler. Still recovering from a personal tragedy, actor and director Yusuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to helm a stage version of Chekhov's Uncle Vanya in Hiroshima — but the company behind it insists on giving him a chauffeur for the duration of his stay. He declines, yet they contend that it's mandatory for insurance and liability reasons, so Misaki (Toko Miura, Spaghetti Code Love) becomes a regular part of his working stint in the city. Friendship springs, slowly and gradually, but Murakami's name is one of the first signs that this won't follow a standard road. The other: Japanese filmmaker Ryûsuke Hamaguchi, who makes layered, thoughtful and probing reflections upon connection, as seen in his other efforts Happy Hour, Asako I & II and Wheel of Fortune and Fantasy. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours, but it's a patient, engrossing and rewarding trip. It's a gorgeously shot and affectingly performed one, too, whether taking to the road, spending time with its central pair, or chronicling Yusuke's involving auditions and rehearsals. Another thing that Hamaguchi does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yusuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. Read our full review. PETITE MAMAN Forget the "find someone who looks at you like…" meme. That's great advice in general, but it's mandatory if you've ever seen a film by Céline Sciamma. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director, with her talent for truly seeing into hearts and minds shining again in Petite Maman. In Sciamma's latest delicate and exquisite masterpiece after Tomboy, Girlhood and Portrait of a Lady on Fire, she follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. Nelly's grandmother (Margot Abascal, The Sower) has just died, and the house needs packing up. While her parents work, the curious child roves around the surrounding woods — and discovers Marion (fellow newcomer Gabrielle Sanz), who could be her twin. Sciamma is exceptionally talented at many things, creating richly detailed and intimately textured cinematic worlds high among them. She doesn't build franchises or big fantasy realms, but surveys faces, spaces, thoughts and feelings — exploring them like the entire universes they are. That approach pulsates through every frame of Petite Maman like a heartbeat. The film itself resembles a gentle but soul-replenishing breeze in its rustic look and serene pacing, but it thrums with emotion and insight at every moment. It's a modern-day fairy tale, too, complete with a glorious twist, with this radiant, moving, smart and perceptive movie musing deeply on mothers, daughters and the ties that bind. Read our full review. EVERYTHING EVERYWHERE ALL AT ONCE Imagine living in a universe where Michelle Yeoh isn't the wuxia superstar she is. No, no one should want to dwell in that reality. Now, envisage a world where everyone has hot dogs for fingers, including the Crouching Tiger, Hidden Dragon icon. Next, picture another where Ratatouille is real, but with raccoons. Then, conjure up a sparse realm where life only exists in sentient rocks. An alternative to this onslaught of pondering: watching Everything Everywhere All At Once, which throws all of the above at the screen and a helluva lot more. Yes, its title is marvellously appropriate. Written and directed by the Daniels, aka Swiss Army Man's Daniel Kwan and Daniel Scheinert, this multiverse-hopping wonder is a funhouse of a film that just keeps spinning through wild and wacky ideas. Instead of asking "what if Daniel Radcliffe was a farting corpse that could be used as a jet ski?" as their also-surreal debut flick did, the pair now muses on Yeoh, her place in the universe, and everyone else's along with her. Although Yeoh doesn't play herself in Everything Everywhere All At Once, she is seen as herself; keep an eye out for red-carpet footage from her Crazy Rich Asians days. Such glitz and glamour isn't the norm for middle-aged Chinese American woman Evelyn Wang, her laundromat-owning character in the movie's main timeline, but it might've been if life had turned out differently. That's such a familiar train of thought — a resigned sigh we've all emitted, even if only when alone — and the Daniels use it as their foundation. Their film starts with Evelyn, her husband Waymond (Ke Huy Quan, Indiana Jones and the Temple of Doom's Short Round and The Goonies' Data) and a hectic time. Evelyn's dad (James Hong, Turning Red) is visiting from China, the Wangs' daughter Joy (Stephanie Hsu, Shang-Chi and the Legend of the Ten Rings) brings her girlfriend Becky (Tallie Medel, The Carnivores) home, and IRS inspector Deirdre Beaubeirdra (Jamie Lee Curtis, Halloween Ends) is conducting a punishing audit. Then Evelyn learns she's the only one who can save, well, everything, everywhere and everyone. Read our full review. NOPE Kudos to Jordan Peele for giving his third feature as a writer/director a haters-gonna-hate-hate-hate name: for anyone unimpressed with Nope, the response is right there. Kudos, too, to the Get Out and Us filmmaker for making his third bold, intelligent and supremely entertaining horror movie in a row — a reach-for-the-skies masterpiece that's ambitious and eerie, imaginative and expertly crafted, as savvy about cinema as it is about spectacle, and inspires the exact opposite term to its moniker. Reteaming with Peele after nabbing an Oscar nomination for Get Out, Daniel Kaluuya utters the titular word more than once in Nope. Exclaiming "yep" in your head each time he does is an instant reaction. Everything about the film evokes that same thrilled endorsement, but it comes particularly easily whenever Kaluuya's character surveys the wild and weird events around him. We say yay to his nays because we know we'd respond the same way if confronted by even half the chaos that Peele whooshes through the movie. As played with near-silent weariness by the always-excellent Judas and the Black Messiah Oscar-winner, Haywood's Hollywood Horses trainer OJ doesn't just dismiss the strange thing in the heavens, though. He can't, even if he doesn't realise the full extent of what's happening when his father (Keith David, Love Life) suddenly slumps on his steed on an otherwise ordinary day. Six months later, OJ and his sister Emerald (Keke Palmer, Lightyear) are trying to keep the family business, which dates back to the 1800s, running. The presence lurking above the Haywoods' Agua Dulce property soon requires just as much attention, though. Just as Get Out saw Peele reinterrogate the possession movie and Us did the same with doppelgängers, Nope goes all in on flying saucers. So, Emerald wants the kind of proof that only video footage can offer. She wants her "Oprah shot", as well as a hefty payday. Soon, the brother-sister duo are buying new surveillance equipment — which piques the interest of UFO-obsessed electronics salesman Angel Torres (Brandon Perea, The OA) — and also enlisting renowned cinematographer Antlers Holst (Michael Wincott, Veni Vidi Vici) to capture the lucrative image. Read our full review. BONES AND ALL To be a character in a Luca Guadagnino film is to be ravenous. The Italian director does have a self-described Desire trilogy — I Am Love, A Bigger Splash and Call Me By Your Name — on his resume, after all. In those movies and more, he spins sensual stories about hungry hearts, minds and eyes, all while feeding his audience's very same body parts. He tells tales of protagonists bubbling with lust and yearning, craving love and acceptance, and trying to devour this fleeting thing called life while they're living it. Guadagnino hones in on the willingness to surrender to that rumbling and pining, whether pursuing a swooning, sweeping, summery romance in the first feature that put Timothée Chalamet in front of his camera, or losing oneself to twitchy, witchy dance in his Suspiria remake. Never before has he taken having an insatiable appetite to its most literal and unnerving extreme, however, but aching cannibal love story Bones and All is pure Guadagnino. Peaches filled with longing's sticky remnants are so 2017 for Guadagnino, and for now-Little Women, Don't Look Up and Dune star Chalamet. Biting into voracious romances will never get old, though. Five years after Call Me By Your Name earned them both Oscar nominations — the filmmaker for Best Picture, his lead for Best Actor — they reteam for a movie that traverses the American midwest rather than northern Italy, swaps erotic fruit for human flesh and comes loaded with an eerie undercurrent, but also dwells in similar territory. It's still the 80s, and both hope and melancholy still drift in the air. The phenomenal Taylor Russell (Lost in Space) drives the feature as Maren, an 18-year-old with an urge to snack on people that makes her an unpopular slumber-party guest. When she meets Chalamet's Lee, a fellow 'eater', Bones and All becomes another sublime exploration of love's all-consuming feelings — and every bit as exquisite as Guadagnino and Chalamet's last stunning collaboration. Read our full review. RED ROCKET It might sound crazy, but it ain't no lie: Red Rocket's *NSYNC needle drops, the cost of which likely almost eclipsed the rest of the film's budget, provide a sensational mix of movie music moments in an all-round sensational picture. A portrait of an ex-porn star's knotty homecoming to the oil-and-gas hub that is Texas City, the feature only actually includes one song by the Justin Timberlake-fronted late-90s/early-00s boyband, but it makes the most of it. That tune is 'Bye Bye Bye', and it's a doozy. With its instantly recognisable blend of synth and violins, it first kicks in as the film itself does, and as the bruised face of Mikey Saber (Simon Rex, Scary Movie 3, 4 and 5) peers out of a bus window en route from Los Angeles. Its lyrics — "I'm doing this tonight, you're probably gonna start a fight, I know this can't be right" — couldn't fit the situation better. The infectiously catchy vibe couldn't be more perfect as well, and nor could the contrast that all those upbeat sounds have always had with the track's words. As he demonstrates with every film, Red Rocket writer/director/editor Sean Baker is one of the best and shrewdest filmmakers working today — one of the most perceptive helmers taking slice-of-life looks at American existence on the margins, too. His latest movie joins Starlet, Tangerine and The Florida Project on a resume that just keeps impressing, but there's an edge here born of open recognition that Mikey is no one's hero. He's a narcissist, sociopath and self-aggrandiser who knows how to talk his way into anything, claim success from anyone else's wins and blame the world for all his own woes. He's someone that everyone in his orbit can't take no more and wants to see out that door, as if *NSYNC's now-22-year-old lyrics were specifically penned about him. He's also a charismatic charmer who draws people in like a whirlwind. He's the beat and the words of 'Bye Bye Bye' come to life, in fact, even if the song wasn't originally in Red Rocket's script. Read our full review. AFTER YANG What flickers in a robot's circuitry in its idle moments has fascinated the world for decades, famously so in Do Androids Dream of Electric Sheep?, Blade Runner and Blade Runner 2049. In writer/director/editor Kogonada's (TV series Pachinko) After Yang, one machine appears to long for everything humans do. The titular Yang (Justin H Min, The Umbrella Academy) was bought to give Kyra (Jodie Turner-Smith, Queen & Slim) and Jake's (Colin Farrell, The Batman) adopted Chinese daughter Mika (Malea Emma Tjandrawidjaja, iCarly) a technosapien brother, babysitter, companion and purveyor of "fun facts" about her heritage. He dotes amid his duties, perennially calm and loving, and clearly an essential part of the family. What concerns his wiring beyond his assigned tasks doesn't interest anyone, though, until he stops operating. Mika is distressed, and Kyra and Jake are merely inconvenienced initially, but the latter pledges to figure out how to fix Yang — which is where his desires factor in. When a feature so easily recalls other films and television shows, and so emphatically — Ex Machina and Black Mirror also come to mind here — it isn't typically a positive sign. That isn't the case with After Yang. Adapting Alexander Weinstein's short story Saying Goodbye to Yang, Kogonada crafts a movie that resembles a dream for the overwhelming bulk of its running time — it's softly shot like one, and tightly to focus on interiors rather than backgrounds — and that makes it feel like a happily slumbering brain filtering through and reinterpreting its wide array of influences. Another picture that leaves an imprint: Kogonada's own Columbus, his 2017 wonder that also featured Haley Lu Richardson (The White Lotus), who pops up here as a friend of Yang's that Jake, Kyra and Mika know nothing about. It isn't the shared casting that lingers, but the look and mood and texture, plus the idea that what we see, what we choose to revel in aesthetically and what makes us tick mentally are intertwined; yes, even for androids. Read our full review. HAPPENING It's hard to pick which is more horrifying in Happening: the graphic scenes where 23-year-old literature student Anne Duchesne (Anamaria Vartolomei, How to Be a Good Wife) takes the only steps she can to try to regain control of her life, or the times she's repeatedly told by others, typically men, to accept a fate that only ever awaits her gender. Both hit like a punch, by design. Both are wrenching, heart and gut alike, and neither are surprising for a second. Also leaving a mark: that few care that Anne's future is now threatened in this 2021 Venice Film Festival Golden Lion-winner, because that's simply a consequence of having sex for women in France in 1963, the movie's setting. There's another truth that lingers over this adaptation of author Annie Ernaux's 2001 memoir of the same name, which uses her own experiences at the same age, time and in the same situation: that in parts of the world where pro-life perspectives are entrenched in law or regaining prominence, Happening's scenario isn't a relic of the past. Late in the movie, Anne describes her circumstances as "that illness that turns French women into housewives". It's a blunt turn of phrase, but it's accurate. It also speaks to how writer/director Audrey Diwan (Losing It) and co-scribe Marcia Romano (Bye Bye Morons) approach the film with the clearest of eyes, declining to indulge the idea that forcing unwanted motherhood upon young women is a gift or simply a duty, and likewise refusing to flinch from showing the reality when the personal freedom to choose is stripped away. This is a feature made with the fullest of hearts, too, compassion evident in every boxed-in Academy ratio frame that rarely leaves Anne's face. It spies the appalling options before her, and sees the society that's okay with stealing her choices. And, it stares deeply at both the pain and determination that've understandably taken up residence in Anne's gaze. Read our full review. THE STRANGER No emotion or sensation ripples through two or more people in the exact same way, and never will. The Stranger has much to convey, but it expresses that truth with piercing precision. The crime-thriller is the sophomore feature from actor-turned-filmmaker Thomas M Wright — following 2018's stunning Adam Cullen biopic Acute Misfortune, another movie that shook everyone who watched it and proved hard to shake — and it's as deep, disquieting and resonant a dance with intensity as its genre can deliver. To look into Joel Edgerton's (Thirteen Lives) eyes as Mark, an undercover cop with a traumatic but pivotal assignment, is to spy torment and duty colliding. To peer at Sean Harris (Spencer) as the slippery Henry Teague is to see a cold, chilling and complex brand of shiftiness. Sitting behind these two performances in screentime but not impact is Jada Alberts' (Mystery Road) efforts as dedicated, determined and drained detective Kate Rylett — and it may be the portrayal that sums up The Stranger best. Writing as well as directing, Wright has made a film that is indeed dedicated, determined and draining. At every moment, including in sweeping yet shadowy imagery and an on-edge score, those feelings radiate from the screen as they do from Alberts. Sharing the latter's emotional exhaustion comes with the territory; sharing their sense of purpose does as well. In the quest to capture a man who abducted and murdered a child, Rylett can't escape the case's horrors — and, although the specific details aren't used, there's been no evading the reality driving this feature. The Stranger doesn't depict the crime that sparked Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer, or any violence. It doesn't use the Queensland schoolboy's name, or have actors portray him or his family. This was always going to be an inherently discomforting and distressing movie, though, but it's also an unwaveringly intelligent and impressive examination of trauma. Read our full review. CRIMES OF THE FUTURE It takes a brave filmmaker to see cancer and climate change, and think of art, evolution and eroticism in a possible future. It takes a bold director to have a character proclaim that "surgery is the new sex", too. David Cronenberg has always been that kind of visionary, even before doing all of the above in his sublime latest release — and having the Scanners, Videodrome and The Fly helmer back on his body-horror bent for the first time in more than two decades is exactly the wild and weird dream that cinephiles want it to be. The Canadian auteur makes his first movie at all since 2014's Maps to the Stars, in fact, and this tale of pleasure and pain is as Cronenbergian as anything can be. He borrows Crimes of the Future's title from his second-ever feature dating back 50-plus years, brings all of his corporeal fascinations to the fore, and moulds a viscerally and cerebrally mesmerising film that it feels like he's always been working towards. Long live the new flesh, again. Long live the old Cronenberg as well. In this portrait of a potential time to come, the human body has undergone two significant changes. Three, perhaps, as glimpsed in a disquieting opening where an eight-year-old called Brecken (debutant Sotiris Siozos) snacks on a plastic bin, and is then murdered by his mother Djuna (Lihi Kornowski, Ballistic). That incident isn't unimportant, but Crimes of the Future has other departures from today's status quo to carve into — and they're equally absorbing. Physical agony has disappeared, creating a trade in "desktop surgery" as performance art. Also, a condition dubbed Accelerated Evolution Syndrome causes some folks, such as artist Saul Tenser (Viggo Mortensen, Thirteen Lives), to grow abnormal organs. These tumours are removed and tattooed in avant-garde shows by his doctor/lover Caprice (Léa Seydoux, No Time to Die), then catalogued by the National Organ Register's Wippit (Don McKellar, reteaming with Cronenberg after eXistenZ) and Timlin (Kristen Stewart, Spencer). Read our full review. FIRE OF LOVE What a delight it would be to trawl through Katia and Maurice Krafft's archives, sift through every video that features the French volcanologists and their work, and witness them doing their highly risky jobs against spectacular surroundings. That's the task that filmmaker Sara Dosa (The Seer and the Unseen) took up to make this superb documentary about the couple's lives — although, as magnificent as this incredibly thoughtful, informative and moving film is, it makes you wonder what a sci-fi flick made from the same footage would look like. There's a particular sequence that cements that idea, set to the also-otherworldly sounds of Air, and featuring the Kraffts walking around against red lava in their futuristic-looking protective silver suits. The entire enchanting score springs from Air's Nicolas Godin, and it couldn't better set the mood; that said, these visuals and this story would prove entrancing if nary a sound was heard, let alone a note or a word. For newcomers to the Kraffts, their lives make quite the tale — one of two volcano-obsessed souls who instantly felt like they were destined to meet, then dedicated their days afterwards to understanding the natural geological formations. More than that, they were passionate about analysing what they dubbed 'grey volcanos', which produce masses of ash when they erupt, and often a body count. Attempting to educate towns and cities in the vicinity of volcanoes, so that they could react appropriately and in a timely way to avoid casualties, became a key part of their mission. This isn't the only doco about them — in fact, German director Werner Herzog has made his own, called The Fire Within: A Requiem for Katia and Maurice Krafft — but Fire of Love is a gorgeous, sensitive, fascinating and affecting ode to two remarkable people, their love, their passion and their impact. It also benefits from pitch-perfect narration, too, courtesy of actor and Kajillionaire filmmaker Miranda July. Read our full review. RRR The letters in RRR's title are short for Rise Roar Revolt. They could also stand for riveting, rollicking and relentless. They link in with the Indian action movie's three main forces, too — writer/director SS Rajamouli (Baahubali: The Beginning), plus stars NT Rama Rao Jr (Aravinda Sametha Veera Raghava) and Ram Charan (Vinaya Vidheya Rama) — and could describe the sound of some of its standout moments. What noise echoes when a motorcycle is used in a bridge-jumping rescue plot, as aided by a horse and the Indian flag, amid a crashing train? Or when a truck full of wild animals is driven into a decadent British colonialist shindig and its caged menagerie unleashed? What racket resounds when a motorbike figures again, this time tossed around by hand (yes, really) to knock out those imperialists, and then an arrow is kicked through a tree into someone's head? Or, when the movie's two leads fight, shoot, leap over walls and get acrobatic, all while one is sat on the other's shoulders? RRR isn't subtle. Instead, it's big, bright, boisterous, boldly energetic, and brazenly unapologetic about how OTT and hyperactive it is. The 187-minute Tollywood action epic — complete with huge musical numbers, of course — is also a vastly captivating pleasure to watch. Narrative-wise, it follows the impact of the British Raj (aka England's rule over the subcontinent between 1858–1947), especially upon two men. In the 1920s, Bheem (Jr NTR, as Rao is known) is determined to rescue young fellow villager Malli (first-timer Twinkle Sharma), after she's forcibly taken by Governor Scott Buxton (Ray Stevenson, Vikings) and his wife Catherine (Alison Doody, Beaver Falls) for no reason but they're powerful and they can. Officer Raju (Charan) is tasked by the crown with making sure Bheem doesn't succeed in rescuing the girl, and also keeping India's population in their place because their oppressors couldn't be more prejudiced. Read our full review. Looking for more 2022 highlights? We've picked plenty. Check out our thoughts about 15 exceptional films that hardly anyone saw in cinemas in 2022, add 30 other 2022 big-screen highlights to your catch-up list and see which 15 straight-to-streaming movies were this year's best. From 2022's TV offerings, we've also thrown some love towards the 15 best returning TV series of the year, 2022's 15 best new shows and 15 other excellent TV newcomers from the past 12 months that you might've missed.
When Cocaine Bear made its leap from a true tale to a movie that was always bound to fall short of reality, it arrived with a promotional online game where a bear chomps on cocaine, plus people who get in its way, in a playful riff on Pac-Man. Called The Rise of Pablo Escobear, the game is more entertaining than the film, but it isn't the best low-fi button-clicking tie-in of 2023. That honour now goes to Feed Eggs, which anyone that's seen I Think You Should Leave with Tim Robinson season three will immediately want to play. How does a sketch comedy where assholes take centre stage work in a game about feeding eggs to a bigger egg? The answer to that is sublime, impossible to foresee, and completely in tune with the show's obsession with office culture at its most grating — and people being oh-so unbearably irritating. Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been stacking streaming queues with appalling folks since 2019, as usually played by the eponymous Detroiters star — and long may it continue. In season three, which dropped in full on Netflix on Tuesday, May 30, the show takes its gallery of assholes literally in the most ridiculous and unexpected way, so much so that no one could ever dream of guessing what happens in advance. That's still this sketch comedy's not-so-secret power. Each time that it unleashes a new batch of six episodes, all screaming to be binged in one 90-minute sitting, there's no telling where Robinson, co-creator and co-writer Zach Kanin (Saturday Night Live), and their committed colleagues will venture. Three key constants: Robinson giving his rubbery facial expressions a helluva workout, memes upon memes flowing afterwards and a fresh round of quotable lines that'll never get old — even if you used to be a piece of shit slopping up steaks, and babies know it. Each of I Think You Should Leave with Tim Robinson's skits tend to hone in on someone being the worst in some way, doubling down on being the worst and refusing to admit that they're the worst (or even that they're wrong). And, while everyone around them might wish that they'd leave — that feeling is right there in the name — the central antagonist in every sketch is never going to. Nothing ever ends smoothly, either. In a comedy that's previously worked in hot dog costumes and television shows about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its parade of insufferable characters. In fact, the more absurd and chaotic that I Think You Should Leave with Tim Robinson gets, and the more unpredictable, the better that the show gets as well. It should come as zero surprise, then, that no description can do I Think You Should Leave with Tim Robinson's sketches justice. Almost every one is a comedic marvel that has to be seen to be believed, as again delivered in 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors, designated drivers and novelty venues to HR training, street parking and wearing the same shirt as a stranger are in Robinson's sights this time, plus people who won't stop talking about their kids, wedding photos and proposals, group-think party behaviour, paying it forward and boss-employee beefs as well. Game shows get parodied again and again — an I Think You Should Leave with Tim Robinson staple — and gloriously. Season three also finds time to skewer viral videos and folks desperate to make them, obnoxious audiences not once but twice, one-note pundits enamoured with the sound of their own voices and the kind of competitive romantic shows that reality TV is filled with. Indeed, although the nine-to-five grind has always been a treasure trove for I Think You Should Leave with Tim Robinson's jerks, so have the screens that are as deeply entrenched in our lives. That innocent idea that every kid has about the people beamed into their homes, how wonderful they must be and wanting to be just like them? Robinson douses it with vodka shots. The series also makes plain that a camera is just a magnifying glass, especially when it comes to vexing traits. I Think You Should Leave with Tim Robinson may thrive on being erratic, but it's easy to see its evolution from the cancelled-too-soon Detroiters. In the 2017–18 sitcom, Robinson and I Think You Should Leave with Tim Robinson regular Sam Richardson (The Afterparty) play best friends, next-door neighbours and colleagues, the latter at a Detroit advertising agency specialising in low-budget ads that are frequently OTT and ludicrous. Kanin co-created the series with Robinson and Richardson, plus Joe Kelly, who went on to co-develop Ted Lasso. Sans moustache, Jason Sudeikis also executive produced and gave Detroiters its first big guest star — someone dealing with over-eager characters who weren't assholes, but also wouldn't take no for an answer. In its instant-gem debut season, its equally wild and wonderful second season in 2021, and now the just-released season three, I Think You Should Leave with Tim Robinson has kept evolving. More often than before, Robinson lets his co-stars play the asshole, too. Some have been here and done that magnificently before — Richardson, of course, plus the also-returning Will Forte (Weird: The Al Yankovic Story), Patti Harrison (She-Hulk: Attorney at Law), Conner O'Malley (Bodies Bodies Bodies), Tim Heidecker (Killing It) and Biff Wiff (Jury Duty) — while some pop up as they do in seemingly every comedy ever made, which is where Fred Armisen (Barry) and Tim Meadows (Poker Face) come in. Among the newcomers, when Jason Schwartzman (Spider-Man: Across the Spider-Verse) and Ayo Edebiri (The Bear) join in, they're also on the pitch-perfect wavelength. Social awkwardness and awfulness is infectious within I Think You Should Leave with Tim Robinson's frames. It's also the driving force behind Netflix's best-ever comedy, and the best way that anyone can spend an hour and a half — or four-and-a-half hours now, to be honest, because watching one season of this sidesplitting series always sparks the need to re-binge the others ASAP. Check out the trailer for I Think You Should Leave with Tim Robinson season three below: I Think You Should Leave with Tim Robinson streams via Netflix. Images: Netflix.
How many of you can thank MasterChef Australia for your culinary awakening? Remember the first time you laid eyes on that glorious croquembouche and thought, "hot damn, I suddenly know what I want for my birthday and all birthdays evermore"? Even after ten seasons, MasterChef Australia continues to surprise us with weird flavour combos (thank you, Mystery Box) and increasingly wacky contributions by competitive guest chefs. So, in honour of the series that launched a thousand wonky dessert towers, we've rounded up ten of Melbourne's most unexpected dishes for those times when you want a culinary experience but don't want to demolish the kitchen. MEAT FRUIT, DINNER BY HESTON BLUMENTHAL A list of unexpected dishes would not be complete without Heston Blumenthal, the world's kookiest cook. The meat fruit has been around since the 1500s. And Heston's modern Meat Fruit has been around for a while, too, persisting in spite of the vulgar images conjured by its name. But, we digress. The Meat Fruit at Dinner by Heston is a wad of chicken live parfait and mandarin jelly, served with grilled bread ($38). Somehow, he makes it work — though how we could not say. And the thing is, the controversial Meat Fruit is only an appetiser, so that's really only the first surprise of many. [caption id="attachment_671355" align="alignnone" width="1920"] Ben Shewry[/caption] ANT LAMINGTON, ATTICA Ben Shewry of Attica, one of MasterChef Australia's favourite guests, keeps you on your toes. Sure, it might look like he's just serving you up a lamington sprinkled with chocolate bits — but don't think you'll get off that easily. Those chocolate bits are actually spicy ants. Interesting? Yes. Delicious? You betcha. Likely to turn up anytime soon on your Krispy Kreme? Don't count on it. To experience a mouthful of ants, you'll have to nab a sitting at Attica in Ripponlea, which isn't that easy. Bookings open at the start of every month, and if you manage to get in, it's handy to bear in mind that an ant lamington isn't even the weirdest (or tastiest) thing you'll experience at chef Shewry's hands. LAMINGTON JAFFLE, BAD FRANKIE If you're after a spin on the lamington with fewer ants involved, turn to Bad Frankie in Collingwood. From its cute little bar just off Smith, it's serving up childhood favourites with a twist. The humble jaffle is transformed into a legitimate culinary delight and one of the most unexpected combos is the lamington dessert jaffle ($8). It has jam and cake filling, wrapped up in bread, fried, and coated in chocolate and coconut. Special mention also goes to the butter chicken jaffle ($8) that comes minus the chicken, too. While it's not super crazy, the kitchen has done what all of us dream to do — getting rid of the solids and drinking the sauce. [caption id="attachment_598217" align="alignnone" width="1280"] Jo Rittey[/caption] ROAST CRICKET NOODLE SALAD, JETHRO CANTEEN Jethro Canteen famously made headlines last year for its alternative menu featuring cricket salad and camel's milk (among other things, of course). If you want something a bit different on your eggs benny, head over to Richmond and grab a side of crickets ($6) with your eggs. Or try the Vietnamese roasted cricket noodle salad as a main ($19), made with glass noodles, wombok, cucumber, crushed peanuts and tomatoes. Insect eating, officially called entomophagy, will only get more mainstream, so get ahead of the trend and put all thoughts of A Bug's Life out of your head. And for the record, the crickets are crunchy and delicious. [caption id="attachment_637921" align="alignnone" width="1920"] Nikki To[/caption] DESSERT, SUPERNORMAL Don't let the name trick you — Supernormal is anything but normal. But while the entire Japanese menu is outstanding, we'd like to draw your attention to its dessert offering for maximum gasp-factor. It's chock-full of odd combinations of flavours from both east and west. We recommend the Japanese shaved ice (called kakigori, $16), served with toffee apple and hibiscus — what does hibiscus taste like? You'll soon find out. Alternatively, try the kakigori ($16) at sister restaurant Supernormal Canteen, here it comes with crème caramel, dulce de leche and popcorn. There are no rules for these desserts, so it's best to just sit back and trust. After all, Supernormal is home to one of our city's famous desserts – the peanut butter parfait. GREEN MATCHA BURGER, MATCHA MYLKBAR Matcha Mylkbar already has a reputation for its colourful menu and rainbow coffees. Blue algae, green matcha, pink beetroot, and yellow turmeric lattes aren't so unexpected on the outrageous Melbourne coffee scene. But, what's unexpected about Matcha Mylkbar's colourful creations are that they actually taste good. It's not a novelty that'll fizzle out, but a genuinely delicious alternative drink for people who don't do caffeine (or dairy). The algae latte ($9) is our favourite but only if you like sweet drinks. And the Matcha burger ($22) is in a league of its own — the salty, crunchy protein patty is the perfect companion to the slightly sweet matcha bun and generous slices of avo. CRAB CRUMPETS, HOLLA For most people, crustaceans and breakfast don't logically pair. Our sensitive western tastebuds and unsettled pre-coffee stomachs aren't ready for the the strong flavours of the sea. But hear us out on this: the crab crumpets at Holla are a stroke of genius. The crunch, the rich flavours, and the protein are a great way to start the day. And Holla's crumpets are not your on-special supermarket Golden six-pack. The crispy morsels come with soft shell crab, two poached eggs, avo and bacon crumb ($24) — it isn't what you might expect on to turn up on your crumpets, but it's so tasty we can suspend our disbelief. SAUTÉED PEARL MEAT, FLOWER DRUM Flower Drum is one of Melbourne's fanciest Chinese restaurants, so make sure you dress for the occasion. The menu is packed with traditional meat and seafood dishes that will boggle your noggin with unfamiliar combinations. But the pearl meat ($28 per person) appetiser is as unexpected as it is delicious. It's a simple dish of pearl meat sautéed with spring onions, garlic chives and asparagus. What makes it interesting is the texture of the pearl meat — it's like an oyster but with more substance. If you've never eaten it before, this is the place to do it. OYSTER ICE CREAM, BRAE Speaking of molluscs, Brae's oyster ice cream has rocketed to near-iconic status over the last few years — well, as iconic as an oyster can get. In an ever-changing environment that changes with seasonality, this item is always on the menu. Listed officially as the Iced Oyster, the dish comes immaculately presented and sprinkled in a rich green powder. The ice cream itself is sweet and salty and weird and will genuinely make your taste buds say, "wait, what?". The oyster ice cream is one of the more unlikely combos in Dan Hunter's repertoire, but the rest of the menu has a few surprises, too — the biggest one being that you won't know what you're eating until you get there. After all, a magician never reveals his secrets (or his menu, apparently). [caption id="attachment_625090" align="alignnone" width="1920"] Tim Grey[/caption] HOKKAIDO BAKED CHEESE TART, HBCT This savoury-sweet dish is a three-cheese shortcrust-encased tart. The cheese, while made with local produce, is based on the distinct taste and texture of the dairy products of Hokkaido. What cheese Hokkaido Baked Cheese Tarts uses exactly, is a trade secret. Whether you should eat this dish as an appetiser or for dessert, is also up for debate. But what's known for sure is these tart's popularity. Malaysia has gone nuts for it, and, since it launched its first store here in late 2016, Melbourne has been, too. Catch the latest season of MasterChef Australia from Sunday to Thursday at 7.30pm on Channel Ten.
When you've already spent 2025 singing and dancing with Robyn at Saturday Night Live's 50th-anniversary concert, then releasing the Saoirse Ronan (Blitz)-starring first-ever music video for 'Psycho Killer' 48 years after the song's debut, what comes next? For David Byrne, the answer is a new album in September, plus a new world tour that kicks off the same month — and heads Down Under in January 2026. The iconic Talking Heads founder and frontman has dropped two huge pieces of news at once, revealing his impending latest record Who Is the Sky? and the live shows to support it. In Australia and New Zealand, he'll be playing his first gigs since 2018, when he brought his American Utopia tour — which none other than Spike Lee (Da 5 Bloods) turned into a concert flick also called American Utopia, aka one of 2020's absolute best films — this way. [caption id="attachment_1008708" align="alignnone" width="1920"] Shervin Lainez[/caption] If you're in Auckland, Brisbane, Sydney, Melbourne, Adelaide and Perth and you're thinking "this must be the place", then you're right: Byrne is venturing to each of these cities. First, he'll hit up Spark Arena on Wednesday, January 14 on his sole NZ stop, before kicking off his Aussie dates on Saturday, January 17 at Brisbane Entertainment Centre. From there, he'll play ICC Sydney Theatre on Wednesday, January 21; Sidney Myer Music Bowl in Melbourne on Thursday, January 22; Adelaide Entertainment Centre Arena on Saturday, January 24; and Perth's RAC Arena on Tuesday, January 27. If you caught his American Utopia gigs or watched the film, you'll recognise some other familiar faces on the Who Is the Sky? tour. Byrne is taking to the stage with 13 musicians, singers and dancers, some of whom were part of the American Utopia band. Just like in those famous shows, his fellow performers will all be mobile throughout Byrne's latest set. Like tour, like album: Who Is the Sky? isn't just Byrne's first set of live gigs since American Utopia, but also his first record since that Grammy-winning release came out in 2018. Launching on Friday, September 5, 2025 — with first single 'Everybody Laughs' out now — the new album features St Vincent, Paramore's Hayley Williams, The Smile drummer Tom Skinner and American Utopia percussionist Mauro Refosco among its guests. Byrne has long been a must-see live performer — and there's long been filmic proof of that fact. Forty-two years ago this December, he made concert film history with Talking Heads when he walked out onto a Hollywood stage with a tape deck, pressed play and, while standing there solo, began to sing 'Psycho Killer'. Then-future The Silence of the Lambs Oscar-winner Jonathan Demme directed cameras his way, recording the results for Stop Making Sense. David Byrne Who Is the Sky? World Tour Australia and New Zealand 2026 Dates Wednesday, January 14 — Spark Arena, Auckland Saturday, January 17 — Brisbane Entertainment Centre, Brisbane Wednesday, January 21 — ICC Sydney Theatre, Sydney Thursday, January 22 — Sidney Myer Music Bowl, Melbourne Saturday, January 24 — Adelaide Entertainment Centre Arena, Adelaide Tuesday, January 27 — RAC Arena, Perth David Byrne is touring Australia and New Zealand in January 2026, with ticket presales from 2pm local time on Thursday, June 12, 2025 and general sales from 1pm local time on Friday, June 13, 2025. Head to the tour website for further details. Live images: Raph_PH via Flickr.
The gift-buying season is about to ramp up. But with cost-of-living concerns putting the pinch on many households, not to mention the environmental cost of buying a bucketload of brand-new presents, taking a different approach might not be such a bad thing. That's where the secondhand superstore Vinnies comes in as we get ever-closer to Christmas. On now until Wednesday, December 24, the team is hosting the curated Good Gift Pop-Up Market from its Fitzroy digs. Featuring pre-loved collections across a huge range of categories, including ceramics, vintage books and retro glassware, there's every chance you'll discover a top-quality gift that's more thoughtful than most. "The rise of conscious gifting points to a new mindset, consumers are actively seeking ways to make their giving simpler, kinder and more sustainable," says Neil Harvey, General Manager, Retail at Vinnies Victoria. "It's a way to save money, find something thoughtful, and support vital community services at the same time." The value for shoppers is also off the charts, with customers who spend $40 in-store scoring a Vinnies Christmas Vault Card featuring $54 worth of credit for your next shop. With research from Vinnies Victoria revealing that nine out of ten people are open to receiving a pre-loved pressie, perhaps doing your wallet and the earth a favour is the way to go this festive season.
Yeah, most people go to the Australian Open to watch the tennis greats fight it out on the court. But plenty more simply love to get a ground pass and enjoy the festival vibes at Melbourne Park. You can nab eats from food stalls run by some of Melbourne's top restaurants, catch live performances by international music acts, and drink the day away at some of the many impressive pop-up bars — from the likes of Aperol, Grey Goose, Piper-Heidsieck, Canadian Club and Peroni. Prefer to spend game day sitting in the sun sipping spritzes? Head on over to Grand Slam Oval to find Terazza Aperol, which has been decked out with a 15-metre-long bar, plush lounges and an elevated cabana experience. Plenty of striped umbrellas are also on hand for those seeking shade during long days watching the tennis. Aperitivo snacks, including meat and cheese boards, are also up for grabs here. Next door, you'll find Canadian Club's own bar space, decked out with umbrellas and a heap of table tennis tables. These tables are free to use — just make sure you get in before they're all shotgunned. In Grand Slam Oval, you'll also find the Peroni bar, featuring more brollies, plus comfy lounges and makeshift showers spraying cool mists of water. And if you're feeling a bit more glam, you can take a short walk up to the Piper-Heidsieck bar right by Rod Laver Arena for glasses of premium champagne paired with desserts from the Madeleine de Proust crew. And while you can watch matches from these spots via the big screen, Grey Goose's pop-up rooftop bar has uninterrupted views of court six — dubbed the party court by many. Here, you can order a slew of vodka-based tipples, including its signature Lemon Ace made with vodka, passionfruit syrup and sparkling lemonade — served over ice and garnished with a lemon ball and fresh mint. We also recommend you get in early to nab seats upstairs on the bar overlooking the court — you'll want to park it here all day while you watch the matches up close. These bars are all open to anyone carrying a ground pass, showing how you don't need to fork out the big bucks on AO Reserve tickets — which give you access to the most premium drinking and dining experiences — to enjoy a day out at the tennis. Leave that for corporate folks entertaining in the boxes.
Already in 2023, the various streaming services available in Australia have delivered must-see game-to-TV adaptations like The Last of Us, blasts from the pasts multiple times over such as That '90s Show and glorious cult-comedy revivals with Party Down. From there, the list goes on. But if you've read Trent Dalton's Boy Swallows Universe, the Netflix series based on it is likely at the top of your must-see list — and it'll hit before the year is out. The streaming platform hasn't revealed exactly when Boy Swallows Universe will arrive, but it is locked in for a 2023 release. Also, it just finished production in Brisbane. Smartly, the Brissie-set tale has been filmed in the Sunshine State capital for its jump to TV — after it also became one of 2021's stage hits in Brisbane, too. Boy Swallows Universe spins a story about a young boy, his prophetic brother and his jailbreaking best friend as they navigate the heroin-filled underworld of 80s Queensland. Netflix's adaptation was first announced in 2022, and will span eight episodes, running as a self-contained limited series. Travis Fimmel (Black Snow) stars as Lyle Orlik, while the cast also includes Simon Baker (Blaze) as Robert Bell and Phoebe Tonkin (Bloom) as Frances Bell — plus Felix Cameron (Penguin Bloom) as Eli Bell and Lee Tiger Halley (The Heights) as Gus Bell. Also set to feature: Bryan Brown (Hungry Ghosts) as Slim Halliday, Anthony LaPaglia (Nitram) as Tytus Broz, and Sophie Wilde (Eden) as Caitlyn Spies, plus Christopher James Baker (Ozark) as Ivan Kroll, HaiHa Le (Back to the Rafters) as Bich Dang and Deborah Mailman (Total Control) as Poppy Birkbeck. And, you'll see Ben O'Toole (Barons) as Teddy, Zachary Wan (Never Too Late) as Darren Dang, and Millie Donaldson and Eloise Rothfield as Shelley Huffman (aged 17 and 13, respectively). For the second time since shooting began, the streaming service has also dropped a heap of behind-the-scenes photos, if you're keen for a sneak peek before a trailer drops. Boy Swallows Universe is directed by Bharat Nalluri (The Man Who Invented Christmas), Jocelyn Moorhouse (The Dressmaker) and Kim Mordaunt (The Rocket), and scripted by screenwriter John Collee (Master and Commander, Happy Feet, Hotel Mumbai). The impressive names involved extend to the show's executive producers, too, which include Troy Lum (The Water Diviner, Saving Mr Banks, Mao's Last Dancer), Andrew Mason (The Matrix, The Water Diviner), Sophie Gardiner (Howard's End, Chimerica), Kerry Roberts (Foe, Boy Erased), and Aussie actor and filmmaker Joel Edgerton (The Stranger, The Underground Railroad). On the page, Boy Swallows Universe has snagged a slew of local awards, including Book of the Year, Literary Book of the Year and Audio Book of the Year at the 2019 Australian Book Industry Awards. The novel, which has sold a hefty amount of copies in Australia alone — 160,000 in 2019, when the play was announced — was also longlisted for Australia's most prestigious literature prize, the Miles Franklin Award. And, while bringing Boy Swallows Universe to the screen has been in the works for some time — with Harper Collins selling the television rights to the novel back in 2019, and Edgerton set to produce the show since then — if you've been waiting to actually lock your eyes on a Boy Swallows Universe series, 2023 is your year. Boy Swallows Universe will hit Netflix sometime in 2023. We'll update you with an exact release date when it's announced. Images: Netflix.
Adapting The Narrow Road to the Deep North was always going to require a dream cast and crew. More than that, any attempt to bring Richard Flanagan's acclaimed 2013 novel to the screen was always set to demand a roster of creatives dedicated to doing the book justice, and to honouring the very real history that the work of fiction draws upon. The author didn't spin a true tale on his pages; however, much is shared with reality. Flanagan's text is steeped in the experience of Australian POWs during World War II, specifically those forced to work on the Burma Railway by the Japanese military. IRL, his own father was one of them. A cream-of-the-crop lineup is the aim for every screen project, of course, whether it's destined to grace cinemas or television. Streaming via Prime Video from Friday, April 18, 2025, The Narrow Road to the Deep North's talents should make other TV shows envious, Australian and international alike. For the first time in his career, filmmaker Justin Kurzel plies his skills on the small screen. For the five-part miniseries, he adapts a Booker Prize-winning novel again, as he did with True History of the Kelly Gang. Kurzel collaborates with screenwriter Shaun Grant once more, and unpacks complicated Aussie history again in the process as well, as the pair previously navigated with their take on Ned Kelly, plus Snowtown beforehand and Nitram afterwards. Standing before the lens for the duo: Jacob Elordi (Oh, Canada) on a rare return Down Under, Odessa Young (My First Film) falling into the same category, plus everyone from Irish great and Belfast Oscar-nominee Ciarán Hinds, as well as Japan's Shô Kasamatsu (Tokyo Vice), through to the Aussie likes of Olivia DeJonge (Elvis), Thomas Weatherall (Heartbreak High), Simon Baker (Boy Swallows Universe), Heather Mitchell (Love Me) and Essie Davis (One Day). In one of only five Australian texts to ever claim the prestigious literary award — Thomas Keneally's Schindler's Ark, DBC Pierre's Vernon God Little, and Peter Carey's aforementioned True History of the Kelly Gang and Oscar and Lucinda are the others — Flanagan charts the path of Dorrigo Evans. Before the Second World War, he has a future in medicine calling. Afterwards, he carves out a career as a respected surgeon. The Narrow Road to the Deep North jumps between the two, as well as his ordeal while being held captive as a prisoner of war. Elordi plays the younger Dorrigo in the series' 40s-era sequences. Hinds steps into the character's shoes in its 80s-set segments. The Narrow Road to the Deep North is a character study, as well as an exploration of multiple sides of war. It delves into culture clashes, interrogates heroism and steadfastly stresses the importance of remembering horrors gone by so that they aren't repeated. It's as much a love story, and a portrait of a long-lasting marriage, though — and yet those two aren't quite one and the same. As a young man, Dorrigo's future is also tied to Ella (DeJonge), whose family have ties back to drafting the Australian constitution. Decades later (played by Mitchell), she remains by his side. But before shipping out, before his medical prowess is needed in Syria, before being transported like cattle through Thailand to the jungle and before the compulsory strenuous labour that will claim the life of some of his friends, Dorrigo spends a summer embarking upon a secret affair with Amy Mulvaney (Young), the wife of his uncle Keith (Baker). It's this romance that he thinks of as he endures war's cruelties, and that also stays with him long afterwards. Casting Elordi and Young as the youthful Dorrigo and Amy are the best choices that The Narrow Road to the Deep North's guiding forces could've made for the two roles. For both actors, it also brought them home. Since 2018's Swinging Safari marked Elordi's first film, he's largely been busy overseas, meaning that Australian projects have been rarities his your resume. With Young, since The Daughter and Looking for Grace each made a splash in 2015, the same has also proven true. On the path from there to The Narrow Road to the Deep North, the pair have amassed an array of credits: The Kissing Booth trilogy, The Mortuary Collection, Deep Water, The Sweet East, Saltburn and Priscilla among them for Elordi; Sweet Virginia, A Million Little Pieces, Shirley, The Stand, Mothering Sunday, The Staircase (with DeJonge), Manodrome and more for Young. They also each have Sam Levinson projects to their name; as the world knows, Elordi is one of Euphoria's stars, while Young led the film Assassination Nation. "There couldn't be a better opportunity to come home," Elordi tells Concrete Playground about The Narrow Road to the Deep North. In fact, he responded so strongly to Flanagan's novel when Kurzel sent it his way that he started advising his family that the book was the key to understanding him, a statement that "I kind of regret saying", he also notes now. The Macbeth and Assassin's Creed filmmaker's involvement was crucial for him, too, as "an enormous fan of his work for my whole conscious movie life". [caption id="attachment_1000037" align="alignnone" width="1920"] Graham Denholm/Getty Images for Prime Video[/caption] That's similarly the case for Young, who reteams with Kurzel for the second time in two years, after featuring alongside Jude Law (Skeleton Crew) and Nicholas Hoult (Nosferatu) in the director's excellent 2024 crime-thriller The Order. "I would do anything that he asked me to do. I would love to work with him for the rest of my life, because I believe that he makes me a better performer," she shares. In our chat with Elordi and Young, we also dug into why Elordi felt such a powerful connection to The Narrow Road to the Deep North, and how infrequent that reaction is for him; Kurzel's penchant for difficult stories; and how Elordi and Young built chemistry together, as characters that Flanagan has compared to stars exploding in galaxies in real time. Covered as well: Elordi and his co-stars' commitment to authenticity in the POW scenes, and the sense of responsibility to the real-life men who worked on the Burma Railway that came with it — and what the two make of their respective journeys from starting out at home to overseas success, then coming back for a series they're clearly both proud of. On Why The Narrow Road to the Deep North Was the Right Project to Bring Both Elordi and Young Home After Their International Successes Jacob: "For me, it was Justin Kurzel. I've been an enormous fan of his work for my whole conscious movie life. So it was just the opportunity to be able to work with him." Odessa: "Yeah, me too. Sorry to copy." Jacob: "No, no, no. But of course, then you double down when it's Richard Flanagan's text. It's just there couldn't be a better opportunity to come home and try to make some cinema." On Elordi's Strong Reaction to the Novel, So Much So That He Told Family Members That the Book Was the Key to Understanding Him Jacob: "I kind of regret saying that now, because if you read the book, like it doesn't remind me of myself at all." Odessa: "You've changed." Jacob: "I think there's so many parts, there so many bits of him that are so inherently Australian, that it reminded me so much of a lot of the men in my life and the people that I know, and things like that. But it is a rare thing — but I feel like those things always happen for a reason. The right thing does find you at the right time, and you read it at a moment in time when it speaks to you. And that's always such a great treat." On Young Working with Justin Kurzel on Two Projects in a Row, with The Narrow Road to the Deep North Following The Order Odessa: "I think sometimes you just meet directors who make you a better actor, and he's one of them. I feel like I got a really lovely introduction to him working on The Order, because for me it was a low-pressure environment. I kind of got to be a bit of the relief from the very, very difficult story. He likes difficult stories, does Justin. And it was lovely. We just got to know each other under really low-pressure circumstances. And I just really, really love the way he works. It feels very natural to me. I would do anything that he asked me to do. I would love to work with him for the rest of my life, because I believe that he makes me a better performer." On the Importance of the Series Being Many Things, Including a Love Story, a Character Study, a Look at Multiple Sides of War, an Interrogation of Heroism and a Reminder Not to Forget Past Horrors Jacob: "I think that's what makes for great cinema, is all of those human elements and the minutiae in those moments. I think all of them compounded, especially in a piece about memory — it is what cinema is about. It's a whole life compressed and contained and examined and looked at and explored. And I think having them all is what makes it such a complete piece." On Building the Type of Chemistry That Author Richard Flanagan Compared to Stars Exploding in Galaxies in Real Time Odessa: "I think we just both probably sensed in each other quite early on in the rehearsal process that we were both ready to just put it all there. And, I don't know, we were just going to take it seriously. We're going to give as much as we could. Sorry, I'm using like sports terminology. Leave it all on the field." Jacob: "Full credit to the other side." Odessa: "Yeah, everyone was a great player today. No, but I think we got very lucky. I think we have just a natural understanding and trust in each other. You never know if that's going to work out that way, but it did." Jacob: "Yeah." Odessa: "And I think that for me — I won't speak for you, but I do sense this in you — there's no point in doing it if you're not doing it fully." Jacob: "Yeah." Odessa: "And I think we're both that kind of actor." Jacob: "Which is really just — it's either casting from Justin or just some profound luck." On Committing to Authenticity in the Series' Prisoner-of-War Scenes, and the Sense of Responsibility to the Real-Life Men Who Went Through It That Comes with It Jacob: "It would probably be the most-important thing. We're talking about real men, and we're talking about Richard Flanagan, the writer's, father — and Shaun Grant's grandfather. These are real people and the history, it's still there. And the trauma of it lives on generationally. So it's not about entertainment. It's not about shooting guns and making some great spectacle. It's about telling the truth and immortalising something as best that you can." On What Elordi and Young Make of the Journeys That They've Each Taken Since Their Early Australian Breakthrough Roles Odessa: "It's hard to characterise it. I think it's actually helpful not to think about it, and not to try to maybe intellectualise — at least for me — why I've chosen the things that I have. I think so much of the course of a career happens on instinct, and some of it's also dumb luck. But I feel incredibly proud and incredibly lucky, and I guess I haven't done so bad if I'm here celebrating this." Jacob: "It's an immense amount of luck — and I would say probably shared with a deep love for movies. And if you love movies and you love cinema, it's not so deliberate but you seek out the things that hopefully move you and mean something to you in that moment." The Narrow Road to the Deep North will stream via Prime Video from Friday, April 18, 2025. Images: Prime Video.
Located on Bourke Street, Bottega is one of your best Italian options if you're roaming around the CBD. The soft leather seatings and comfortable vibe make it perfect for a romantic dinner or a few lunchtime drinks. Their three course lunch and pre-theatre special is a steal at just $55 per person. Sharing options include freshly shucked oysters and slow cooked pork and ham croquettes, while standout mains include house-made pappardelle with goat ragu; pan-seared snapper with zucchini flowers, roast truss tomato, prawns and aioli; and porcini and ricotta cannelloni with parmigiano reggiano, braised radicchio treviso and smoked mozzarella.
50 years might have passed, but you're still going to need a bigger boat if you're sitting down to watch Steven Spielberg's classic film JAWS. Actually, maybe a boat's a bad idea, what with all the killer sharks in the water, how about watching it on the beach? That's the thinking behind this exclusive beachside screening, The Baths x Brooksy Films Presents JAWS. Where better to watch the genre-defining thriller that made a whole generation scared to go in the water than metres from the waves? At least the sharks can't reach you there. Probably. If you've been living under a rock these last 50 years, or have somehow never heard of the first killer shark flick: JAWS is based on the 1974 novel of the same name, which tells the story of Amity Island, a coastal town beset by a series of attacks from a killer great white shark — forcing the local sherrif, a marine biologist and a grizzled shark hunter to set sail in the infamously small boat to catch and kill the animal before it can strike again. [embed]https://www.youtube.com/watch?v=U1fu_sA7XhE[/embed] Taking over The Baths Middle Brighton's private beach for one night only — Friday, November 21 — it's the perfect way to watch (or rewatch) the film in celebration of 50 years since its original release, and no matter how immersed the setting makes you, you'll be far, far away from Amity. Your $25 ticket guarantees you a spot, but it's BYO bean bag, picnic rug or blanket to save you from sitting on just the sand. Alcohol is strictly prohibited, as is entering the water. If you're a BBHC member, you can inquire about gold class tickets to the deck Downstairs at The Baths. [caption id="attachment_1043968" align="aligncenter" width="1920"] Supplied[/caption] The Baths x Brooksy Films Presents 'JAWS' - Cinema on the Beach will take place on Friday, November 21. Doors open at 6.30pm and the film commences at 7.45pm. Visit the website for more information or to get tickets.
St Kilda's pubs and clubs have a long history of staging some of the best local and international gigs. Yet since its debut edition at the start of 2025, the Palace Foreshore has become a thriving outdoor live music venue. Seasonal in nature, this openair destination turns up the tunes from February to March, with the first instalment featuring the likes of Honey Dijon, Fontaines D.C. and Denzel Curry. Now the seaside precinct is back for round two, having just announced a stellar lineup of headline acts descending on St Kilda in early 2026. Securing its growing reputation as a premier summertime port of call for live music, the forthcoming season is marked by hip hop legends, pop icons, electronic superstars and trailblazing art rock acts from around the globe. First up on Thursday, February 26, is Black Country, New Road, an acclaimed British band renowned for their distinctive blend of baroque-infused chamber pop and experimental post-punk. Arriving on our shores for the first time since the release of their most recent album, Forever Howlong, expect free-wheeling crescendoes that resonate with community spirit and feel-good friendship. Next, on Friday, February 27, the Palace Foreshore hosts Droppin' Science, a deep dive into all things hip hop. Topping the bill, essential New York hip hop trio De La Soul perform on the back of a long-awaited album release, Cabin in the Sky, showcasing their credentials as one of jazz rap's most influential names. On support, independent Brooklyn-based Oddisee & Good Compny and fast-rising Aboriginal R&B artist Miss Kaninna ramp up the conscious lyrical content. You've also got MARINA to look forward to on Saturday, February 28, making her first return to Australian soil since 2011. Following the release of her new album, Princess of Power, the Welsh star will deliver a euphoric disco-lit experience, filled with electro pop anthems. Next, on Sunday, March 1, Aussie legends King Stingray continue their huge wave of national momentum, bringing their unmistakable Yolŋu surf-rock energy to Palace Foreshore for what's bound to be an explosive set. The following night on Monday, March 2, it's time for a true global icon to take the stage — the one and only Grace Jones. Back in Melbourne for the first time since 2018, this is a rare chance to experience Jones' magnetic presence and genre-bending performance. A boundary-breaker and cultural disruptor like few others, her almost unparalleled career has seen her reshape music, fashion and performance, all with incredible glamour and emotional depth. Looking ahead to Thursday, March 5, one of the UK's most original voices in The Streets brings the sound of post-industrial Britain to St Kilda. Performing his landmark album, A Grand Don't Come For Free, in its entirety for the first time on Thursday, March 5, vocalist Mike Skinner delivers raw honesty and wit in droves. Then, it's time for Pendulum on Friday, March 6, as the Perth-born drum and bass pioneers light up the stage with their electrifying live show. Returning home following sold-out dates around the globe, Australian pop sensation Peach PRC elevates the evening atmosphere with her magnetic personality on Thursday, March 12. Featuring special guests Maude, Latour and Salty, expect an explosive stage presence and mesmerising live concept. With more attention-grabbing names announced in the near future, Palace Foreshore's 2026 lineup is stacked with musical talent ripe for making the most of the sun and sea this summer. Palace Foreshow's 2026 season is taking place across various dates in February and March. Head to the website for more information.
Some voices could utter anything and make it sound interesting, and David Attenborough's is one of them. That said, that's not why the iconic British broadcaster has become such a trusted and beloved figure in the nature documentary world. His involvement in any project that roves over, probes and ponders the planet we all live on is the ultimate stamp of approval. Whether he's narrating Planet Earth, The Blue Planet, their sequels, a stampede of other series or film David Attenborough: A Life on Our Planet, his participation always means more than merely his vocal tones echoing across exceptional imagery — it means astute science-backed insights paired with a first-rate spectacle. When it initially arrived in 2022, becoming one of the year's best new shows and giving nature doco fans the five-episode series they didn't know they'd always wanted — and simultaneously couldn't believe hadn't been made until now — Prehistoric Planet followed that formula perfectly. And it is a formula. In a genre that's frequently spying the wealth of patterns at the heart of the animal realm, documentaries such as The Living Planet, State of the Planet, Frozen Planet, Our Planet, Seven Worlds, One Planet, A Perfect Planet, Green Planet and the like all build from the same basic elements. Jumping back 66 million years, capitalising upon advancements in special effects but committing to making a program just like anything that peers at the earth today was never going to feel like the easy product of a template, though. Indeed, Prehistoric Planet's first season was stunning, and its second is just as staggering. Again, Prehistoric Planet 2 streams via Apple TV+. Again, it's also dropping its five instalments over five nights, this time screening across Monday, May 22–Friday, May 26. And, each chapter again heroes a different environment and the ancient creatures that called it home. This second go-around starts with the inhabitants of earth's islands during the Cretaceous age, then moves to the badlands, primarily focusing on areas with volcanic activity. Next, hopping between continents, the show gets swampy. After that comes a dive into the oceans, followed by a journey to one particular patch of terrain: North America. The catch, in both season one and this return trip backwards: while breathtaking landscape footage brings the planet's terrain to the Prehistoric Planet series, the critters stalking, swimming, flying and tumbling across it are purely pixels. Filmmaker Jon Favreau remains among the show's executive producers, and the technology that brought his photorealistic versions of The Jungle Book and The Lion King to cinemas couldn't be more pivotal. Seeing needs to be believing while watching, because the big-screen gloss of the Jurassic Park and Jurassic World sagas, the puppets of 90s sitcom Dinosaurs, and the animatronics of Walking with Dinosaurs — or anything in-between — were never going to suit a program with Attenborough as a guide. Accordingly, to sit down to Prehistoric Planet is to experience cognitive dissonance: viewers are well-aware that what they're seeing isn't real because the animals seen no longer exist, but it truly looks that authentic. Still set to a rousing score by acclaimed composer Hans Zimmer (now fresh from Top Gun: Maverick) with Bleeding Fingers Music's Anže Rozman and Kara Talve, Prehistoric Planet 2 also expands its focus beyond season one's creatures, aka all the regular dinos that everyone grew up knowing. Familiar beasts still walk through the series' frames, accompanied by new titbits about their lives and behaviour — feathered raptor babies prove both cute and clever, for instance — but honing in on new animals feels as revelatory as it's meant to. One such critter earns episode two's attention, with the Indian sauropod isisaurus first observed as mothers-to-be trekking through gas and avoiding lava to lay eggs in volcanic ash, then seen as hatchlings navigating the treacherous spot to return to the herd. Visually, with painterly backdrops that look otherworldly because fiery mountains always do (see also: Oscar-nominated documentary Fire of Love), the time spent with these plant-eating, long-necked dinos is as beautiful as anything the show has ever delivered. The isisaurus boasts ample company, each making their moments and episodes gleam in different ways. When the island-centric first season-two episode shows the dance-like mating ritual of the hatzegopteryx — the heaviest animal to ever fly — against pristine white sands and an ocean backdrop, it too stands out. So do the towering pterosaurs anyway with their 12-metre wingspans, of course. Also on the list: the pachycephalosaurus with their colourful dome-shaped skulls, as often seen butting against each other, and the displays of combat between clashing triceratops. Dinosaurs, they're just like people: always trying to leave an impression, claim their turf and find companionship. During the chapter dedicated to swamps, prehistoric frog beelzebufo — also known as devil toad — croaks to find love, too. As its presence demonstrates, and the hatzegopteryx as well, dinos aren't the only creatures in Prehistoric Planet's jam-packed return. The ocean instalment is especially fond of ammonites, devoting much of its running time to the molluscs' life cycle and graceful movements through the underwater deep, while mammals, bony fish, flightless seabirds, primitive ducks, million-strong swarms of flies and vegetarian crocodiles all make an appearance. Surveying a broader range of the animals calling earth home before the Cretaceous–Paleogene mass extinction event doesn't just help prolong the program and ideally open the doors for even more seasons to follow; it's an aptly thoughtful touch. Every episode may begin with Attenborough surrounded by fossils, but there's far more to prehistoric life and to scientific learnings about the period than the familiar — artefacts and critters alike. In season two, context isn't only relegated to each chapter's introduction. Moving season one's post-show forays into the facts behind the imagery into the show itself, every nightly segment now ends with expert talking heads — from Prehistoric Planet's consultants, London's Natural History Museum and beyond — chatting through the data and discoveries backing up everything viewers have just seen. That too is an intelligent move, because the longer anyone watches this series, takes in its Attenborough-voiced insights and becomes immersed in life oh-so-far back, the more they want to learn. Move over Jurassic Park — this is the best dino franchise now. Check out the trailer for Prehistoric Planet's second season below: Prehistoric Planet season two premieres via Apple TV+ across Monday, May 22–Friday, May 26, with a new episode available to stream each day. Read our full review of Prehistoric Planet season one, and read our interview with executive producer Mike Gunton and series producer Tim Walker about season two.
If there is one thing we can learn from the social network juggernaut that was Kony2012, it is that the pervasive power of Facebook provides internet activists or hacktivists with a unique capacity to transform public consciousness on a truly global scale. As such, a number of environmental activists are not only taking to the streets but taking to Facebook in an attempt to raise awareness about the pressing environmental issues that face society today. Here are six innovative groups and apps that have taken the fight for a greener future into the world of Facebook. Tree-Nation Tree-Nation is one of numerous Facebook groups committed to fighting deforestation and desertification through replanting trees. For every ten people who join the Tree-Nation Facebook page, the organisation will plant one tree. Even more ambitiously, Facebook group iChapter has promised to plant one tree for every new member, with the aim to eventually plant a total of 100,000 trees. For the more Facebook savvy of you, the Earthkeepers have created an app that allows users to plant a virtual tree, tend to it and share it with friends, with every fully matured virtual tree resulting in Earthkeepers planting a tree in the real world. Make Me Sustainable Make Me Sustainable allows users to measure their impact on the environment by tracking energy consumption and carbon footprint, allowing you to see how an action as simple as changing a light bulb can reduce your environmental impact. While there is a great range of software available for individuals and businesses that help in reducing your environmental footprint, Make Me Sustainable is unique as it provides a forum for sharing information and strategies for sustainable living and a virtual space to network with other environmentally-minded individuals on a national and even international scale. A Climate for Change Not simply a Facebook application, A Climate for Change is in fact a whole new social network built around the goal of tackling the issue of climate change. Users create profiles where they share anything and everything they have to say about global warming from rants about the Carbon Tax to interesting articles and videos about the effects of our warming planet. The We Campaign As the name suggests, The We Campaign hopes to shift our focus from what 'I' can do to make a difference but what 'we' as a global community, connected through our shared desires and the power of Facebook, can do together to protect and preserve the environment. The We Campaign app awards points to users for taking certain environmental actions, with donors giving $1 to fight global warming for every 10 points earnt. Trees Have Rights Too In the age of social networking environmental activists no longer have to chain themselves to giant oaks in order to fight for their right to exist. Trees Have Rights Too not only functions as an awareness group, describing how every Christmas season 6 million trees are killed and then disposed of, but also as a particularly vocal advocacy group for the rights of trees everywhere. The group is currently aiming to petition the United Nations to create a Bill of Planetary Rights that places guidelines and regulations on government deforestation. (Lil) Green Patch The now defunct Facebook app, (Lil) Green Patch was once the most used application on Facebook and well-and-truly silenced the doubters who believed that social media couldn't be used to create meaningful environmental change. The app allowed users to tend to a virtual garden, adding little munchkin-like people, plants and flowers and in the process users would raise money for "Nature Conservancy" to save the rainforest. According to one count (Lil) Green Patch raised more than $200,000 for Nature Conservancy over two years, which represented the conservation of rainforests across the globe with an area of 70 million square feet of Costa Rican saved in the first six months alone. (Lil) Green Patch is now the benchmark for every new environmentally-minded Facebook app.
He's going to Newport: Johnny Cash, that is. Twice in A Complete Unknown, the iconic singer-songwriter graces the lineup at the famous folk festival in Rhode Island in the 60s. Twice in the Bob Dylan biopic, he crosses paths with the film's subject at the event. The details depicted are in the service of Dylan's story — while James Mangold is in the director's chair, he's not remaking Walk the Line — but these wouldn't be the moments that they are, and nor would A Complete Unknown be the movie that it is, without Boyd Holbrook (The Bikeriders) as Cash opposite Timothée Chalamet's (Dune: Part Two) Dylan. The term "goes electric" will always be synonymous with Dylan at 1965's Newport Folk Festival, where he dared to play an electric guitar in one of his sets — and the response as much as the act ensured that it went down in history. Cash helped him get there, not only by picking up the same type of instrument at the same place the year before, but through his pen-pal friendship with and encouragement of Dylan. The eight-time Oscar-nominated picture makes clear how much that Cash's words, and the effort of him taking time to commit them to paper, meant to Dylan. It goes electric, too, when Chalamet and Holbrook share scenes. A Complete Unknown is a movie with Chalamet as Dylan, Monica Barbaro (Fubar) as Joan Baez, Edward Norton (Asteroid City) as Pete Seeger and Scoot McNairy (Speak No Evil) as Woody Guthrie. So, it's a flick filled with impressive actors portraying music greats. Given that this a film by Walk the Line director Mangold, however, it's also a picture that gives Holbrook a completely different job to his co-stars, since he's portraying Cash. What happens when the filmmaker behind an Academy Award-winning Man in Black biopic asks you to be the next actor to slip into the legend's shoes? Holbrook had been keen on a different role in the feature, he tells Concrete Playground, at a time when Cash wasn't even in the script — then found himself with a "daunting task". Still, for anyone who has charted Holbrook's career since his 2008 big-screen debut in Milk — a span that's taken him through Behind the Candelabra, The Skeleton Twins, Gone Girl, Jane Got a Gun, The Predator, Narcos and The Sandman, just to name a few projects — it should come as no surprise that he feels like he's been preparing for this part for more than a decade. It helped that he'd made two previous films with Mangold, Logan (which uses a Cash song over its closing credits and in its trailer) and Indiana Jones and the Dial of Destiny. In fact, he sees his relationship with the filmmaker as similar to Dylan and Cash's, but with Mangold as the mentor and Holbrook the protégé. And, it equally assists that he'd also perfected swagger on-screen, which can be an elusive trait, including in his two prior roles in The Bikeriders and Justified: City Primeval. Yes, his A Complete Unknown performance meant facing "the Joaquin element", Holbrook explains — with Joaquin Phoenix (Joker: Folie á Deux) Oscar- and BAFTA-nominated, and the winner of a Golden Globe, for playing Cash two decades back for Mangold. But he also knew that the filmmaker, who worked with fellow screenwriter Jay Cocks (Silence) to adapt Elijah Wald's 2015 book Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties, had a fresh angle into Cash here. As Mangold himself also told us about the pair's relationship as pen pals, "this correspondence suddenly became central to me, because as I was trying to assemble — as much as I was trying to tell Dylan's story, he is a bit inscrutable, and I felt like you could learn more by also telling the story of those that surrounded Dylan, and the way his genius affected each of them differently". "And what was so necessary about bringing Johnny into the story was that he's the devil on that shoulder. If you have Pete and Lomax and Joan Baez all on this shoulder saying 'stick with the team; don't cross over to that dangerous, suspicious popular music', you had Johnny Cash on the other shoulder who was saying 'track mud on someone's carpet'," Mangold continued. "Which was literally one of Johnny's lines in his letters to Bob. And that he made it his business to encourage Dylan to stay bold and to stay on the leading edge, was so wonderful to me." For Holbrook, taking on the part meant exaggerating his music skills to Mangold to begin with; however, the quest to make good on that promise became a key part of his preparation process. We also chatted with Holbrook about his repeat collaborations with Mangold, perfecting swagger on-screen, drunk acting as Cash in one of the movie's standout scenes, and what excites him about working on a new movie or TV show — next he'll pop up in season four of The Morning Show — at this stage of his filmography. On Having a Cash-and-Dylan Relationship with Director James Mangold After Logan, Indiana Jones and the Dial of Destiny and Now A Complete Unknown "I don't think I would have gone anywhere near the Johnny Cash character unless it was Jim making the movie. And it was odd, because I'd read the script before we did Indiana Jones together, and I was angling at a part that I was probably too young for, but the Johnny Cash role wasn't even in there yet at the time. And so we went off and did Indiana Jones, and then I got a call, like maybe six months before we made it. And he said 'hey, I want you to play Johnny Cash'. And I said 'how's that possible? He's not in the script'. And so he had added him because he didn't know that when he made Walk the Line that him and Bob Dylan were these pen pals. And so by his research into Bob, he found out this because Bob had kept the letters and Johnny hadn't kept the letters. So he really just let me go off and do what I had to do, which is conjure up a character and an impression in the daunting task of playing Johnny Cash. Jim really gives you a lot of space. And the great thing about when you get to work with Jim, on the day, if you come in prepared, he enhances your performance in a very cinematic way." On Exaggerating His Music Skills Going Into the Film — and How Learning to Make Good on That Promise Helped Holbrook Step Into Cash's Shoes "I knew at the end of the day that they could shoot from here up [Holbrook motions to his mid-chest] and we could get by. But it feels like I've been preparing for the last 15 or ten years to play this part. Because I played guitar. I couldn't count music. I couldn't hold a tune. I couldn't play and sing at the same time. But there is this awesome opportunity where if I just eat, breathe and sleep this character, I can pull it off. And I think there's something really exciting about that amount of pressure, being a performer — I want to have a performance and I want to build this thing. So it almost bottlenecks down into the day of this, like 'well, you're going to sink, or you're going to swim'. And I think that's pretty exciting. So yeah, I think the week of it all started like 'okay, I can do it at the tempo' — and it wasn't just hanging on. I was able to control the song and control the voice, control the pacing." On Bringing Swagger to the Screen — as Johnny Cash, and Across Holbrook's Career "Film acting is really different from theatre acting, and there's also the practical of being relaxed enough that, you know, there's this 800-pound gorilla being the camera staring at me at all times. Like, how do I just relax and embody this? And really it's from a bunch of stuff of the art of not giving a fuck — being really adamant that 'this is who I am, take it or leave it'. And having a sense of humour about yourself. And doing all this so many times that it's just become existence. I'm not even thinking about it anymore. I'm sort of lost in what I'm doing. It comes down to that. It comes down to a lot of rehearsals, a lot of preparation. I almost prefer the preparation to making a movie than making the movie." On What Went Into Capturing Not Just the Essence of Cash, But the Essence of Drunk Cash "It was from one line in particular, 'I saw the ocean', that I just knew how. I just knew where he was in a daydream. You catch yourself doing laundry or whatever around the house and you are just in a dream, and you kind of see the performance, or I do — and you just understand it. So now it's a real idea. Then it just takes the physicalisation of staying on a word and just finding it, or whatever it is. The super subtlety of that is difficult to verbalise, but comes down to playing around with it. I definitely wouldn't recommend going method on a long work day like that." On Whether the Unique Task of Playing an IRL Figure for a Filmmaker Who Has Already Made a Separate Movie About Him Helped Holbrook Prepare "I was concerned that I had to portray someone who was an iconic person and so people, so many people, have strong memories of him and who he is. Then there's the Joaquin element, facing his great performance and following that up. But I think that Jim and I made the film, and he really understood the importance of Johnny's role in Bob's life at that time, because Johnny had been so — he's doing 200 shows a year on the road. I mean, you are a road dog. You have so much experience in this. And when you're becoming the most-famous person in the world within a year's time, Johnny was able to meet him at that fork in a road where 'hey, it's going to get weird if you don't keep your voice' or 'it's going to be okay if you just stay true to who you are'. And I think in commerce and industries and stuff like that, when a lot of money is on the table, your voice can be compromised — and I think it's really all about that moment in the film where Bob is choosing what his voice is telling him, what he wants to say, how he wants to express himself. And that's going electric in that particular time, because he's just skyrocketing with creativity. And so I think Johnny was able to nudge him in the right direction, remind him who he is." On What Excites Holbrook About a New Project, Including A Complete Unknown, at This Stage in His Career "The performance element. I never really have never sang in front of a bunch of people before. There is a sensation that goes along with that that's exciting. I just did The Morning Show and I found out that the guy was a stand-up comic. I don't know how funny I am, but I like to be funny. I like to practice being funny. But I'd never been onstage and done a set in of people. So that's exciting. That's like 'wow', that's slightly — not terrifying at all, but I want to know what that feels like and to do that. And I think there's all an art and a craft to how the instrument of our humanness can be used. So I just love seeing which way I can bend and which way I can go — and how different I can sound, how different I can look? 'What is this character? What is this character going to go through? At what level? Is it kind of like he's going through like a number-two heartbreak?' But no, I want a number ten on everything. And so I really look for that highest value of expression." A Complete Unknown released in cinemas Down Under on Thursday, January 23, 2025. Images: courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
This summer, the National Gallery of Australia comes to life with a major exhibition on two greats of the modern art movement. Matisse & Picasso presents an Australian-first gathering of the iconic works of Henri Matisse and Pablo Picasso, with the pair's intense friendship and rivalry considered a defining factor behind contemporary art's development during the 20th century. The pair first met in 1906 when Picasso was essentially unknown to the art world, but Matisse was already considered one of the avant-garde's most prominent artists. Staying close throughout their lifetimes, they looked to each other's work, responding and challenging their peer to stay on the cutting-edge. As Picasso explained to one of his biographers Pierre Daix, "No one has ever looked at Matisse's painting more carefully than I; and no one has looked at mine more carefully than he." Running until April 13, 2020, Matisse & Picasso showcases more than 200 paintings, sculptures, prints and costumes. Across many of their most famous works, Matisse & Picasso makes the artists' intrinsic connection clear. The exhibition has been designed so instead of walking from start to finish, you'll be wandering back and forth between the artworks as the similarities emerge. To give you a head start before your visit to the NGA, we've picked out six artworks that you can't miss at Matisse & Picasso. [caption id="attachment_756083" align="alignnone" width="1920"] 'Woman by the Sea', Pablo Picasso (1922). Bequest of Putnam Dana McMillan, Minneapolis Institute of Art. Copyright Succession Picasso/Copyright Agency.[/caption] PABLO PICASSO: WOMAN BY THE SEA (1922) Following the First World War, both Picasso and Matisse demonstrated a deep fascination with classical Greek art and stories. A distinct departure from the Cubist aesthetic that he's best known for, 'Woman by the Sea' is one of many paintings with dreamy human figures set against plain landscapes that Picasso would go on to produce. Taking inspiration from the ancient statue known as Venus de Milo and a sculpture of the Greek goddess Hera that he saw in Naples, for this work, Picasso translates the relaxed posture and flowing dress of the marble structure into a two-dimensional format. [caption id="attachment_756086" align="alignnone" width="1920"] 'Woman by a Window', Henry Matisse (1920–22). Gift of Ferdinand Howald, Columbus Museum of Arts, Columbus. Copyright Succession H Matisse/Copyright Agnecy.[/caption] HENRI MATISSE: WOMAN BY A WINDOW (c. 1920-22) As you look over the art of Matisse, one of the most common motifs that repeatedly appears is his use of open windows. Following the end of the war, a despondent Matisse retreated to southern France where he found inspiration within the soft colour palette and charming interiors of the region. Turning his hotel rooms into art studios, these intimate quarters provided him with a new creative drive that became emblematic of his art. "[Matisse] was inspired by the southern light and painted a series of light-filled hotel rooms facing the sea," explains NGA's Curator of International Painting & Sculpture Simeran Maxwell. "When Picasso paid homage to Matisse after his death, he used this distinctive device in his own paintings." [caption id="attachment_756092" align="alignnone" width="1920"] 'Reading', Pablo Picasso (1932). Musée Picasso, Paris. Copyright Succession Picasso/Copyright Agency. Photo: RMN Grand Palais[/caption] PABLO PICASSO: READING (1932) Throughout Matisse and Picasso's lengthy careers, the various women in their lives often became the subjects of their artworks. Reading features one of Picasso's most adored muses, Marie-Thérèse Walter, whose face and figure was interpreted in a variety of ways through dozens of paintings and sculptures. Reading also demonstrates a significant change in artistic direction for the Spanish artist, showcasing his newfound interest in bold colours and patterning — a style that Matisse had been using to great effect within his artwork. [caption id="attachment_756096" align="alignnone" width="1920"] 'Seated odalisque', Henry Marisse (1926). Gift of Adele R Levy Fund Inc 1962, The Metropolitan Museum of Arts, New York. Copyright Succession H Matisse/Copyright Agency.[/caption] HENRI MATISSE: SEATED ODALISQUE (1926) Following trips to Morocco in 1912 and 1913, Matisse became fascinated by the bright clothing, distinct architecture and the daily life of the locals, which was so foreign to him having only experienced life in France. One way that the North African experience influenced his artwork was the inclusion of models dressed as odalisques — members of harems — alongside vibrant textiles that he had collected during his visit. For this work, Matisse "uses an appliquéd wall hanging as a backdrop for model Henriette Darricarrère dressed in Moroccan pantaloons and a sheer blouse," explains Maxmwell. [caption id="attachment_756102" align="alignnone" width="1920"] 'The studio', Pablo Picasso (1955). Presented by Gustav and Elly Kahnweiler 1974. Accessioned 1994, Tate. Copyright Succession Picasso/Copyright Agency.[/caption] PABLO PICASSO: THE STUDIO (1955) Over two weeks in 1955, Picasso painted 11 canvases of the studio in his Cannes villa known as La Californie. While the idea of the artist within the studio was something that Picasso explored many times during his career, this series stands out as the structure of the building is the central focus of the work. With the studio one of the subjects that often appeared in Matisse's work, it's been suggested that Picasso created this series in direct response to his contemporary's death the previous year. As Maxwell describes it, "One of Matisse's longstanding subjects was an interior scene with a view through a window. Here Picasso adopts this idea, as homage to his late rival." [caption id="attachment_756101" align="alignnone" width="1920"] 'Annelies', Henri Matisse. Purchased 1981, National Gallery of Australia. Copyright Succession H Matisse/Copyright Agency.[/caption] HENRI MATISSE: ANNELIES (1946) Matisse was best known for his colourful paintings and sculptures. But he often expressed the belief that drawing was the most intimate way to translate a subject onto the page. In 1946, he met Dutch model and artist Annelies Nelck, who would spend six years living with Matisse and posing for his artwork. "He would repeatedly draw the model from all possible angles with a deliberate, confident and clean series of lines," explains Maxwell. "When viewed in order, it would appear as if Matisse had been circling his model as he worked." Matisse described this process of repetitive and intensive creative process as "a cinema film of a series of visions". Matisse & Picasso is on display at the National Gallery of Australia, Canberra until April 13, 2020. Tickets and exhibition information are available on the NGA website. Top images: Installation view of Matisse & Picasso, National Gallery of Australia, Canberra, © Succession Picasso/Copyright Agency 2019, © Succession H. Matisse/Copyright Agency 2019.
Following four sell-out events across Sydney and Melbourne, which featured MasterChef Australia champ Adam Liaw, Adelaide's Africola chef Duncan Welgemoed, dumpling master from Lotus Dining Group Chris Yan and Melbourne's very own Paul Turner behind Chapel Street's Lover, Red Rock Deli is putting together its final secret supper. And, this time it's bringing one of Melbourne's most renowned chefs to host an exclusive dinner for some very lucky Melburnians. Giorgio Distefano, the chef behind Cremorne's celebrated Ms. Frankie, is hosting the next mouth-watering feast, which will is inspired by Red Rock Deli's new Chilli, Roast Garlic and Lemon Oil Deluxe Crisp flavour. All the details are very much under-wraps, including what he'll be cooking up. But, despite everything being very hush-hush, here's what we can reveal: Distefano will be cooking up a storm on Thursday, October 17 and his dinner will feature plenty of chilli, garlic and lemon. Plus, the theme for the event is 'Sensorial Savoury' — so expect a menu packed full of flavour. Even better? You'll be treated to matching wines throughout the feast, too. We can also tell you that this experience will involve more than just the dishes — after arriving at the collection point in Melbourne's CBD, you'll be whisked away to a mystery location where you can expect everything from the decor to the food to elevate your senses — although the menu will remain a secret until you arrive. There are two sessions of this lavish dinner, with room for just 20 guests at each. Tickets to Giorgio Distefano's secret supper cost $110 per person. Enter the ballot below to be given the chance to purchase tickets. The lucky winners will receive a secret link to buy tickets to the evening on Monday, October 7. Please note, the Secret Supper menu will not cater to ANY dietary requirements or allergies. There are strictly no changes to the menu. [competition]741921[/competition] Image: Parker Blain.
You know that feeling after you've just had a haircut and you're feelin' slick, stylish and on top of the world? Well, Razor Smiths has just the thing to help release some of the energy and newfound confidence: a pinball machine. If that's not enough of a reason to visit this old-school barbershop on Smith Street for your grooming needs, then the whisky cart and expertise of the barbers should seal the deal. Razor Smiths' signature service is the traditional razor blade shave ($55), which, of course, will include hot towels and a mini facial. If you want to combine it with a chop off the top, you can get The Full Works — a style or clipper cut and shave — for $89.
Trumpy is a surprise. And everyone loves surprises. In fact, the only indication there's a bar behind the heavy wooden doors on High Street is the unmistakable beacon that is the brightly lit Cooper's sign hanging overhead. Judging by the inconspicuous entrance of this large brick warehouse you'd expect a loud, cavernous space to lie beyond, but instead you'll find an inviting bar with a warm interior and sophisticated neighbourhood vibe. This is a bar that will serve you equally well whether you're having dinner with a friend, cocktails with a group, or a first date wine. It's cosy, warm and intimate (hence the date suitability), despite the warehouse factor with lofty ceilings and exposed beams. I was, however, left wondering how they might water the plants, sitting by the dozen up in the pitch of the roof. Trumpy is a purveyor of beer, wine, cocktails and tapas — with the odd live gig or DJ set thrown in for good measure. The food is modest in selection, but confident in execution. Pea, zucchini and mint arancini with orange yoghurt ($12), 'fancy' fish fingers with hand cut chips ($19) and prawns with spring bean salad ($16) are great for sharing, and the perfect complement to the drinks list — one that features cocktail jugs, no less. The Pimms Cup ($35) has summer written all over it, whereas the Fish House Punch ($40) should come with a warning instead. If it's not that kind of occasion, perhaps a specialty brew such as The Hills Cider Company cloudy apple cider would be more appropriate. While this area has been bombarded with great bars recently, Trumpy seem to have hit the coveted sweet spot: always busy, consistently enjoyable, and perfectly located for residents of the north to make it their new go-to meeting spot. Images: Julia Sansone
Melbourne is in the middle of a big screen boom. We've already told you about the brand-new multiplexes coming to Coburg, Moonee Ponds and Footscray, but now it's time to case your movie-loving eyes to Melbourne's south east. M-City Monash is a planned residential and retail precinct set to open on the corners of Blackburn Road and Princes Highway in Clayton, a short walk from Monash University. The development will consist of four apartment towers, a 250-bed hotel, commercial offices, eateries, supermarkets and — as we learnt this week — a six-screen cinema. The theatre will be operated by Village Cinemas, and will have a combined capacity of over 1000 seats. They're also touting "a stylish bar" and "innovative food and beverage component", with one spokesperson describing "a bistro style food and drink offering with a more urban styled cinema experience geared towards millennials." In a statement, Village's Divisional CFO Chris Stanley said the new cinema would see the company "completely moving away from what is deemed a traditional cinema complex." Sounds like they're still locking down the details on this one. Still, colour us intrigued. The cinema at M-City Monash is slated to open in late 2019.
At a time when most IKEA furniture ends up deep in the Gumtree 'For Sale' ads or left on the side of the road, the Swedish retailer has come up with a pretty clever plan to give those unwanted flat-pack ensembles a second lease on life. In good news for those moving house and face with an accumulative collection of Malm blond wood pieces, IKEA has launched its furniture buy-back service at all of its Australian stores. From today, Australians will be able to bring in their retired IKEA pieces to be sold on to a new home — and score a voucher for their efforts. The program is being rolled out nationally after a year-long trial at Sydney's Tempe store which saw 1600 pieces bought back from customers. Now, you'll be able to do the same at the other two Sydney stores — in Rhodes and Marsden Park — as well as stores in Melbourne, Brisbane, Canberra, Adelaide and Perth. The initiative was initially spurred by findings from the company's latest People & Planet Positive Report, which suggested Aussies threw away up to 13.5 million pieces of furniture that could have been recycled, reused or repaired. So how does it work? If you've got some furniture you want to get out of your life, you'll need to get an estimated quote online. Then, you'll need to take it and your furniture — still fully assembled, mind you — to the nearest IKEA store. Once there, your furniture will be assessed by an IKEA staff member, and they'll decide on a value and give you a buy-back refund card to use in-store. The buy-back scheme is only for IKEA furniture, and not for other products like lighting, mattresses, textiles, kitchen components or appliances. That's because the bought-back pieces need to be in good enough condition to be sold on to other customers in the As-Is store. It does, however, have separate recycling schemes for mattresses, batteries and light bulbs. If your Malm bed frame or chest of drawers isn't in quite good enough condition for the As-Is store, you might need to consider donating it to charity or finding another way to recycle it. And if you are buying new furniture, consider buying something secondhand from the As-Is store, or at least investing in something that you plan to keep long-term. You can get a quote on your IKEA furniture here, and then you'll be able to take it to the Tempe, Marsden Park, Rhodes, Richmond, Springvale, Logan, North Lakes, Adelaide, Canberra or Perth stores to redeem a refund voucher.
Billing itself as Australia's largest continental food store, it's not difficult to while away an afternoon in this stellar Sydney Road emporium. First opening as a humble delicatessen in 1961, this northside favourite has become a go-to for foodies citywide thanks to its wide array of imported pasta (there are over 250 varieties here), oils and sauces, smallgoods, cheeses and more. A vast array of biscotti, cannoli and other sweet treats await visitors at the espresso bar, after which you might migrate to the delicatessen for some choice cuts of aged prosciutto and specialty cheese. Booze isn't forgotten either, with a dazzling array of vinos imported from Italy's finest grape growing regions. There's also a range of terracotta cooking pots and kitchen ware, so you can recreate the Italian experience as authentically as possible. Images: Julia Sansone
When someone spots a giant spider, they take notice, even when it's simply a tall metal piece of art. Seeing one of Louise Bourgeois' towering arachnids is indeed a stunning experience; however, so is watching people clock her lofty works. Her Maman sculptures demand attention. They're the type of public art that audiences just want to sit around, soak in and commune with. They're photo favourites, too, of course — and one is coming to Australia. This will be the first time that Maman has displayed Down Under, with the world-famous work heading to Sydney as part of Sydney International Art Series returns for 2023–24. As previously announced, Bourgeois is one of three hero talents scoring a blockbuster exhibition during event, alongside Wassily Kandinsky and Tacita Dean. And, the nine-metre-high, ten-metre-wide sculpture that she's best known for will be catching Aussie art lovers in its web. [caption id="attachment_914565" align="alignnone" width="1920"] Louise Bourgeois' Maman, located outside the National Gallery of Canada. Radagast via Wikimedia Commons.[/caption] That said, there won't be any physical strings of silk — but Maman is that entrancing. The sculpture hails back to 1999, and boasts its name because it's a tribute to Bourgeois' mother. The artist described her mum as "deliberate, clever, patient, soothing... and [as] useful as a spider". If you're keen to see Maman on home soil, it'll sit on the forecourt of the Art Gallery of New South Wales' South Building from Saturday, November 25, 2023–Sunday, April 28, 2024 during Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day?'s run. And if it sounds familiar, that's because you might've seen permanent installations of the bronze, steel and marble work outside the Mori Art Museum in Tokyo — or at the Tate Modern in the UK, National Gallery of Canada in Ottawa, Guggenheim Museum Bilbao in Spain, Crystal Bridges Museum of American Art in Bentonville in Arkansas or the Qatar National Convention Center in Doha. [caption id="attachment_914560" align="alignnone" width="1920"] Louise Bourgeois 'Clouds and Caverns' 1982–89, metal, wood, 274.3 x 553.7 x 182.9 cm, Collection The Easton Foundation, New York, courtesy Kunstmuseum Den Haag © The Easton Foundation, photo: Christopher Burke.[/caption] "We are proud that the subject of our first major solo exhibition in our new SANAA-designed North Building, almost one year since opening, is the great Louise Bourgeois. We are honoured to introduce this deeply influential artist to new generations, and to have the opportunity to share the strange beauty and emotional power of her art with Sydney,' said Art Gallery of New South Wales director Michael Brand. "The scale of this exhibition, which is one of the most extensive ever dedicated to an international woman artist in Australia, demonstrates our commitment to revealing the depth and complexity of the artistic careers we explore and our commitment to celebrating the work of women artists in our collection and exhibitions." "We are proud to bring Maman, the largest spider sculpture ever made by Bourgeois, to Sydney for the very first time, and to be showcasing the extraordinary breadth of the artist's practice, which includes fabric sculpture, works on paper, bronzes, works from her series of Cells, mechanised sculpture, and more." [caption id="attachment_914563" align="alignnone" width="1920"] Louise Bourgeois 'Twosome' 1991, steel, paint, electric light, 190.5 x 193 x 1244.6 cm, Collection The Easton Foundation, New York © The Easton Foundation, photo: Elad Sarig.[/caption] A collaboration with The Easton Foundation in New York, Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? will showcase more than 150 works. It's the largest survey of Bourgeois' work ever displayed in Australia — and, as Brand mentioned, one of the most comprehensive ever devoted to a female artist in the country. The Bourgeois exhibition will display 13 years after the Paris-born artist passed away in New York in 2010, and after she stamped her imprint upon the art of the 20th century. Visitors to will see her Personage sculptures from the 1940s, textile works of the 1990s and 2000s, and plenty in-between, with the showcase playing up the duelling themes and ideas in her work by taking over AGNSW's major exhibition gallery and 'the Tank'. Other highlights include The Destruction of the Father, which is among the pieces that've never been displayed in Australia before; Crouching Spider, and one of the biggest works ever to grace the Tank; Clouds and Caverns, which is rarely seen in general; and the mirrored piece Has the Day Invaded the Night, or Has the Night Invaded the Day?, which shares the exhibition's moniker. [caption id="attachment_889027" align="alignnone" width="1920"] Louise Bourgeois, The destruction of the father 1974-2017, archival polyurethane, resin, wood, fabric and red light, 237.8 x 362.3 x 248.6 cm. Glenstone Museum, Potomac, Maryland. Photo: Ron Amstutz. © The Easton Foundation.[/caption] Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? runs from Saturday, November 25, 2023–Sunday, April 28, 2024 at the Art Gallery of New South Wales, Art Gallery Road, The Domain, Sydney, with tickets on sale from Wednesday, September 6. Sydney International Art Series runs from November 2023 — head to the AGNSW and MCA websites for further details. Top image: Louise Bourgeois 'Maman' 1999, installed during the exhibition 'Louise Bourgeois: To Unravel a Torment', Museu de Arte Contemporânea de Serralves, Porto, 3 December 2020 – 20 June 2021 © The Easton Foundation, photo: Filipe Braga.
Roaring fire? Check. An expansive drinks list? Check. A proper hearty roast with a touch of modern flair, served all weekend long? You've got it. Yep, Albert Park's contemporary gastropub The Bleakhouse is a surefire crowd-pleaser. Pull up a seat in one of the cosy booths and enjoy a $30 rotating 'Proper Roast' lunch (or dinner, if it hasn't sold out) with all the trimmings all weekend long. It could be pork belly with buttery mash and spiced quince, slow-cooked lamb leg sided with a Spanish tomato stew, or even duck a l'orange with caramelised onions and heirloom carrots. Plus, each week staff offer a recommended vino match from one of Australia's top wine regions, to enjoy by the glass or bottle. They also have a $28 steak day every Thursday and Friday and you can treat yourself to oysters at $2.50 a pop and $35 cocktail jugs — perfect for a leisurely session of after-work drinks with your mates. Take in views of Port Phillip from the top terrace balcony or cosy up next to the fireplace or in one of the stylish booths on the main pub floor. Whether you're seeking a tranquil retreat, a memorable dining adventure, or vibrant social gatherings, Bleakhouse Pub is the perfect destination to unwind and indulge.
With money to burn, the folks at Crown Casino are hosting one seriously lavish party. Set up along Crown Riverwalk by the Yarra, this three-day festival includes tons of great food and cooking demonstrations, as well as music and arts and crafts. Performers will be roaming the crowd during daylight hours, while a fireworks display on the Saturday evening should guarantee you a happy and prosperous New Year.
Melburnians have scored a taste of 'new Nordic' cuisine, with the much-anticipated Freyja opening its doors in Collins Street's historic Olderfleet building this week. And, with two chefs from a Michelin-starred Norwegian restaurant in the kitchen, it's a sophisticated taste indeed. Unfolding across two levels of the heritage-listed site, Freyja is plating up an innovative food offering that fuses traditional Scandinavian sensibilities with contemporary techniques. Bringing it to life is chef Jae Bang from Norway's Michelin-starred Re-naa, (also El Bulli, New York's Daniel), joined by Daniel Gordon (Lee Ho Fook) and fellow Re-naa alum Aaron Caccia. The fitout of the 130-seater bears similar respect for both the modern and the traditional, with slatted timber ceilings and exposed brick played against eye-catching blue marble, metallic finishes and dramatic artworks by Mathew Gillett. Descend the spiral staircase and you'll discover another subterranean dining space with seats for up to 65 and two semi-private rooms. [caption id="attachment_857084" align="alignnone" width="1920"] Parker Blain[/caption] On the menu, traditional practices like pickling, smoking and curing are given a reawakening, heroed alongside native Australian ingredients and a touch of contemporary flair. Expect creations like school prawns with mustard greens and egg on cayenne smørrebrød; waffles served with Yarra Valley Caviar trout roe in smoked sour cream; and a custard of squid, dashi and oat that's finished with a bacon consommé and Tasmanian truffle. Beef tartare is spiked with nasturtium, Tasmanian mountain pepper and quandong; and duck breast is matched with finger lime and mostarda (a spiced fruit condiment). And there's a seven-course degustation menu if you really want to dive in deep. [caption id="attachment_857081" align="alignnone" width="1920"] Parker Blain[/caption] Freyja's bar offering is making plenty of its own noise, with sommelier Ugo Pasetti (Rockpool Group, Grossi Florentino) heading a global wine program that's heavy on organic and biodynamic drops. Craft beer fans can look forward to sipping Northern European favourites like Omnipollo, Lerving and Amager, and there'll be a rotation of inventive signature sips, too. Also located in the Olderfleet building, beneath street level, is sibling bar Valhalla — a moody, Nordic-inspired cocktail lounge that's primed for post-dinner nightcaps. Find Freyja at 477 Collins Street, Melbourne. Initially, it'll open for lunch and dinner, Monday to Friday, with only dinner bookings currently available (5–11pm). Images: Parker Blain
Elton John summed it up perfectly: when Marilyn Monroe died in 1962, her candle burned out long before her legend ever would. Six decades since her passing, the actor remains a Hollywood icon. Like Elvis, she may as well be mononymic. Her face is instantly recognisable, and still everywhere. Ana de Armas just received an Oscar nomination for playing her, after Michelle Williams earned one back in 2012 for also stepping into her shoes. And, the Some Like It Hot, Gentleman Prefer Blondes and How to Marry a Millionaire star is also the subject of a sizeable exhibition heading to Australia for the first time: Marilyn: The Woman Behind the Icon. This Marilyn celebration will make its Aussie premiere at Sydney Town Hall, in the Lower Town Hall, from Saturday, July 1–Sunday, September 24. On display: more than 200 artefacts spanning Monroe's life, including handwritten notes, personal letters and other possessions. [caption id="attachment_905883" align="alignnone" width="1920"] New York Sunday News via Wikimedia Commons[/caption] This is the largest Marilyn collection of its kind. Indeed, the objects set to grace the showcase stem from Ted Stampfer, owner the world's largest range of Marilyn items. With Marilyn: The Woman Behind the Icon, he's aiming to share insights into Monroe as a person, not just a celebrity — spanning her time in the spotlight, of course, but also back when she was Norma Jeane Mortenson. Stampfer will be on hand on opening day providing a curator's tour, as part of an events program accompanying the three-month memorabilia exhibition. Friday-night sessions will feature music and entertainment, and film screenings will also be part of the lineup, letting attendees experience Marilyn's movie magic for themselves. [caption id="attachment_905881" align="alignnone" width="1920"] Joseph Jasgur, Ted Stampfer[/caption] As it celebrates the woman who scaled the heights of fame, became a household name, but received horrific scrutiny for her sex-symbol status and her love life — focusing on her hard work, not the stories spun about her — this'll be the only time that Marilyn: The Woman Behind the Icon will open to the public in this form. "With rare insights and exclusive access to Marilyn's personal belongings, this exhibition offers a unique glimpse into the private world of this cultural icon," said Stampfer. "From humble beginnings to Hollywood stardom, Marilyn Monroe remains an enduring cultural icon, whose life continues to fascinate and intrigue us to this day." [caption id="attachment_905878" align="alignnone" width="1920"] Ted Stampfer[/caption] Marilyn: The Woman Behind the Icon will display at Lower Town Hall, Sydney Town Hall, 483 George Street, Sydney, from Saturday, July 1–Sunday, September 24 — head to the exhibition website for further details.
Burwood East might not be the first place that comes to mind when talking about the most sustainability-focused and forward-thinking architectural projects in Melbourne. But, the re-opened Acre is looking to change that. After a few COVID-induced opening and capacity hiccups, Acre is now home to a functional, sprawling 2500-square-metre rooftop farm and two eateries, situated at the top of Burwood Brickworks. The crown of the unassuming suburban shopping centre, Acre boasts working bee hives, worm farms, a quail coop, gardens, herbs and vegetables. There are future plans for a sky-high chicken hutch, too. Boasting both the Glasshouse cafe and Farmhouse restaurant, the majority of fresh produce is grown on-site and supplemented with ethically-sourced produce. The evening menu at Farmhouse is focused on showcasing fresh, seasonal ingredients. Expect a light, house made ricotta with charred zucchini and asparagus; or a local snapper crudo with watermelon three ways to start. Mains tend towards a pesto casarecce with fresh tomatoes and pangrattato, and a tender braised lamb neck served with a summer green salsa. The lineup at Glasshouse cafe ranges from smoked salmon on warm rye, chicken wings and toasted vegetarian paninis. If you're wondering how they're cultivating a flourishing space atop a shopping centre — green thumbs, take notes. The natural soil created from clay, sand, coconut fibre and compost is specially-engineered as a sustainable and lightweight product to accommodate for rooftop weight restrictions. Quite adorably, quails are raised for their eggs only and are fed beans, peas, melon pulp, leafy greens, oats and barley. On particularly sunny days, the birdies are given water misters and ice to keep cool. The Acre team also hosts events, weddings, tours, workshops and cooking classes. You can keep an eye on the latest events and activities coming up via their Instagram. Farmhouse restaurant is open for dinner Thursday–Saturday from 5.30pm–9pm and Sunday from 11.30am–3pm. Glasshouse cafe is open Monday–Sunday from 8.30am–4pm.
It's hard to think of a wrong way to prepare the humble chicken — but of all the various methods, frying might be our favourite. Juicy pieces of poultry, coated in flour, salt, herbs and spices, cooked piping hot and served with tangy sauce and a cold glass of James Squire: it doesn't get much better than that. We Melburnians are spoiled for choice when it comes to this particular bird — in fact the hardest thing about putting together this list was trying not to drool over the pictures. From classic culinary contenders to some lesser-known gems, here are the best fried chicken joints Melbourne foodies should flock to. GAMI Forefather to Melbourne's Korean Fried Chicken craze, the Gami chain is now pumping out poultry at four locations (three in the CBD and one in St Kilda). While there's a small invitation of dumplings and side dishes, it's important to stay focused and keep that stomach space free for the real reason you came: fried bird bits. Honestly, there's not a great deal of decision making that needs to happen here; you either want your chicken with bones or boneless, with or without sauce. As for beer, you can get it on tap, in jugs or — our preference — in a mini keg that sits on the edge of your table. It's also advisable to request extra napkins. You'll thank us later on this one, when the sticky sweet-soy-garlic sauce drips from your fingers to your elbows, and you begin to regret the fact you brought a Tinder date along. Shop G, 535 Little Lonsdale Street, Melbourne (and various other locations); (03) 9670 3232; www.gamichicken.com.au DA RIN If all three of the city Gami venues are at capacity (and they often are), give newcomer Da Rin a shot. They recently entered the gauntlet by offering a similar fried chicken menu (available with or without bones, in original, sweet and spicy, and honey and garlic flavours), but stepped up the competition by throwing in a few wildcard menu contenders. Get adventurous with the dakmoraejip (a stir fry of veggies and spicy chicken giblets) or the egg tang (a savoury egg custard made with pengi mushrooms. It's better than it sounds on paper, promise). 169 Bourke Street, Melbourne; (03) 9639 0721 BELLE'S HOT CHICKEN If you're one of many seeking out the best battered chook in the city, it's hard to go past Belle's Hot Chicken, where their sole focus is just that. Chose your cut of meat (wings, tenders or dark meat), your spice level (mild, medium, hot, really hot or 'really fucking hot') and your favourite side (like coleslaw, potato salad or mac and cheese). It all comes with complimentary pickles and a slice of bread to soak up the oozing spices. This is Fitzroy's take on Nashville comfort-eating, and it's damn, damn good. 150 Gertrude Street, Fitzroy; (03) 9077 0788; www.belleshotchicken.com ROCKWELL & SONS Advance bookings are essential if you want in on Rockwell & Sons' popular fried chicken night, which only happens on Wednesday evenings. It's often booked out weeks in advance. testament not only to Melbourne's affection for a food craze but to the restaurant's ongoing success (this is no pop-up operation — they've been going strong for years). Order your bird at least three days ahead, because preparation starts early in the week with a slow-brine process, after which the poultry is slathered in buttermilk and gently tickled/served with whatever traditional accompaniments are being offered that day (such as coleslaw, mac and cheese or biscuits). 288 Smith Street, Collingwood; (03) 8415 0700; www.rockwellandsons.com.au CHICK-IN Chick-In serves similarly sticky, crowdpleasing fried favourites to Gami, albeit among more contemporary settings (rather than canteen-style decor, they've gone with a look that more closely resembles a Fitzroy single origin cafe). While the fried chicken itself is similar to that of its competitor, a major point of difference lies in the Korean-Western fusion-style accompaniments like kimchi fries, as well as the single serve, non-sharing options which cater to solo lunchtime diners during the middle-of-the-day trough-feed. Assuming you're in no hurry to return to work, try knocking back one of their soju mojitos, or relax with a bottle of One Fifty Lashes. G23/620 Collins Street, Melbourne; (03) 9973 6244; www.facebook.com/chickinmelbourne LEONARD'S HOUSE OF LOVE You'd be forgiven for thinking that Chapel Street was a rather long way away while spending some time in Leonard's House of Love. Leonard's vibe is log cabin-meets-houseparty, with an American-style menu jam packed full of poultry. You can grab original or spicy tenders, popcorn chicken, a southern fried chicken burger or a chicken and gravy roll. Even the sides are chook-based, with charcoal chicken fries and charcoal chicken nachos both totally legitimate options. 3 Wilson Street, South Yarra; 0428 066 778; www.facebook.com/leonardshouseoflove KODIAK CLUB It's said that Kodiak serve the most authentic American buffalo wings in Melbourne. Whether this is a factual claim is inconsequential — you should come here to eat, not to argue. It's an all-round pleaser of a plate, containing just enough heat to satisfy fans of vinegary hot sauce without isolating those with a lesser-trained heat palate. Order by the dozen (forget the small serve, trust us on this); your wings will arrive with wads of napkins, wet wipes, blue cheese sauce and a few stumps of celery sticks that are intended purely for garnish, not for filling up on. Don't make that rookie mistake. 272 Brunswick Street, Fitzroy; (03) 9417 3733; www.thekodiak.club HOT STAR Setting up dispensaries at several hole-in-the-wall city shopfronts, the Hot Star chicken franchise comes co-located with those takeaway tea shops that always have offensive queues sprawling outside them, blocking peak hour Swanston Street foot traffic. But one can overlook such tiny faults in return for a fillet of fried chicken as big as a human head. Nobody knows what part of the bird comes shaped this way, nor do they understand exactly what goes into that addictive, crunchy coating. But after a bite, you'll probably decide it's best not to ask questions and just run with it. 231 Swanston Street, Melbourne; www.hotstarchicken.com.au FRYING COLOURS According to its website, Frying Colours is a 'Korean Eating Place', presumably for chicken you put in your mouth using your hands. But it's more than that — the restaurant's menu extends further than other Korean chicken joints that specialise in throwing just one type of animal into the deep fryer, offering a full grill service as well as traditional bibimbap, bulgogi, hotpots and dumpling dishes. A whole chook will cost $32, which seems like about the average market rate for Korean Fried Chicken in Melbourne's current economic climate. The meat is miraculously moist without succumbing to sogginess — but if you need further lubrication, the BYO policy will hold you in good stead. 520 Macaulay Road, Kensington; (03) 9939 9679; www.fryingcolours.com.au FRIED AND TASTY Sometimes, a name says it all. The birds at Fried and Tasty are just that: fried and tasty. The acronym F.A.T is probably fairly appropriate as well, given how often we chow down at this Brunswick East chicken coop. In addition to boned chunks, tenders and BBQ wings, Fried and Tasty have a whole host of different chicken burgers and a yummy selection of sides. To be honest though, if you're not ordering buttermilk waffles with chicken, vanilla ice cream and Canadian maple syrup, you're probably doing it wrong. 360 Lygon Street, Brunswick East; (03) 8560 3328; www.friedandtasty.com JUANITA PEACHES Juanita is certainly not your standard lass, with a logo that resembles the sort of tattoo you might acquire from a trip you don't remember to Surfer's Paradise. But all in all, she's got the goods, and she's worth trying. With a small menu on offer, the fried chicken — crispy on the outside and juicy in the middle — definitely tops the list of things to order at this establishment. The burros were a little on the dry side but still tasty, and with a lick of hot sauce, all ills are remedied. All the usual sides are at the party too, including chips and a zingy slaw to cut through that chicken grease. 12 Edward Street, Brunswick; (03) 8060 6664; www.facebook.com/juanitapeaches Words by Veronica Fil, Laura Dawson, Tagen Davies and Tom Clift.
For many families in the hospitality industry, children often inherit the beloved restaurants where they spent their formative years. It's not often that you find a hospitality veteran launching a restaurant specifically with his parents in mind. Brookvale's Bazaar and Bar and Sketch Manly founder, Kabir Arora, wanted to give his parents a "real place to land" once they emigrated to Australia from India. "Mum had years of catering experience back in India and deserved a kitchen where she could show off properly," says Kabir. "Dad, BJ, is a numbers guy, so he slid straight into the accounting seat. Sketch became our family project before it ever became a restaurant." If you're not familiar with the curry and craft beer house, Sketch Manly, you've been missing out. The restaurant started with Indian tapas nights that the locals packed out. Throughout COVID, Sketch Manly stayed open every day and nine years into their venture, the restaurant still hasn't closed its doors once. "That's how committed we are to being part of this neighbourhood," says Kabir. "Sketch is what it is because Manly made it that way." Kabir describes Sketch Manly as Indian home-cooking meets a cosy Melbourne bar (despite being in Sydney). "Vibey street energy, hip tunes, and a space built with genuine care for food and drinks," Kabir tells Concrete Playground. Sketch Manly's curries are all Kabir's mum's, Sukh's recipes. "It's simple food done right. Our butter chicken and mushroom korma anchor the menu, and the rest rotates seasonally. No gimmicks. Just home cooking executed properly." Said butter chicken is the "unofficial mascot of Sketch", and Kabir prides himself on their version going back to basics. "Too many Sydney spots have turned butter chicken into dessert, so we went in the opposite direction: tomato, butter, cream, a few spices, and restraint." Kabir's partner, Ivy, has also helped Manly to fall in love with the restaurant's newest dessert: the Chai-misu, an Indian twist on the ever-popular tiramisu. Alongside its food offerings, Sketch Manly is also known for pairing its homemade curries with crispy craft beers. "Spices and a crisp, cold beer are natural mates," says Kabir. "A clean lager cools things down beautifully, but a juicy pale or hazy IPA can actually lift the flavours and make the whole meal pop." Ultimately, the family ethos that began Sketch Manly is what Kabir hopes customers feel after dining in. Similar to eating at your cousin's or mum's place, he says, the family hopes diners leave full, content, happy and planning their next visit. "It's the neighbourhood curry spot where everyone feels welcome," says Kabir. "First-timers, regulars, families, tradies — whoever walks in gets treated like part of the crew. We cook the same way every day, with the same care." So, what's next for the Northern Beaches restaurant? Kabir is setting his sights on more dinner collaborations, hibachi nights, and even an expansion. "And we're finally launching Sketch Goods — small-batch chutneys, sauces, pickles, and other Indian pantry staples we've been quietly perfecting," says Kabir. The idea for Sketch Goods is simple: bring Sketch Manly's beloved flavours into other cafes, delis, pubs, and home kitchens. What began as a family project has turned into a nearly decade-long love affair with the Northern Beaches suburb, and as the Pittwater Road gem expands, it seems Sketch Manly's food and flavours could soon be enjoyed by more than just the locals. Images: Supplied
When it comes to a romantic weekend for two, a solo trip or a break with the besties, you can't beat the cosy feels of a tiny house. Perfect for escaping the daily grind, a mini abode makes up for the space it lacks with plenty of good times and fresh air. With so many tiny houses in NSW, it's easier than ever to find the right one for you. Whatever your vibe, whether it's a quaint rural stay complete with rolling green hills or a luxe cabin by the water, NSW has a pint-sized holiday home to suit. We've done the hard work for you and rounded up some of the best small-but-mighty tiny houses you can book in NSW. Pick a favourite, pack a bag and get set for a taste of that minimalist life. Recommended reads: The Best Places to Go Glamping in NSW The Best Places to Stay in the Blue Mountains The Best Hotels in Sydney The Best Dog-Friendly Hotels in Australia [caption id="attachment_1009756" align="alignnone" width="1920"] Image: Robert Walsh.[/caption] Billy's Hideaway by Huch, Wollombi Surrounded by bushland and overlooking a Billabong, this architecturally designed cabin is completely off-grid, offering a luxurious yet sensitive addition to the landscape. Enjoy panoramic views from the open-plan living, or settle in the hot tub with a glass of wine. From $448 a night, sleeps 2 adults, 2 children. Kumbogie Cabin, Daruka A cosy off-grid cabin for two, set among rolling green hills and bushland. Unwind on the porch overlooking the trees, or settle in by the outdoor fire. From $170 a night, sleeps two. The Bower at Nanny Goat Hill, Kangaroo Valley This charming tiny house in NSW is a farm retreat that makes for the ultimate small group getaway, boasting all the creature comforts, and a tranquil setting complete with resident goats and chooks. From $230 a night, sleeps four. Vineyard Cabin by Outpost, Exeter Nestled amongst the vines of Exeter Vineyard & Cellar Door in the Southern Highlands, this cabin combines rustic country charm with understated luxury. Cosy and authentic, unwind and immerse in the simple beauty of the Australian countryside. From $290 a night, sleeps two. Byron Hinterland Tiny House, Possum Creek A chic escape for two in a peaceful pocket of the Byron hinterland. This off-grid stay is effortlessly stylish, complete with sunny deck, hammock and reading nook. From $230 a night, sleeps two 6Sixteen The Banks, Agnes Banks With its idyllic rural setting and Blue Mountains outlook, this tiny home is one dreamy getaway. Enjoy the fire pit, sun-drenched deck and comfy loft bedroom. From $229 a night, sleeps three. Ligo, Wolgan Valley An architecturally designed tiny home surrounded by the picturesque cliffs of the Newnes Plateau within the Gardens of Stone National Park, escape the daily grind and immerse in the ruggedness of the Australian bush, with a side of luxury. From $449 a night, sleeps two. Horseshoe Hideaway, Mullion If you fancy stargazing from a hot-tub off the beaten track and waking up to sweeping mountain views, make this tiny house in NSW your next getaway. There's a fire pit and a floor-to-ceiling window in the shower, so you'll never miss the view. From $350 a night, sleeps two. Tiny Escape Tiny House, Wollombi A pint-sized paradise for two sitting among rugged bushland that promises a rejuvenating time away. There are luxury linens, a fire pit and acres of nature waiting to be explored. From $200 a night, sleeps two. The Hill Station, Mount Tomah Nestled in the heart of the Blue Mountains, this renovated cabin is the ideal couples retreat. Conveniently close to the Mt. Tomah Botanical Gardens, enjoy plenty of tranquil garden walks followed by afternoons curled up by the fireplace. Fron $380 a night, sleeps two. Boatshed Bliss, Dangar Island Soak up the sun on the shores of the Hawkesbury River in this pet-friendly retreat. You will have to get a boat to this secluded tiny home. With a private beach at your doorstep, you'll enjoy plenty of time by the water, whether you're taking a dip or watching the sun set over the lapping waves. From $275 a night, sleeps three. The Salty Dog, Newport One of the best tiny houses in NSW that's close to Sydney, this tiny boathouse takes 'on the water' property to the next level. The floating home for two comes complete with a cosy loft, downstairs dining space and kitchen and yes, a boat to get back to shore. From $655 a night. Sleeps two. [caption id="attachment_786394" align="alignnone" width="1920"] By Wilken Photography[/caption] Arabella, Beaumont An award-winning designer stay, complete with fairytale-like forest setting. While the tiny home itself is impressive, but it's the incredible one-way glass bathroom hidden among nearby trees that steals the show. From $290 a night, sleeps three. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Top image: Arabella by Love Space Photography. All other images supplied.
Some stories are so wild that they can only be true, and the tale of Australian cult The Family is definitely one of them. That's worth remembering when it finally becomes your next homegrown streaming obsession — in fact, you probably won't be able to forget it — with Disney+ taking inspiration from the sinister Aussie sect for a new eight-part series called The Clearing. If you're new to The Family — and you didn't see the excellent and supremely creepy 2016 documentary that shares the cult's name, or the 2019 series The Cult of the Family, both by filmmaker Rosie Jones — then strap yourself in for quite the story. It was very real, forming in the 1960s around Melbourne, with charismatic yoga teacher Anne Hamilton-Byrne at its head. A cult run by a woman is already extremely rare, but this tale also includes adopting kids who looked identical, dressing them in matching clothing, claiming that Hamilton-Byrne was a living god and, because that's not enough, a lot of LSD. Police raided the sect's Lake Eildon compound back in 1987, all those children were removed from the property, and Hamilton-Byrne and her husband fled Australia, but were arrested in the US in 1993. [caption id="attachment_611844" align="alignnone" width="1920"] The Family[/caption] There's more to this tale, which inspired JP Pomare's novel In the Clearing — and that's what The Clearing adapts. The show will step into the fictionalised but still chaotic details by following a woman who starts to confront her nightmarish past to stop a secret cult that's gathering up children to serve its master plan. Unsurprisingly, the mood will be tense, with the Disney+ series firmly a psychological thriller. Cast-wise, almost every famous Aussie acting name possible is involved, or so it seems, including Teresa Palmer (Ride Like a Girl), Miranda Otto (True Colours) and Guy Pearce (Mare of Easttown), as well as Claudia Karvan (Bump) and Mark Coles-Smith (Mystery Road: Origin). Also set to appear on-screen: Hazem Shammas (The Twelve), Kate Mulvany (Hunters), Xavier Samuel (Elvis), Anna Lise Phillips (Fires), Harry Greenwood (Wakefield) Erroll Shand (The Justice of Bunny King), Doris Younane (Five Bedrooms), Miah Madden (Dive Club), Julia Savage (Mr Inbetween), Gary Sweet (Wentworth), Alicia Gardiner (Offspring), Matt Okine (The Other Guy) and Jeremy Blewitt (The Lost Flowers of Alice Hart), plus Lily La Torre (Run Rabbit Run) and Ras-Samuel Welda'abzgi (Neighbours). We told you it was a hefty list. [caption id="attachment_862740" align="alignnone" width="1920"] The Cult of the Family[/caption] Behind the lens, Jeffrey Walker (Lambs of God) and Gracie Otto (Seriously Red) are on directing duties, with Elise McCredie (Stateless) and Matt Cameron (Jack Irish) creating and writing The Clearing — with help from co-writer Osamah Sami (Ali's Wedding). The Clearing is one of Disney+'s first three newly commissioned local scripted dramas — its first three ever, in fact — alongside The Artful Dodger and Last Days of the Space Age. There's obviously no trailer for The Clearing yet, but you can check out the trailer for The Family below: The Clearing will stream via Disney+, with a release date yet to be revealed — we'll update you with further details when they're announced. Top image: The Cult of the Family.
The only resort on Daydream Island in The Whitsundays has finally reopened after being devastated by Cyclone Debbie back in March 2018. And, after a huge $100 million redevelopment, Daydream Island Resort is doing it in serious fashion — with a 200-metre living reef, three restaurants, a poolside bar and an outdoor cinema to boot. The exclusive resort reopened today — Monday, April 15 — with 277 fully refurbished suites that span ocean, garden and pool views. Those aren't any ordinary ocean views, either, with crystal clear turquoise waters surrounding every corner of this tiny oasis. And the massive, newly landscaped pool wraps throughout the resort's tropical gardens and links to its coral beaches, offering views of the Great Barrier Reef beyond. The resort's living reef has also been revitalised — it's a coral lagoon that spans 200 metres and surrounds the central building, with its 1.5 million litres of water housing over 100 species of fish, coral and invertebrates. Guests can learn from local marine biologists while helping to feed baby stingrays and explore the new underwater observatory that lies four metres below sea level. [caption id="attachment_716885" align="alignnone" width="1920"] Looking from from the pool.[/caption] Daydream Island will also boast three distinct restaurants and three bars, all of which feature seasonal and local produce. Fine-dining restaurant Infinity offers panoramic ocean views and a menu of Asian-fusion eats, along with a teppanyaki private dining room. Then there's Inkstone Kitchen and Bar, a modern Australian restaurant using native ingredients. Think crispy skin coral trout sourced from Bowen, served over squid ink linguine, and surrounded by thin slices of smoked crocodile and Australian caviar, too. For cocktails, you'll head over to the gin bar, Tonic. The third dining greenhouse-style option, Graze will open in the coming months, along with two other bars. An outdoor cinema will launch in June, too. While you're in the region, don't miss the chance to do a bit of exploring and check out the nearby Whitehaven Beach, which is listed as one of the best beaches in the world.Those keen to explore the Whitsundays further can book snorkelling, helicopter tours, sailing, jet-skiing and island-hopping experiences through the resort. Of course, all this doesn't come cheap. Rates start at $392 per night — and that's just for a standard room. Start saving now, or just daydream by having a scroll through the photos. Daydream Island Resort is now open. For more to see and do in the region, check out our Outside Guide to the Whitsundays.
A good neighbourhood wine bar is arguably better than its inner city counterparts. Especially if you want to sample a few different varieties and walk home afterwards. In Williamstown, neon pink signage signals your local — but don't let the fluro mislead you. Lower West Side Wine Bar has a sophisticated and relaxed vibe inside — with hardwood high tables, leather stools and black fixtures, the focus here is on the wine. Australian producers are well represented, as are French and Italian vineyards, in keeping with the European influence of the bar snacks. Get down on Tuesday nights for a wine tasting, and pair it with a stacked cheese and charcuterie board.
Standing proudly above St Kilda's Lower Esplanade is this seriously impressive reminder of St Kilda's status as one of Melbourne's premier entertainment districts. The Palais Theatre — the largest fully seated theatre in Australia — is St Kilda's premier venue for live music, with some of the biggest names in international music having taken to the stage of the 1927 art deco icon. Beyond music, the venue also hosts theatre, comedy, opera and ballet performances, with over 100 events taking place per year. The building's former life as a picture house is evident in the intriguingly eclectic design, with influences said to span from Spanish baroque to neoclassical. Image: City of Port Phillip
The arrival of Fitzroy's newest ramen spot Gogyo has't go unnoticed. An enormous new exterior mural, a modern interpretation of wuxing (the five Chinese elements) by celebrated Sydney-based artist Kentaro Yoshida, points to its entrance on the corner of Brunswick and Westgarth streets. And, in the kitchen, the team is shaking up the game by celebrating a gutsy style of signature ramen you won't find anywhere else in town. Japanese-born Gogyo has landed in Melbourne following the success of its Aussie debut, which launched in Sydney's Surry Hills in 2018. It's also from the same minds behind internationally revered ramen chain Ippudo and, as you might know, that equates to some serious street cred in the world of Japanese noodle soup. Gogyo has set itself apart from the pack with its burnt ramen creation dubbed kogashi. A smoky, sweet and intense dish crafted on a charred miso or shoyu base, it is then loaded with chicken broth, pork belly chashu and half an umami egg. While it's the headline act at the new Fitzroy restaurant, the black (but not bitter) soup is backed by a strong supporting cast of alternative ramen varieties and izakaya-style snacks. [caption id="attachment_760781" align="alignnone" width="1920"] Kogashi ramen by Julia Sansone[/caption] The space itself is split between a minimalist front cocktail lounge and the restaurant, divided by traditional noren curtains featuring more of Yoshida's symbolic artworks. Step through into the dining room and you'll find a warm timber-filled space decked out with deep booths and a long open kitchen lined with stools. As for the menu, it's a mix of Gogyo favourites and Fitzroy exclusives. You might kick off with elegant snacks like scampi nigiri and spring rolls stuffed with sukiyaki-style wagyu, before diving into the likes of pork katsu curry or a poke-style sashimi number. There's a cracking karaage chicken, wagyu tataki finished with shiso and yuzu ponzu, and a miso chicken teamed with sticky rice and fennel pickle. Meanwhile, in the ramen corner, the two kogashi options steal the show, though there's plenty to tempt among the rest of the lineup, including a tonkotsu ramen laced with garlic oil and a fiery chilli shoyu soup. To match, there's a tight list of Aussie wines, Suntory brews on tap and a handful of elegant cocktails, like the whisky- and bitter orange-infused Salaryman. Images: Julia Sansone
Your regular cafe should offer three things: good coffee, good food and good vibes. Williamstown's Kodama Coffee has it all. Named for the Japanese tree spirits that keep nature balanced, Kodama keeps a balance of brews from Axil Coffee Roasters, plus labelled and bottled iced coffees to takeaway. You'll also find a short but sweet food menu of vibrant dishes and a simple, relaxed cafe space complete with white walls, wooden furniture, hanging lighting and plenty of greenery. Try the huge, fluffy pancakes with syrup, fruit and meringue oar the house-toasted granola served with a whole saffron poached pear. Come lunchtime, opt for the superfood salad of kale, quinoa, roasted corn, black turtle beans, beetroot hummus, avocado and toasted almonds, topped with cold smoked salmon and a poached egg.
After an impressive 12-year stint as Trunk Bar & Restaurant, the site at 275 Exhibition Street has had a big makeover. Off the back of a month-long research trip to the Big Apple, Owner Nick Kutcher has brought some long-held ambitions to fruition and transformed the space into Italo-American hot-spot, Pepe's Italian & Liquor. Taking its cues from New York in the 1930s and 1940s (think, The Godfather), the reimagined venue has burgundy banquettes, red-and-white chequered floors and a sprawling 13-metre zinc-topped bar. A mural splashed across the back wall comes courtesy of Belgian artist Jan Van Der Veken. Pull up a seat and trip back in time, digging into time-honoured favourites prepared by Head Chef Orazio Cutuli. Expect baked buffalo ricotta matched with a pesto crostino, pork and veal polpette in napoli sauce, and Casino Clams done with garlic butter, guanciale and pangrattato. A solid spread of pasta features the likes of a mushroom fettuccini with parmesan, garlic and thyme, and a spicy vodka rigatoni, as well as a cheesy baked gnocchi. [caption id="attachment_742024" align="alignnone" width="1920"] Gareth Sobey[/caption] There's also a lineup of pizza (of course) — with pies topped with the likes of meatballs, eggplant, 'nduja and prosciutto — along with a veal parmigiana and a 12-hour lamb shoulder. For dessert, we suggest the extravagant two-person sundae, toped with Nutella, nougat, black cherry wafer and chocolate fudge. Classics reign supreme at the bar, too, including an entire page of martinis. Plenty of Italian flavours feature across sips like the American Rose, starring gin from Melbourne Gin Company, eau de rose and grapefruit. And if it's vino you're after, the wine list heroes Australian and Italian varietals, always with 80 labels clocking in at under $100. And it's business as usual next door at Trunk Diner, which continues to serve up burgers, fries and doughnuts. Find Pepe's Italian & Liquor at 275 Exhibition Street, Melbourne. It's open from Monday– Friday midday–midnight and Saturday–Sunday 3pm–midnight. Images: Gareth Sobey
Singapore is renowned for its world-class dining, efficient transport, luxury shopping and pristine streets. But you don't have to venture far to get your nature fix, with wide expanses of greenery woven throughout the city. Whether its kicking back at an eco-friendly retreat in the heart of the Garden City or wandering off the beaten path to explore Singapore's lesser-known nature reserves, we've partnered with Singapore Tourism Board to share five uncommon adventures to be had in the outdoors. [caption id="attachment_977882" align="alignnone" width="1920"] Sum Ling[/caption] Garden Pod at Gardens by the Bay With a field of Supertrees, two massive conservatories (with an indoor waterfall), a sky-high observatory, 1.5 million plants from across the globe, Michelin-rated food and a free light show, it's no wonder that Singapore's Gardens by the Bay is one of the city's most iconic attractions. There's no better way to immerse yourself in the heart of this landmark than to stay in your very own Garden Pod, situated in the Serene Garden of the Gardens by the Bay. This innovative, eco-friendly accommodation comprises four duplex suites with views of the grounds and Singapore skyline, with all of the Gardens' signature attractions at your doorstep. Sentosa Intertidal Exploration Home to wondrous attractions, picturesque beaches and family-friendly activities, Sentosa Island is a local favourite for outdoor explorations. Get close to some of Sentosa's smallest inhabitants with the Sentosa Intertidal Exploration — a one-and-a-half-hour tour which gives you a peek into the world under the sea at Siloso Beach. As the tide recedes, marine experts will teach you about the coastal ecosystem and the importance of conservation, while you encounter crustaceans, clams, gobies and crabs amongst the seagrass and coral. This experience is suitable for all children, but little ones under 12 must be accompanied by an adult. Kranji Countryside Only about a 45-minute drive from central Singapore, the Kranji Countryside brings education and nature together. The area encompasses multiple working farms that welcome visitors, as well as a WWII memorial and nature reserve. Animal lovers can dive into the colourful world of fish at Nippon Koi Fish Farm or feed the goats and sample fresh goat milk at Hay Dairies Goat Farm. Learn about sustainable and organic farming practices with a tour at Kok Fah Technology Farm or Kin Yan Agrotech, and then tuck into a farm-to-table meal at Bollywood Farms or GardenAsia. Close out your adventures with impressive views across the Straits of Johor at the Kranji Reservoir Park. History buffs can also pay a visit to the Kranji War Cemetery and Memorial, which is the final resting place for Allied soldiers who lost their lives during the Battle of Singapore and the Japanese occupation of the island during World War II. [caption id="attachment_976872" align="alignnone" width="1920"] Lim Wei Xiang[/caption] Sungei Buloh Wetland Reserve If you're spending the day in Kranji, you can't miss the Sungei Buloh Wetland Reserve. The 130-hectare park is home to a wide range of wildlife species, from herons, eagles and kingfishers to lizards, otters and even crocodiles. Despite its immense size, it's easy to roam the grounds with a free guided tour or on one of the walking trails. The network of tracks caters to various interests, whether you want to bird watch, explore mangroves or let your little ones run about on the Junior Adventure Trails. For breathtaking views, head to Eagle Point or climb the 18-metre Aerie Tower for a panoramic look at the reserve. Sisters' Islands Marine Park After years of development, the country's first marine park reopened for visitors in October, 2024. Sisters' Islands Marine Park stretches across both Sister's Islands, the western reefs of Saint John's Island and Pulau Tekukor, and provides an insight into the biodiversity of Singapore's marine life. Hop aboard a ferry for a 30-minute cruise to Big Sister's Island — Small Sister's Island is closed to the public for conservation research — where you'll be able to explore a floating boardwalk, a coastal trek, dive trails and a gallery. A major drawcard is the lagoon tidal pool, where swimmers can catch glimpses of reef sharks, turtles, seahorses and giant clams, to name a few. Book your Singapore holiday now with Flight Centre. Top image: Yik Keat. All images courtesy of Singapore Tourism Board.
Head north from the city towards Thornbury and, burrowed along High Street, you'll find Joanie's Baretto, an Italian wine bar and restaurant. Start with an Aperol or Campari spritz and then dive right into the Italian-style snacks. We recommend the veal and pork meatballs cooked in a Napoli sauce, perhaps followed by its rich veal ragu or broccoli orecchiette. Gluten-free pasta is available, too. On the first Sunday of each month, the bar does aperitivo afternoon where, for $20, you'll get a drink and a selection of cicchetti. Grab a seat at the bar, a table under the softly-lit yellow lights or in the spacious back courtyard. This place delivers on its food and drink and is all about having a good time in a relaxed atmosphere. Perfect for weekend drinks.
East Brunswick Village has a new arrival, with a second To Be Frank location adding to the community's ethical and sustainable options. With its Collingwood location generating a cult following for its "respectus panis" — meaning minimal yeast and an extended fermentation process that's good for your gut — bread and pastry lovers exploring the new outpost can look forward to the same uncompromising quality and communal passion. Founded by Franco Villalva and Lauren Parsons in 2019, To Be Frank's East Brunswick Village location will maintain its focus on honest bread, pastries and sandwiches, featuring a daily selection that honours traditional baking methods. Of course, that means another store to get your hands on their popular baguette, fruit loaf and focaccia, but you'll also be able to take home To Be Frank's two-kilogram wholemeal sourdough 'miche', available in quarter, half or full-sized portions. "East Brunswick Village already feels like home. We've been welcomed so warmly by the community, and we can't wait to return that warmth — in the form of good bread, coffee, and connection," said Villalva and Parsons. Just like Collingwood, To Be Frank's new digs will be well-stocked with sweet and savoury pastries, including the debut of its chocolatine: a decadent croissant made with Melbourne-based Cuvèe Chocolate's Amphora 65% dark chocolate. The coconut and dulce de leche bomb pays tribute to Franco's Argentinian heritage, while the savoury sausage croissant features top-notch ingredients from neighbouring butcher, Hagen's Organics. Sandwich-lovers will have even more reason to visit, as Villalva and Parsons extend their selection at the East Brunswick locale. Drop by year-round for a ham, cheddar and Emmental toastie, catch a hot honey stracciatella open focaccia through periodic bakes, or discover new seasonal creations as they land in the cabinet. While there, order a stellar coffee with beans roasted by Blackburn's Symmetry Coffee Roasters. As for the new bakery's design, Corso Interior Architecture conceived the space as an open, purpose-built pastry kitchen, where customers get an up-close look at the action. "We've designed East Brunswick Village to be a place for people to enjoy at any time of the day – whether it be for a grab-and-go loaf in the morning for breakfast, a mid-morning coffee and pastry, or a dine-in sandwich or savoury pastry for lunch – the choice is yours," explained Villalva and Parsons. To Be Frank EBV is open Wednesday–Saturday from 7.30am–3pm and Sunday from 8am–3pm at 3 Village Avenue, East Brunswick. Head to the website for more information.
UK rocker Yungblud has announced he'll bring his Idols world tour to Australia next January, marking his biggest local shows to date. The Doncaster-born singer and songwriter — real name Dominic Harrison — will kick off the tour at Sydney's Hordern Pavilion on Saturday, January 10, before hitting Melbourne, Adelaide, Brisbane and Perth. View this post on Instagram A post shared by Rolling Stone AU/NZ (@rollingstoneaus) The run celebrates Yungblud's fourth studio album, Idols, which dropped in June and went straight to number one in the UK and number four in Australia. Known for his high-energy performances and fiercely loyal fan base, the tour promises the kind of chaotic, cathartic shows that have earned him global acclaim. Speaking to Rolling Stone AU/NZ earlier this year, Yungblud teased "massive plans" for the Australian leg of the tour and hinted that his self-created festival Bludfest — which launched in the UK last year — could eventually make its way Down Under. "I know the Australian festival market has been struggling," he said. "I really want to try my best to implement a new idea with Bludfest because it worked in the UK." Tickets go on sale from Tuesday, October 21, with pre-sales for Telstra Plus members opening Thursday, October 16 and Frontier Members from Monday, October 20. Yungblud's 2026 Australian tour kicks off in Sydney on January 10. Visit Frontier Touring for ticket details and dates.
Squid Game is a "remember when" show. We all remember when we first saw the South Korean Netflix series, became obsessed, couldn't binge it fast enough, and talked about it and nothing else for days, weeks and more. If you watched it when it initially debuted, that was back in 2021 — and we've been waiting for more ever since. 2024 is finally set to deliver, with Netflix advising shareholders as part of its fourth-quarter earnings review that Squid Game will be back this year. There's no other new details so far, but the series is set to return before 2025 rolls around, alongside season three of Bridgerton and season two of The Diplomat. One of the best new TV programs of 2021, Squid Game was such a huge smash that Netflix confirmed at the beginning of 2022 that a second season was on the way, and also dropped a teaser trailer for it the same year. And, it turned the show's whole premise into an IRL competition series as well, which debuted in 2023 — without any murders, of course. Squid Game: The Challenge has already been picked up for a second season. After getting the world seeing marbles, hopscotch and tug of war as far more than ordinary, innocent activities that everyone enjoyed when they were kids, the streaming platform also revealed in 2023 exactly who'll be playing Squid Game season two. Lee Jung-jae (Deliver Us From Evil) returns as the show's protagonist Seong Gi-hun, while Lee Byung-hun (The Magnificent Seven) will be back as the masked Front Man as well. They'll be joined by Wi Ha-joon (Little Women) as detective Hwang Jun-ho, plus Gong Yoo (Train to Busan) as the man in the suit who got Gi-hun into the game in the first place. A show about a deadly competition that has folks battling for ridiculous riches comes with a hefty bodycount, which means that new faces were always going to be essential in Squid Game season two. Yim Si-wan (Emergency Declaration), Kang Ha-neul (Insider), Park Sung-hoon (The Glory) and Yang Dong-geun (Yaksha: Ruthless Operations) will all join the series. If you somehow missed all things Squid Game when it premiered, even after it became bigger than everything from Stranger Things to Bridgerton, the Golden Globe- and Emmy-winning series serves up a puzzle-like storyline and unflinching savagery, which unsurprisingly makes quite the combination. It also steps into societal divides within South Korea, a topic that wasn't invented by Parasite, Bong Joon-ho's excellent Oscar-winning 2019 thriller, but has been given a boost after that stellar flick's success. Accordingly, it's easy to see thematic and narrative parallels between Parasite and Squid Game, although Netflix's highly addictive series goes with a Battle Royale and Hunger Games-style setup. Here, 456 competitors are selected to work their way through six seemingly easy children's games. They're all given numbers and green tracksuits, they're competing for 45.6 billion won, and it turns out that they've also all made their way to the contest after being singled out for having enormous debts. Check out Netflix's Squid Game season two cast announcement video below: Squid Game's first season is available to stream via Netflix — we'll update you with an exact 2024 release date for season two when one is announced. Images: Netflix.
UPDATE: OCTOBER 3, 2020 — Due to worldwide cinema closures and other concerns around COVID-19, No Time to Die will no longer release on Thursday, November 12. Instead, it will now release on Thursday, April 1, 2021. This article has been updated to reflect that change. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Shaken (not stirred) martinis are back on the menu, and so are suave secret agents, sinister plots to destroy the world and big-screen espionage thrills. Yes, it's James Bond time again, with No Time to Die finally set to reach cinemas in 2021 — and dropping a brand new trailer to tease the British spy's 25th official cinematic outing. On offer, as fans initially glimpsed in the first sneak peek in 2019, are all the franchise staples. World-in-peril action, savvy ladies, plenty of gadgets, eye-popping stunts and spectacles, an Aston Martin — they're all accounted for. And, because no Bond movie would be complete without a formidable villain, No Time to Die serves up two: an unhinged, mask-wearing new adversary called Safin (Bohemian Rhapsody Oscar-winner Rami Malek), plus imprisoned ex-opponent Blofeld (Christoph Waltz). Daniel Craig returns as 007, marking not only his fifth stint as the spy since 2006's Casino Royale, but his last — and he has company in the 00 stakes. Following the events of 2015's Spectre, Bond has left active service and started a new life in Jamaica, causing MI6 to recruit someone else to cover his turf. That'd be new agent Nomi (Captain Marvel's Lashana Lynch), and you can obviously expect the pair to cross paths. Bond being Bond, he was never going to be able to escape his line of work easily, after all. Here, he's brought back in by CIA agent Felix Leiter (Jeffrey Wright) to help with a mission to rescue a kidnapped scientist. Directed by Cary Joji Fukunaga (True Detective, Maniac) and penned by a team that includes Fukunaga, The Report director Scott Z Burns and Fleabag's Phoebe Waller-Bridge, this Bond instalment also brings back all the usual Bond offsiders. Ralph Fiennes returns as M, alongside Naomie Harris as Eve Moneypenny, Ben Whishaw as Q and Rory Kinnear as MI6 head Bill Tanner. Lea Seydoux is back as psychiatrist Dr Madeleine Swan, too — and, reuniting with Craig after co-starring in the fabulously entertaining Knives Out last year, Ana de Armas also joins the cast. Of course, as Bond aficionados won't have forgotten, No Time to Die has had to overcome a few setbacks off-screen on its path to cinemas. Originally it was due to release in April this year, but became one of the first films to delay its opening date due to COVID-19. It was then slated to hit the big screen in November, but has now been postponed until April 2021. Watch the new No Time to Die trailer below: https://www.youtube.com/watch?v=vw2FOYjCz38 No Time to Die will no longer hit Australian cinemas on November 12, 2020, with its release date postponed until April 1, 2021. Top image: James Bond (Daniel Craig) and Paloma (Ana de Armas) in No Time to Die, an EON Productions and Metro Goldwyn Mayer Studios film. Credit: Nicola Dove. © 2020 DANJAQ, LLC AND MGM. ALL RIGHTS RESERVED.
First, the sad news: as HBO fans in Australia and New Zealand already know, viewers Down Under can't watch HBO Max, the prestige US cable network's standalone streaming platform. Now, the great news: AMC, one of the other ace American stations behind plenty of top-notch TV shows in recent years — Mad Men, Breaking Bad, Better Call Saul and The Walking Dead included — is now available via its own service in our neck of the woods. In Australia, this development might spark a bout of déjà vu, because AMC+ — as AMC's streamer offshoot is called — originally launched here a year back. But it made its debut in 2021 as a streaming bundle, rather than its own service. Instead of initially existing as a separate platform, it was an add-on that you had to access via the Apple TV channels on the Apple TV app and, also through Prime Video channels if you were a Prime member. Now, however, AMC+ is its own platform — with its own app and all — and is also available in New Zealand. And while you might be thinking about the fact that this is yet another subscription to sign up for, it also includes access to horror platform Shudder and the British TV-focused Acorn TV at no extra cost. Top-notch new television shows, horror flicks aplenty and indulging your British obsession? Yes, you can now find them all in the one place. That said, a heap of AMC's best-known past shows actually sit on other platforms due to past rights deals before it made its first foray Down Under. Still, AMC+ will be the future home of The Walking Dead universe in both Australia and Aotearoa, including the upcoming The Walking Dead: Dead City and fellow future spinoffs. Right now, viewers can also catch the new TV version of Interview with the Vampire, which starts a new Anne Rice franchise, with Mayfair Witches set to follow next year. AMC+ also currently includes animated series Pantheon, the clearly crime-focused True Crime Story: It Couldn't Happen Here, and the latest series of doco satire Documentary Now! among its recent releases. Or, there's also a back catalogue that also includes Mad Men, Portlandia, Halt and Catch Fire, TURN: Washington's Spies, Hell on Wheels, Riviera and Aussie outback-set vampire series Firebite. Thanks to IFC Films, the service includes independent movies and documentaries, too. To access AMC+, you'll want to head to the platform's Australian and New Zealand websites, or you can sign up via Apple, Android and Amazon Fire devices in Australia — and Apple and Android devices in NZ. AMC+ costs $8.99 per month in Oz and $9.99 per month in Aotearoa, and new subscriptions come with a seven-day free trial first. For more information about AMC+, or to sign up, head to the platform's Australian and New Zealand websites.
Over the past few years, Gelatissimo has whipped up a number of creative flavours, including frosé sorbet, gelato for dogs, and ginger beer, Weet-Bix. fairy bread, hot cross bun, cinnamon scroll and chocolate fudge gelato. Most recently, it made a bubble tea variety, too. For its latest offering, the Australian dessert chain is taking inspiration from another beloved foodstuff — in case you can't choose between slathering Belgium's Lotus Biscoff cookie butter spread over bread or licking your way through a few scoops of ice cream. Yes, that very combination is now on the menu, with Biscoff gelato earning the honours as Gelatissimo's August flavour of the month. Now on sale, it starts with buttery cinnamon biscuit gelato — which is then layered with slabs of cookie butter, then topped with crunchy biscuit pieces. If you're only just learning about Lotus Biscoff cookie butter spread, it's made from the crumbs of Lotus Biscoff caramelised biscuits, and is basically a cookie-flavoured version of peanut butter or chocolate spreads like Nutella. Understandably, it has picked up quite a following — and, in its spreadable form, comes in creamy and crunchy varieties. At Gelatissimo, the Biscoff gelato will only be available for the month of August at all stores Australia-wide — and only while stocks last. That includes via delivered take-home packs via services such as UberEats, Deliveroo and DoorDash. Gelatissimo's Biscoff gelato is available from all stores nationwide for the month of August.
