After a successful run last year, the Melbourne Theatre Company's adaptation of Hitchcock’s classic suspense film North By Northwest is back for two weeks this January — this time, in the hands of the Arts Centre Melbourne. The stage adaptation of the famous movie comes from director Simon Phillips and writer Carolyn Burns from MTC, and it looks to be as visually stunning as the original. For those who need a recap, protagonist Roger O. Thornhill is a savvy advertising exec who is kidnapped by gangsters who believe he's a man called George Kaplan. When Thornhill denies such allegations, the thugs relentlessly chase him across the country, and he meets a beautiful and mysterious blonde along the way. Starring Matt Day, Amber McMahon, Deidre Rubenstein and Matt Hetherington, prepare for all of the thrills and spills of the classic film, with heightened suspense played out in live theatre. In true Hitchcock style, you'll find yourself on the edge of your seat.
Australians are devastated after the Bondi terror attack that killed 16 people and injured dozens on Sunday night. As emergency services continue to treat victims, authorities are urging those who can to donate blood and offer support to the affected communities. New South Wales Premier Chris Minns praised frontline healthcare workers, referencing "extraordinary scenes" in hospitals overnight. "[healthcare workers] did an incredible job, but they need your help. They need blood, and if you're thinking about doing an act of public service in the coming 24 hours, I urge you to contact the Red Cross and do that piece of public-mindedness," Minns said. View this post on Instagram A post shared by Chris Minns (@chrisminnsmp) The Australian Red Cross Lifeblood confirmed it issued several life-threatening orders for blood products following the attack and has begun transferring supplies from other states to meet demand. A spokesperson said the need is ongoing, particularly for O-negative donors, whose blood can be used in any emergency case. "Fewer than seven percent of the population are O-negative, making it a challenge," Lifeblood said. "In the event of a serious trauma or emergency, up to 100 blood donations may be needed to save just one life." Cath Stone, Executive Director of Donor Experience at Lifeblood, said donating blood is one of the most practical ways Australians can help right now. "When tragic events occur, donating blood is a good way to help people," she said. "To donate blood or plasma, visit lifeblood.com.au, call 13 14 95 or download the Lifeblood app." View this post on Instagram A post shared by Australian Red Cross (@redcrossau) Across Sydney, hospitals continue to operate at a trauma level, and queues have formed outside donor centres. Blood from interstate is also being sent to New South Wales to meet urgent demand. Local and faith leaders have urged Australians to stand with Sydney's Jewish community and others directly affected. Organisations including Lifeline Bondi, Headspace Bondi Junction and The Junction Neighbourhood Centre are offering free mental health and counselling support. Where to donate Major Lifeblood centres in Sydney include Town Hall, York Street and Parramatta, with extended hours this week. Temporary collection sites have also opened in Bondi Junction and Coogee. Appointments can be made at lifeblood.com.au through the Lifeblood app, or by calling 13 14 95. If you need help If you are struggling with your mental health in the wake of the attack, help is available 24/7. Call Lifeline on 13 11 14, NSW Mental Health Line on 1800 011 511 or the Kids Helpline on 1800 55 1800. Images: iStock
Australia's annual Alliance Francaise French Film Festival marked its 30th year back in 2019, and celebrated the big occasion with no troubles at all. Proving that no one loves entering their 30s, however, the event hit a few struggles when it turned 31. That happened in March 2020, when Australia started to go into lockdown. The fest was already underway, so AFFFF had to stop screening, postpone its plans, then pick things up again in July and August after cinemas started reopening. Here's hoping that 2021, the fest's 32nd year, all runs smoothly. AFFFF has 37 films on its hefty lineup this time around, and it's touring them around the country from March 2–April 22. The event will be making its usual capital city stops, so French movie fans in Sydney, Melbourne, Brisbane, Perth, Adelaide, Canberra and Hobart can start blocking out time in their diaries. There'll also be seasons playing in Byron Bay and Parramatta as well. As for what you'll be seeing, AFFFF will open its 2021 lineup with Eiffel, a new biopic starring Romain Duris (All the Money in the World) as the civil engineer who gave Paris' most famous attraction its name. At the other end of its program, the fest will close out with rom-com #Iamhere, which follows a French chef who falls in love via Instagram. And, in-between its two big bookending events, viewers can look forward to a heap of movies starring recognisable faces — including Monica Bellucci, Lupin's charming Omar Sy, the incomparable Isabelle Huppert and Kristin Scott Thomas. https://www.youtube.com/watch?v=JXVezkYnDL0 Highlights include The Man Who Sold His Skin, a twisty tale about a Syrian refugee, a tattoo artist and an unusual bargain; Summer of 85, the latest film from acclaimed director François Ozon; and police drama Night Shift, which dives deep into not only law enforcement, but alsoits handling of immigration matters. Or, there's Fahim, the Little Chess Prince, about the Bangladeshi refugee who became a national French chess champion; The Godmother, which sees Huppert tussle with the drug game; and Aline, which is inspired by the life of Céline Dion. Elsewhere, the story of France's first restaurant hits the screen via 18th-century-set period drama, Delicious; Final Set sees an ageing tennis player try to win the French Open; Miss follows a boy who'd like to enter the Miss France beauty pageant; and delightful animated feature Calamity, a Childhood of Martha Jane Cannary imagines Calamity Jane's early years. Fans of Deerskin filmmaker Quentin Dupieux can also check out his latest, Mandibles — and, because AFFF always shows at least one absolute classic French flick, this year it's screening Jean-Luc Godard's 1959 masterpiece Breathless. Check out the festival trailer below: https://www.youtube.com/watch?v=qBm8ztOVnC4 The Alliance Française French Film Festival tours Australia from March 2–April 22, screening at Sydney's Palace Central, Palace Verona, Palace Norton Street, Chauvel Cinema and Hayden Orpheum Cremorne from March 2–April 5; Melbourne's Palace Cinema Como, Palace Balwyn, Palace Brighton Bay, Palace Westgarth, Astor Theatre, The Kino and Pentridge Cinema from March 3–April 5; Palace Raine Square, Luna Leederville, Windsor Cinema, Luna on SX and Camelot Outdoor Cinema from March 10–April 11; Brisbane's Palace Barracks and Palace James Street from March 17–April 15; and Adelaide's Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas from March 23–April 22. For more information and to buy tickets, visit the AFFFF website.
As every Melburnian knows, 2020 was a time of sourdough starters, takeaway deliveries and zoom cocktail sessions — and testing your baking skills on absolutely anything and everything, too. Thankfully, 2021 has seen Melbourne's culinary scene enjoy a return to normality. And, if you needed a reminder that this year is much different to last, one of the city's huge food events is making a comeback — so get ready to spend June eating your way around town during Melbourne Good Food Month. Back in April, the popular month-long festival announced the 2021 return of the Night Noodle Markets — which is adopting an at-home format this year, and will bring everything from Hoy Pinoy's glazed pork belly and chicken skewers and Puffle's signature cheeseburger puffle to Hokkaido Baked Cheese Tart's eponymous desserts to your door. But, that's just one part of the jam-packed program, with the event now revealing exactly what else you'll be eating, and where. To get things started, Flower Drum will be teaming up with Neil Perry on a one-night-only multi-course dinner, which'll feature his favourite dishes from the restaurant's menu. That said, you won't just be eating things that you can order every day — because some of them are only cooked for Neil when he visits. Also a highlight: Esmay, the travelling pop-up restaurant created by chef Alanna Sapwell, which is making a stop at Bar Liberty. It too is only making an appearance for one evening, and pairing its seasonally focused menu with the venue's beverages. For Esmay's Good Food Month stints in Brisbane, Canberra and Perth, tickets sold out quickly, so getting in early is recommended. Good Food Month will also be hosting a Young Chefs Lunch at new plant-based eatery Lona Misa, so you can check out a fresh addition to Melbourne's culinary scene and enjoy the talents of cooking up-and-comers. And, if you're a loyal fan of The Good Weekend Quiz, the event is hosting a live rendition of the weekend ritual — which will, of course, be food- and drink-themed. From there, the program spans a lengthy list of excuses to eat, drink and be merry — and in a hefty lineup of spots as well. If you head to Mister Bianco, you can choose between multiple meals that nod to Sicily's seaside, while visitors to Sake will enjoy a five-course nose-to-tail bluefin tuna menu. Or, over at Gingerboy, the lineup will take inspiration from Indonesia, Korea and the Philippines; at Rosetta, paying tribute to stomach-warming braises, stews and slow-poached dishes is on the bill; and, at Farmer's Daughters, Gippsland-sourced truffles are the hero ingredient during a five-course lunch. Throw in a spice solstice feast at Spice Temple, a gin-paired dinner at Estelle, a luncheon dedicated to prosecco and sparkling sake at Hemingway's, Thai street food and cocktails at Longrain, weekly taco flight nights at Mamasita and Italian yum cha at The Grand Hotel, and you definitely won't be hungry in June. Melbourne Good Food Month runs throughout June 2021, with tickets on sale at 9am on Thursday, May 6. Top image: Longrain, Eugene Hyland.
This two-level Mornington precinct is the latest addition to Johnny di Francesco's award-winning pizza empire, featuring a 400 Gradi restaurant; a Zero Gradi Gelateria and Dessert Bar; and an outpost of di Francesco's delicatessen concept, Gradi Mercato. Inside, earthy tones, elegant finishes and terrazzo countertops carry on the familiar 400 Gradi aesthetic. Downstairs houses a casual wine and snack bar, plus a chic dining room, while the upstairs restaurant space boasts its own bar, al fresco terrace and balcony with bay views. A kitchen headed up by Pierre Khodja (Pinchy's, Camus) and 400 Gradi pizzaiolo Giuseppe Fortunato is serving the full lineup of 400 Gradi favourites, alongside a raft of seafood-centric 'al mare' additions inspired by the venue's coastal location. Classics like the meatballs in napoli ($18), spinach-ricotta agnolotti ($34) and the legendary World's Best Pizza titleholder Margherita Verace ($23) sit amongst newcomers including a spaghettini al granchio with lobster bisque and crab meat ($38), and a dish of local mussels cooked on the Josper ($44). A supporting cocktail list employs plenty of creative flair, with sips like a passionfruit and cardamom margarita ($18), a bacon-garnished Breakfast Old Fashioned ($20), and the Ruby Rose Martini sporting a crown of dry ice ($18). Zero Gradi and Gradi Mercato have their own space on the lower level, with the former slinging the brand's trademark offering of hand-churned gelato and artisan sweet treats. Meanwhile, the deli promises to be a one-stop shop for at-home Italian eats, stocked with ready-to-heat meals, fresh pasta, antipasto trimmings, pantry goods and more. [caption id="attachment_819510" align="alignnone" width="1920"] Breakfast Old Fashioned, by Kristoffer Paulsen[/caption] Images: Kristoffer Paulsen
When it comes to classic comfort food with a distinctly Aussie accent, the humble hot pie is at the head of the pack. With saucy filling wrapped in a neat package of flaky, buttery pastry — what's not to love? The pie is a versatile little beauty, just as happy being hoofed down alongside a lively footy match, as it is being scoffed barefoot after a session at the beach — a true-blue Aussie favourite. Luckily, this city of ours is dishing up some beautiful renditions of the beloved flaky treat from award-winning chunky steak bakery pies, to less traditional creations boasting innovative, chef-inspired fillings. And we've rounded up some of the standouts. Stock up on napkins, lock in your sauce strategy and check out our pick of Melbourne's best pies. [caption id="attachment_623231" align="alignnone" width="1920"] Annika Kafcaloudis[/caption] THE PIE SHOP, BRUNSWICK EAST The Brunswick East iteration of Pope Joan might be no longer, but sibling and former next-door neighbour The Pie Shop is very much alive and kicking. Another brainchild of renowned chef Matt Wilkinson (Crofter, Montalto), the store is slinging a tidy curation of crisp, golden goodies every Friday and Saturday, with both piping hot pies and heat-at-home varieties available. Signature small serves include The Brian — a blend of mushroom and gruyere, the Shazza — starring cauliflower, leek and cheddar, and a shepherd's pie dubbed The Steve. Or, challenge yourself by thinking a little bigger and grab one of the family-serve pies, filled with the likes of chunky beef and vegetable, or rich lamb casserole. PIE THIEF, FOOTSCRAY This unconventional pie shop is one of the darlings of Melbourne's west, loved for its friendly vibe, nostalgic touches and rotating menu chock full of innovative eats. Since launching in 2019, Pie Thief has been sating those pie cravings with restaurant-y signatures like the chunky steak (braised in a stout made by fellow Footscray locals Hop Nation), the Thai red chicken curry, and plant-based varieties such as a vegan spaghetti bolognese and the barbecue jackfruit with jalapeno. There's also a rotating Pie of The Week special to tempt you, though we trust you'll find it hard to leave without at least one serve of the legendary lasagne pie — a monster layered with bolognese, bechamel and pasta. COUNTRY COB BAKERY, SPRINGVALE, BORONIA AND KYNETON When a bakery consistently reigns supreme at the revered Australia's Best Pie Competition, earning multiple awards each year, you know it's got the goods. Now with three outposts, Country Cob Bakery is slinging a menu of famously good pies, ranging from traditional bakeshop favourites to inventive new-school creations. Prepare to be spoilt for choice, with numerous vegetarian options, an array of seafood-filled pastries — lobster pie, anyone? — and plenty of different chicken pie varieties. If you're after something meaty, keep things simple with the champion pepper beef pie, or go for a more gourmet combination, like caramelised pork and pepper, rich lamb ragu or chilli beef con carne. Tasting packs are also available if you simply can't decide. [caption id="attachment_809698" align="alignnone" width="1920"] Julia Sansone[/caption] A1 BAKERY, BRUNSWICK Worlds apart from the traditional Aussie Four'N Twenty, A1 Bakery's beloved baked goods are a celebration of Lebanese flavours through and through. The family-run bakeshop and grocer is renowned for its authentic Middle Eastern eats, serving up pastry-induced happiness since 1992. Here on Sydney Road, the 'pie' takes many different forms, though crisp, golden pastry and generous, flavour-packed fillings are always a given. Try the boat-shaped pie creation loaded with shanklish cheese, tomato and herbs, a dense spinach triangle crammed with cheese or perhaps one of the plump crescent pies sporting a lush cheesy centre. [caption id="attachment_824902" align="alignnone" width="1920"] Karon Photography[/caption] WONDER PIES, COLLINGWOOD AND BULLEEN With legendary chef Raymond Capaldi at the helm, local pie business Wonder Pies certainly has some chops. Capaldi works to the motto, 'you should be able to eat a pie whilst riding a bike', so expect some very good house-made pastry engineered with great structural integrity. Current menu highlights include a chunky beef with cheese and pepper, the butter tandoori chicken pie, a dense lasagne hybrid and an indulgent mac 'n cheese variety. What's more, each pie is finished with a silky double French glaze for extra flavour points. The kitchen is whipping up both small pies and family-sized beauts, along with the quintessential three-bite party pie, and there are plenty of multi-packs on offer. NORTHCOTE BAKESHOP, NORTHCOTE Stunning sourdough loaves, traditional French croissants and some standout breakfast rolls have cemented Northcote Bakeshop's status as a leader of the Northside's baked goods game. But pie-lovers will also find themselves in excellent hands here, thanks to a short but stellar lineup of savoury pastry delights. Right now, you can sink your teeth into a tarragon chicken number, finished with confit garlic and leek. Or, go meat-free with the potato and leek pie starring spring vegetables and salsa verde. Both come in solo serves teamed with a thick house-made relish, plus there's a signature beef and lamb sausage roll if you're feeling especially peckish. PURE PIE, DOCKLANDS From individual pastries you can polish off in a few bites, through to hefty family-sized pies that'll feed four with leftovers, Pure Pie has pretty much all levels of pie craving covered. The Docklands-based bakery is whipping up a sizeable array of sweet and savoury baked goods for just about every palate, with both freezer packs and ready-to-eat varieties on offer. On the current menu, you'll find options like slow-braised beef with cheddar and Guinness, a mild butter chicken concoction, the chicken and mushroom blend finished with a hit of tarragon, and a breakfast-inspired chilli bean, spinach and feta pie. If you can't make it in-store, order online for home delivery or catch Pure Pie at your local weekend market. FATTO A MANO, FITZROY It's only fair to warn you that a visit to this Fitzroy bakery will likely see you leaving with a bunch more goodies than you originally had on your shopping list. Fatto a Mano's counter is forever brimming with a tasty array of homemade treats from cakes, tarts and loaves, to freshly-baked muffins, and giant slices of the famed house pizza. Among them, you'll find a rotation of rustic solo-serve hot pies, with popular savoury fillings including the likes of an aromatic chicken curry, organic beef, and the mushroom with spinach and haloumi. Vegan options abound and there's even a range of gluten-free pies, topped with crispy shredded potato. RICHMOND PIE SHOP, RICHMOND It should come as no surprise that Richmond Pie Shop specialises in baked goods of the round, pastry-based variety. And they're premium specimens, too. Should you find yourself in Melbourne's inner-east and in search of a hot pie fix, consider yourself spoilt for choice with this bakery's extensive menu. Classic options include the likes of a cheesy beef and bacon, an Aussie-style beef and a potato-topped shepherd's pie. Or, you can step things up a notch with one of the gourmet creations — perhaps the lamb and rosemary, a Thai chicken number, or the veg-friendly cauliflower and leek pie. There's even a party pie for the snack fiends among you, priced at an easy $2 a pop. HONOURABLE MENTIONS: Fitzroy bakery Babka is serving up a tidy selection of simple, yet satisfying pies, with home-style fillings starring chicken, lamb and beef. Handmade hot pies are a passion at Keith's Pies in Richmond, where you'll find fillings like chunky steak and pepper, creamy chicken and mushroom, and even a bacon-infused brekkie blend. There's only one pie on Falco's standard menu, but it's an absolute ripper, featuring all the flavours of the famed Rockwell & Sons burger wrapped into house-made pastry. Magnum Pi is doing handcrafted pies available for delivery across Melbourne, with crafty fillings like chicken moussaka and green mac 'n cheese. Mornington Peninsula pie-slinger Johnny Ripe is best known for its sugar-dusted apple creations, but also makes a cracking savoury family pie. Top Image: Pie Thief's legendary lasagne pie.
Cute creatures are never far from the silver screen, and neither are the loving bonds between pets and their people. From animated kids films to tear-jerking dramas, the connection between humans and animals is a movie staple — and yet, Heart of a Dog is unlike anything you've ever seen before. Thi personal, poetic and poignant cine-essay is a heartfelt love letter to a canine that made director Laurie Anderson's life brighter; an introspective yet expressive catalogue of her inner musings; and an examination of the mortality that stalks those with both two legs and four. It's also one of the ways that the artist and filmmaker tried to process her grief for not only the titular pooch, but for her husband Lou Reed, to whom the film is dedicated. That's a wide and vast array of content swirling around in one package, but swirl it does. It ebbs and flows, waxes and wanes, and bursts forward and then fades; seemingly shifting, switching and segueing whenever the mood strikes. Flitting between hand-drawn images, photographs, archival clips and even a canine's-eye view of the world, Heart of a Dog is as concerned with capturing and cultivating sensations and emotions as it is telling tales and exploring topics. Indeed, if ever there's been a movie equivalent of stepping inside someone's brain, then this is it. A rat terrier named Lolabelle, lovingly captured in home videos before her death in 2011, provides the starting point for the intimate excursion into Anderson's thoughts, feelings, worries and wonderings — and when you see the pooch, you'll understand why. There's a sparkle in her eye, just as there's a lift in Anderson's voice whenever she shares her recollections of the critter that was more than just part of the family. But, memories are like branches: they each reach out in a different direction. Lolabelle inspires many a new subject as Anderson's mind keeps wandering. In some moments, she dives deep into her childhood, including her relationship with her mother. In others, she ruminates upon the Tibetan Book of the Dead, and the broader, existential matters that it conjures. And in yet others she lets viewers watch as Lolabelle plays tunes on an electronic keyboard. Whatever she's stumbling across or putting on the screen, Anderson offers honest slivers of her life that prove astonishingly universal, while simultaneously making the weighty seem both intimate and personal. With all this in mind, it shouldn't surprise anyone that Heart of a Dog is something that you experience rather than simply view. In the process, gaining a thorough appreciation for both the artistry and just how hard Anderson and company worked to achieve it is all part of the package. It mightn't seem like it when you're roaming through her innermost thoughts and fears – in fact, the feature is so fluid that it appears rather effortless – but making a movie like this isn't easy to make. Nothing this earnest, resonant and revealing ever is.
Attention country music lovers, we have big news we know you'll like. CMC Rocks 2023 is adding a 16th year to its reign as the biggest and most popular country music festival in the southern hemisphere. From Friday, March 17 to Sunday, March 19, Willowbank Raceway (just a 50-minute drive from Brisbane's CBD) will play host to a roll call of country legends and their sweet tunes. Which legends? Zac Brown Band, Morgan Wallen, Kip Moore, Ashley McBryde and Mitchell Tenpenny, to name just a handful from the jam-packed roster. With twin stages and a fully booked program, the tunes won't stop until Monday comes. Camping and glamping options are currently sold out, but there'll be a resale facility opening before the festival in 2023 where you can get your hands on any pre-loved tickets. You could also stay in one of Ipswich's many lovely overnighters and get the festival bus in. [caption id="attachment_878012" align="alignnone" width="1920"] Dave Kan[/caption] For one absolute showstopper of a weekend, you can sing and dance the night away to the pipes of 28 of the world's biggest and best country singers. All in sunny Ipswich, which has sights and experiences aplenty: think Breaking Bad-themed restaurants, helicopter tours and more. So clear your calendar and make a proper trip out of it. CMC Rocks takes over Ipswich from Friday, March 17 to Sunday, March 19. Tickets are sold out, but head to the website to join the waitlist and be the first to know when the official resale opens.
Louise Hearman's distinctly cinematic paintings and drawings take on a dreamlike quality as they combine everyday imagery with dark and surrealistic impressions, creating an otherworldly atmosphere. Throughout her 25-year career, Hearman's works have remained nameless, choosing to let her audience attempt to decipher or give their own meanings to the scenes she puts forth. They've repeatedly returned to familiar settings such as the suburbs of Melbourne and the regional countryside, alongside more hallucinatory images of isolated stretches of road, the back of an anonymous heads and the illuminated face of a child floating in the sea. Mostly creating her works with oils on Masonite, Hearman produces her supernatural images on a relatively small-scale. Shown at the stunning TarraWarra Museum of Art in the picturesque surrounds of Healesville and the Yarra Valley, this is the first major review of Hearman's vast collection of works and runs until May 14. Image: Louise Hearman, Untitled #1118 (2005), oil on composition board.
Need a reason to make a date with Bluesfest in 2025, in what might be the event's last year? There's plenty. Ten-time Grammy-winner Chaka Khan and rains-blessing rock group Toto are two, and also showcase the Byron Bay festival's commitment to variety. There aren't many events in Australia where audiences will find the Queen of Funk and the yacht-rock favourites behind 'Africa' on the same bill. Khan is playing an Australian-exclusive set to celebrate 50 years in music, and returns to Australia two years after headlining the 2023 Melbourne International Jazz Festival. Among the Chicago-born singer's hits: 'I'm Every Woman', which was later covered by Whitney Houston; the Prince-penned 'I Feel for You'; and 'Ain't Nobody' with her funk band Rufus. As well as hearing the drums echoing tonight in 'Africa', Toto's discography includes fellow anthems 'Hold the Line' and 'Rosanna' — and its members are known for playing on a wealth of albums from other artists in the 70s and 80s, including 'Thriller'. [caption id="attachment_986631" align="alignnone" width="1920"] Michelle Brody[/caption] Across the Easter long weekend, so from Thursday, April 17–Sunday, April 20, 2025, Bluesfest will also welcome Crowded House, Ocean Alley and Vance Joy, plus Hilltop Hoods, Budjerah, Kasey Chambers and The Cat Empire — and Xavier Rudd, John Butler, Tones and I, Missy Higgins, George Thorogood & The Destroyers and many more. 'Sailing' and 'Ride Like the Wind' singer Christopher Cross is another yacht-rock inclusion. Before it started announcing its roster of talent in August 2024, the festival advised that it would bid farewell with its 2025 event, marking the end of an era — and coming at a time when Australian fests have been struggling and cancelling (see: Groovin the Moo, Splendour in the Grass and Spilt Milk, for just three high-profile examples). Bluesfest saying goodbye may no longer be happening, however, with reports that discussions are underway about the festival's future and also that artists are already being booked for 2026. Bluesfest 2025 Lineup: First announcement: Crowded House Vance Joy Ocean Alley Tones and I Gary Clark Jr Rag'n'Bone Man RY X Allison Russell Christone 'Kingfish' Ingram Brad Cox Here Come the Mummies The California Honeydrops Marc Broussard Pierce Brothers Taj Farrant Fanny Lumsden 19-Twenty WILSN Cimafunk Neal Francis Second announcement: Hilltop Hoods Xavier Rudd John Butler The Cat Empire Kasey Chambers Melbourne Ska Orchestra CW Stoneking Budjerah Lachy Doley Group Ash Grunwald Kim Churchill Miss Kaninna The Beards Velvet Trip FOOLS ROSHANI Sweet Talk The Memphis Three featuring Fiona Boyes, Jimi Hocking and Frank Sultana Third announcement: Missy Higgins George Thorogood & The Destroyers Rodrigo y Gabriela Nahko BJ The Chicago Kid Melody Angel Don West Fourth announcement: Chaka Khan Toto Christopher Cross Maoli Clarence Bekker Band Hussy Hicks Eric Stang The Steele Syndicate The Royals Bluesfest images: Joseph Mayers, LD Somefx and Roger Cotgreave.
Which cravings will Wonka inspire? Chocolate, of course, and also an appetite for more of filmmaker Paul King's blend of the inventive, warm-hearted and surreal. The British writer/director's chocolatier origin story is a sweet treat from its first taste, and firmly popped from the same box as his last two movie delights: Paddington and Paddington 2. Has the helmer used a similar recipe to his talking-bear pictures? Yes. Was it divine with that double dip in marmalade, and now equally so with creative confectionery and the man behind it? Yes again. While it'd be nice to see King and his regular writing partner Simon Farnaby (also an actor, complete with an appearance here) make an original tale again, as they last did with 2009's superb and sublime Bunny and the Bull, watching them cast their spell on childhood favourites dishes up as effervescent an experience as sipping fizzy lifting drinks. It's as uplifting as munching on hover chocs, too, aka the debut creation that Wonka's namesake unveils in his attempt to unleash his chocolates upon the world. Willy Wonka (Timothée Chalamet, Bones and All) has everlasting gobstobbers, golden tickets and a whole factory pumping out a sugary rush in his future, as Roald Dahl first shared in 1964 novel Charlie and the Chocolate Factory, then cinemagoers initially saw in 1971's Gene Wilder-starring all-timer Willy Wonka & the Chocolate Factory. Wonka churns up the story before that story, and technically before 2005's Charlie and the Chocolate Factory from Tim Burton (Wednesday) as led by Johnny Depp (Minamata) — but the less remembered about that most-recent adaptation, the better. There's no on-the-page precedent for this flick, then. Rather, King and Farnaby use pure imagination, plus what they know works for them, to delectable results. What they welcomely avoid is endeavouring to melt down Dahl's bag of tricks and remould it, and also eschew packing in references to past Chocolate Factory flicks like a cookie that's more chocolate chips than biscuit. Wonka is a prequel devoted to telling its own tale — and deliciously — instead of stretching itself like over-chewed bubblegum to stick again and again to all that precedes it. The nods are there, including in the type of villains that Dahl could've penned, and the turns of phrase. Visual minutiae harks backwards, top hat and all, while 'Pure Imagination' and the Ooompa-Loompa flute whistle get more than a single spin. In the worst of the throwbacks, obesity is used as a gag once more like over half a century hasn't passed since Willy Wonka was conjured up. But they're all the feature's sprinkles, not its main ingredients. Come to Wonka and you'll be viewing a film that values its own narrative, magic, whimsy and wonders by the bucketful. Swimming in its river of hopes, aspirations, enchantment and earnestness brings Barbie to mind, in fact, in how to bake something new and flavoursome from pre-existing intellectual property. The trailers largely hide it; however, Wonka is as much of a musical as pop culture's greatest sweet tooth's prior dances across the screen, opening with him singing as he sails to the unnamed European locale that's home to the Galeries Gourmet. Once back on land, he's soon spent his 12 silver sovereigns before a day has passed and his introductory number is over, but the eccentric's hat full of dreams — a Mary Poppins-esque item that contains all manner of physical marvels, too — hasn't come close to running out. Mere minutes in, Chalamet shows how magnificently he's been cast as the wide-eyed, eternally optimistic, crooning-with-cheer young Wonka, wearing sincerity as closely and comfortably as his character's go-to purple suits. He's a daydream made tangible, whether beaming with enthusiasm about every chance that comes Willy's way, speaking in sing-song rhymes or frolicking with a waved-around cane. Never trying to be previous versions of Wonka (no one can replicate Wilder, and no one should want to ape Depp), he's a pleasure at getting goofy as well, sans even a dash of the exquisitely played moodiness, vulnerability and cool that's served him so well in Call Me By Your Name, Lady Bird, Little Women and Dune. At Willy's new home, three shops run by Slugworth (Paterson Joseph, Boat Story), Prodnose (Matt Lucas, DC's Legends of Tomorrow) and Fickelgruber (Mathew Baynton, Ghosts) monopolise the sweets trade, but he wants to be the mall's next candyman. The chocolate cartel doesn't take kindly to newcomers, though, or making treats affordable to the masses. With assistance from a corrupt cleric (Rowan Atkinson, Man vs Bee) and chocoholic chief of police (Keegan-Michael Key, The Super Mario Bros Movie), the core trio has the power and influence to send their unwanted competitor's life's wish down the drain before it even gets a chance to set. Finding a place to stay at a washhouse run by Mrs Scrubbit (Olivia Colman, Heartstopper) and her offsider Bleacher (Tom Davis, Romantic Getaway), then getting landed with a debt that'll take 27 years of labour to pay off for just a night's slumber, also threatens to give his quest a sour taste. Then there's the orange-skinned, green-haired Oompa-Loompa (Hugh Grant, Dungeons & Dragons: Honour Among Thieves) stealing Wonka's cocoa morsels out of revenge. All innocence, charm, buoyancy and tenderness just like a certain Peruvian mammal, Chalamet's star turn is the acting equivalent of having dessert for dinner and relishing every second. That said, there's nothing insubstantial about the fellow talents that surround him, with King's knack for filling parts big and small getting another scrumptious whirl. If the filmmaker wants to continue providing Grant with the scene-stealing comedic supporting roles of his life, audiences will devour his presence. Bringing Sally Hawkins over from the Paddington films to play Wonka's mother in flashbacks is a joyously touching move. Joseph, Lucas and Bayton make entertainingly haughty villains, while Key, Colman and Davis (also a Paddington 2 alum) are all having a ball. Farnaby turns a silhouetted moment as a security guard feasting on Willy's big night out truffle into a gem. And among Scrubbit and Bleacher's other indentured workers, Calah Lane (This Is Us) invests feeling and pluck in the orphaned Noodle, with Jim Carter (Downton Abbey: A New Era), Rakhee Thakrar (Sex Education), Natasha Rothwell (Sonic the Hedgehog 2) and Rich Fulcher (Black Mirror) engagingly rounding out the rag-tag laundry crew. Fulcher's involvement, like Farnaby's, nods to another jewel that King helped gift the world: The Mighty Boosh. The director helmed all 20 episodes, plus the comedy troupe's live Future Sailors Tour special — and its phantasmagorical and heightened vibe, as well as its winning wit, offbeat humour, fondness for silliness and textured details, live on in the filmmaker's big-screen efforts so far. Much is made in Wonka of Willy's compendium of components for his ingenious chocolate, such as giraffe's milk, salty tears from a Russian clown and liquid sunshine. King crafts his own irresistible confection in the same way, with heapings of gorgeous spectacle via its lavish cinematography (by the OG Oldboy's Chung-hoon Chung), production design (Nathan Crowley, Tenet) and costuming (Paddington franchise returnee Lindy Hemming); everything that his actors splash in; and also the memorable score (Joby Talbot, Sing 2) and tunes (Talbot and Neil Hannon, who were both in Northern Ireland-born band The Divine Comedy). And the banding together to bring down capitalist bigwigs dotted in the plot? What a cherry on top it proves.
Victoria's newest luxury spa destination doesn't require a jaunt down the coast or a road trip all the way out to Daylesford. In fact, full-body bliss now awaits you just 10 kilometres from the CBD, at Ivanhoe's new urban retreat and spa Relinque. It's the brainchild of osteopaths Dr Michelle and Dr Adam Wilson, who set out to create a holistic wellness destination specialising in tailored experiences. The space itself is the kind of serene, soothing setting you'll happily escape to for a few hours of indulgence, decked out with modern interiors by Richmond's Studio Tate. Relinque's treatment offering is built on the founders' decades of osteo experience, carefully tuned to help refocus, rebalance and restore that pandemic-weary body. Guests can choose from four signature 'journeys' or treatment packages, sitting at between 80 and 170 minutes of pampering. In the mix, there are body scrubs, massages, hand and foot treatments, wraps and facial therapies, with individualised combinations also available. If you're seeking some additional rejuvenation, you can soak up the benefits of hot and cold contrast therapy here in Melbourne's only privately-owned steam and ice room. The gig involves alternating between a steamy 45-degrees and the frosty temperatures of an ice fountain, to take advantage of the practice's healing, regenerative properties. Products used at the retreat include the full line of organic, botanically-charged products from leading Aussie skincare brand LaGaia, whose experts have personally trained all Relinque staff. And if you'd like to make this your new one-stop wellness shop, there's also a calendar of regular yoga and pilates classes to come. Find Relinque Urban Retreat and Spa at 19 Upper Heidelberg Road, Ivanhoe.
When the weather's fine, and you want to celebrate making it through another nine-to-five, there's nothing better than sippin' a cocktail in the afternoon sun. So, we've got some good news: there's a new lush oasis in town that'll help the workday woes wash away and you'll find it right in the CBD. Tanqueray has taken over Garden State Hotel on Flinders Lane for one month, filling it with tons of hanging greenery and a bar that's slinging gin cocktails with an icy twist. The menu will feature four versions of the Tanqueray gin and tonic — using either London Dry, No. TEN, Flor de Sevilla or Rangpur — and they're all frozen. There's the classic G&T with tonic and orange ($14), the Clover Club with pomegranate and citrus ($14), a green tea gimlet with green tea and lime ($14) and the Salty Dog with pink grapefruit and salt ($15). The pop-up will be open every day from 5pm, Monday to Thursday, and from 11am, Friday to Saturday.
"Your nose like a delicious slope of cream / And your ears like cream flaps / And your teeth like hard shiny pegs of cream." Dîner en Blanc — like Howard Moon's poem — will have you in all white. But sorry Booshers: the third edition of this annual Melbourne event is just for the sophisticated. Dîner en Blanc began in Paris back in 1988 thanks to François Pasquier and friends. This year, 2800 of Melbourne's most dedicated dinner party guests will once again dress in all white on Saturday, February 24 for the event, which will be held at a suitably stunning location. That detail remains secret until the very last moment, but over the last few years, the Docklands waterfront and riverside in front of the Convention and Exhibition Centre have proved welcoming venues. Guests have to bring their own wares though — it's BYO table, chairs, glassware, dinnerware and white tablecloth as well as picnic (although you can order a hamper for pick-up on arrival). After the evening of fine dining and live music, the foodies then pack up their crystal, dinnerware, tables and litter. Like ghosts (white 'n' all), they leave behind no sign of their rendezvous — but don't get any ideas, a white sheet thrown over your figure will not do for an outfit. Ticketing happens in three phases. If you've attended a previous Dîner en Blanc, you can go right ahead and purchase one, otherwise you must be invited by a member from the previous year. Total newbie? Get on the ol' waiting list. Image: Mark Peterson.
When your nine-to-five plays out like a well-oiled machine, it can sometimes feel like each week is a little same-same. But Melbourne is brimming with a fine bounty of things to experience and explore each and every day. So aside from casual laziness and a little lack of inspiration, there's really nothing stopping you from squeezing some adventure and spontaneity into your schedule. We've teamed up with Mazda3 to help you celebrate the little things that bring a sense of adventure to life. Shake things up, as we give you seven different detours to take each week in Melbourne. From Monday to Sunday, enrich your everyday with one completely achievable activity that inspires you to take the scenic route as you go about your daily routine. This week, dance in lycra, watch horror movies for 24 hours and count how many flaming hot wings you can eat in a sitting. Plus, we've got your future detours sorted for the new few weeks here. All require no more effort than a tiny break from the norm — what's your excuse for not trying them all?
Move over Muriel's Wedding — Australia's getting another homegrown comedy about life, love and tying the knot. That'd be Top End Wedding, which tells a completely different tale, but looks set to warm hearts all the same. Premiering at the Sundance Film Festival this week among a record contingent of Aussie flicks, Top End Wedding follows the chaos that comes with popping the question, trekking across the country and trying to track down a runaway relative. At its centre sits newly engaged couple Lauren (Miranda Tapsell) and Ned (Gwilym Lee). Head over heels and heading off to Darwin to stage Lauren's dream wedding — in the super short timeframe of just ten days — they discover that her mum (Ursula Yovich) has gone AWOL. Tapsell not only stars in the movie, but co-wrote the script. She also reunites with The Sapphires filmmaker Wayne Blair, who sits in the director's chair again here. And if Lee looks familiar (and looks like he should be wearing a massive mop of curls), that's because he's just been seen in Bohemian Rhapsody as Queen guitarist Brian May. Fellow The Sapphires star Shari Sebbens also features in the new film, alongside a cast that includes New Zealand's Kerry Fox and The Bill alum Huw Higginson. Given the film's title, plenty of the Northern Territory's scenery looks destined for some screen time as well. It's not often that we get an Aussie rom-com that takes a road trip through the top end, after all. Check out the first feel-good trailer below: https://www.youtube.com/watch?reload=9&v=uoDBvGF9pPU&feature=youtu.be Top End Wedding will hit Australian cinemas on May 2.
In Spider-Man: No Way Home, everyone's favourite friendly neighbourhood web-slinger still does whatever a spider can. (Don't expect the catchy cartoon theme song, though.) To be precise, Spidey's latest outing — starring Tom Holland (Chaos Walking), as every live-action film in the ever-sprawling Marvel Cinematic Universe that's featured the superhero has — sees him do whatever spider-men have for decades. The masked crusader shoots webs, flings them about New York and swings around the city. He helps people, battles crime, literally hangs out with his girlfriend MJ (Zendaya, Dune) and saves the world, too. As the movie's trailers revealed, Spider-Man also fights whoever his on-screen predecessors fought. The twist that isn't a twist because it's part of the flick's marketing: that villains from Tobey Maguire and Andrew Garfield's stints as Spidey show up here. Those familiar faces, including Willem Dafoe (The Card Counter) as the Green Goblin, Alfred Molina (Promising Young Woman) as Doctor Octopus and Jamie Foxx (Soul) as Electro, aren't Peter Parker's initial problem, as viewers of 2017's Spider-Man: Homecoming and 2019's Spider-Man: Far From Home will already know. No Way Home picks up immediately after the latter, after Spidey's secret identity has been blasted across the internet by online conspiracist J Jonah Jameson (JK Simmons, Ride the Eagle). The media swiftly make Peter "the most famous person in the world", the public get hostile and his college prospects — and MJ and Ned's (Jacob Batalon, Let It Snow) as well — take a hit. The only solution he can see: asking Doctor Strange (Benedict Cumberbatch, The Power of the Dog) to cast a spell to make everyone forget who he is. With drastic magic comes drastic consequences, hence those recognisable nefarious folks who know Spidey — and definitely know that he's Peter Parker — yet don't recognise the MCU's version. Marvel's next flick after this one is Doctor Strange in the Multiverse of Madness, so the franchise is about to go big on alternate worlds, but No Way Home still doesn't actually jump into that domain first. It's a curious choice on the whole huge saga's part to take cues from the animated delight that is Spider-Man: Into the Spider-Verse, which relished having multiple spider-realms, got inventive with both its concept and visuals, won an Oscar and is easily the best spider-flick to-date, all without sitting within the MCU itself. Indeed, the live-action franchise's third stand-alone Spider-Man movie can't shake the feeling that it's playing catch-up. Directed by Jon Watts, as all three recent web-slinging films have been, No Way Home does more than give flesh, blood and spandex to an ace idea already brought to the screen a mere three years back. It also delivers the heftiest helping of fan service that the Marvel Cinematic Universe has ever dished up. The franchise has long enjoyed hitting all the obvious crowd-pleasing notes, but Martin Scorsese's 2019 comment that compared MCU fare to theme parks rings particularly true here — unsurprisingly given this Spider-Man outing wants to elicit the loudest of screams and shouts from its audience. Buy the ticket, take the cinematic ride, ooh and aah over every clear spin and foreseeable twirl: amid the stock-standard CGI-packed action scenes and triple-layered Spidey nods to iterations past, not all that long ago and present, that's what No Way Home seeks from its viewers. And, it takes the rollercoaster approach to evoking that reaction, rolling its story down the most glaring of tracks. You can anticipate each jolt and shake on any given amusement ride, see every up and down coming, and still relish the experience — and that's what No Way Home is hoping for. It wants to be the fun flick that gleefully makes Spidey fans' dreams come true, and to coast on the buzz of all those fantasies fulfilled. That's all busy and nostalgic and undemandingly entertaining but, even though No Way Home isn't short on twists that haven't been laid out in the trailers, this is one of the least surprising MCU films yet. Three-time Spider-Man screenwriters Erik Sommers and Chris McKenna make every expected move they can with this greatest hits package, both within the usual Marvel formula and with the parts of their script that are meant to startle and astonish. As a result, No Way Home's best moments swing in one of two directions: weighty or silly. Much of the movie hovers in the middle, resembling the empty space between an arachnid's silky threads, but when it either burrows deep or keeps things goofy, there's enough that sticks. Pondering the cost of being Spider-Man, the film doesn't fling itself into new territory — and yet it manages to add extra strands to the 'being a superhero is tough' scenario by recognising how such woes keep recurring. Finding laughs in the whole situation isn't unique either, and No Way Home isn't as funny or as loose as Homecoming or Far From Home. Still, that's the vibe that suits Holland; in his stretch in the red-and-blue suit, he's always played Peter like an excited, awkward and overwhelmed teen who's daffily grappling with what it all means, which is particularly pivotal here. There is one brief glorious moment during No Way Home's climax — a trio of shots, all edited together rapidly and framed to match each other — that perfects what Watts is aiming for overall. It's astute, amusing, enjoyable and, although still undeniably obvious, thoughtfully taps into the existential Spidey struggle while simultaneously proving loving and playful. It's the full web, even spanning just seconds, but that term doesn't fit the bulk of the feature that sprawls around it. No Way Home isn't without its charms — Holland and Zendaya's chemistry still sparkles, it's a definite treat to see Dafoe and Molina back in the fold, and, as blasts from the pasts keep popping up, Watts cleverly juggles the varying tones of all three different web-slinging franchises — but this spider-sequel is always happiest when it's trying to catch the audience's claps and cheers just like flies.
It has been five years since Deliveroo started speeding through Australia's streets to bring takeaway meals to our doors. And, as we all like to when a birthday rolls around, it's celebrating. This is the kind of party that rewards everyone, too, with the company delivering $1 meals from more than 26 eateries across Sydney, Melbourne, Brisbane and Adelaide. Each day this week, between Tuesday, November 10–Friday, November 13, Deliveroo is picking a city and gifting its residents meals at $1 a pop. A different number of eateries will be taking part in each location, and they'll each be offering up 100 meals at the gold-coin price. So yes, that means getting in quickly is recommended. First up, from 1–5pm on Tuesday, November 10, is Adelaide. On the menu: dishes from Burgertec, Goodlife Modern Organic Pizza, Cheeky Chook, Blue & White Cafe and Lukoumades. Then, from 12–6pm on Wednesday, November 11, it's Melbourne's turn — with Chicken Episode Plus, Bistro Morgan (including in Collingwood), Tadka Hut, Gelato Messina in Richmond and Royal Stacks Brunswick among the eateries involved. [caption id="attachment_783738" align="aligncenter" width="1920"] Royal Stacks[/caption] When Thursday, November 12 rolls around, Sydneysiders can get their cheap food fix between 1–4.30pm — from Little L, Fishmongers, BL Burgers, Manoosh Pizzeria, Johnny Bird, The Italian Bowl and Burger Patch. Finally, to close out the week of super-affordable eats, Brisbane's Gnocchi Gnocchi Brothers in Paddington, Ginga Sushi Japanese at Emporium, Brooklyn Depot in South Brisbane and The Yiros Shop will get in on the action between 2–5pm on Friday, November 13. There are a few tricks to the $1 special, however. It will really only cost $1 — there's no delivery cost on top of that — but exactly what each restaurant will be offering for that price won't be revealed until the day. And, a new restaurant will appear on Deliveroo's Instagram every hour, which is where you'll find out what's on the menu. From there, you'll just need to search for '$1 deals' when you're ordering online or via the Deliveroo app. And yes, that's an easy way to decide what to eat on the relevant day in your city this week. For further details about Deliveroo's $1 fifth birthday specials — which are on offer in Adelaide from 1–5pm on Tuesday, November 10; Melbourne from 12–6pm on Wednesday, November 11; Sydney from 1–4.30pm on Thursday, November 12; and Brisbane from 2–5pm on Friday, November 13 — keep an eye on the company's Instagram feed. Top images: Johnny Bird, Gnocchi Gnocchi Brothers.
In Steven Soderberg's hands, smooth criminals have fleeced casinos, a stripper with a heart of gold has strived for a better life, and unlikely underdogs have fought for the American dream. Now, the man behind Ocean's Eleven (and Twelve and Thirteen), Magic Mike and Erin Brockovich jumps into the hillbilly heist game. It's a welcome return to the familiar for someone who just pulled off a bait-and-switch of his own — supposedly retiring from cinema after Side Effects in 2013, only to make TV film Behind the Candelabra and stellar medical television series The Knick. Without giving too much away, his recent trajectory has more in common with his latest movie than it might initially seem. The fact is, changing one's fortune is a recurrent theme in Soderberg's stories, as are hard-working folks bucking against the system. Logan Lucky doesn't just happily join the fold, but does so with a knowing smile — at one point, a news report even refers to the caper as "Ocean's 7-11". Set in West Virginia, the charming film follows three siblings who decide that sticking up a big NASCAR race is the answer to their problems. Construction worker Jimmy (Channing Tatum) has the insider know-how from working on a site nearby, and the motivation after discovering his ex-wife (Katie Holmes) is moving across the state line with his daughter (Farrah McKenzie). Car-loving hairdresser Mellie (Riley Keough) has transport sorted, which just leaves one-armed Iraq war vet turned bartender Clyde (Adam Driver) to worry about the supposed Logan family curse. But the trio can't blow their way to riches without demolitions expert Joe Bang (Daniel Craig), who happens to be incarcerated. So it is that Logan Lucky becomes a heist flick and a jailbreak film — as well as an exploration of blue-collar workers struggling to get by, a cops versus crims game of cat and mouse, and a touching story about the importance of family. Throw in plenty of affectionate Southern gags and perhaps the best Game of Thrones joke you're ever likely to hear, and the movie proves a jam-packed package of humour, thrills and feeling. Two things are particularly crucial in Soderberg's working-class pseudo-remake of his glitzy prior hits. Firstly, whether surveying shambling abodes, spying rust spots on well-worn trucks, or poking fun at someone's lack of computer skills, Logan Lucky approaches its characters and their socio-economic situation with warmth. Secondly, though it steps through the usual caper conventions — getting the gang together, resorting to backup plans and avoiding the law — it does so with such zest and vibrancy that you'll forget that you've seen this kind of movie countless times before. Ultimately, it all comes back to Soderbergh. There's a reason his return to the big screen is worth celebrating, and it's not just his penchant for characters making their own luck or his ability to pull together a killer cast. Tatum is never better than when he's being guided by the director, but Logan Lucky is a testament to Soderberg's own skills. Not just directing, but lensing and editing (under well-used pseudonyms) as well, he's a craftsman through and through. Come for the zippy comedy about ordinary people mastering their own destinies. Stay for the entertaining filmmaking masterclass. https://www.youtube.com/watch?v=_eqC27nxHJ4
Lasagne is a bit like lamingtons, even though they taste and look absolutely nothing alike. Their one big commonality: if there's an inventive way to twist either in any way, whatever that dish happens to be is definitely worth trying. Actually, the two foods share something else in common, because Australia's world-famous Lune Croissanterie has also given them both a whirl. It first served up lamington cruffins to kick off 2022, and now it's doing lasagne pastries to welcome in winter. Lasagne, but a pastry? Yes, that's now a real thing that exists — but only for this month, until Thursday, June 30, at all Lune stores around the country. That spans Fitzroy and the CBD in Melbourne, plus South Brisbane in Brisbane. While the brand also has three new outposts in the works — a third in Melbourne, a second in Brissie and its first ever in Sydney — none will be open in time to dish up this limited-time special. So, what are these instantly tastebud-tempting lasagne pastries? Prepare to meet, devour and love the lasagne escargot. It's the first time that Lune has whipped up this particular Frankenstein's monster of a bakery creation — and it's bound to set your stomach alive with deliciousness. Yes, it comes stuffed with bolognese and béchamel. There's also shredded mozzarella cheese, because of course there is. And, that pastry is then topped with parmesan before it goes in the oven. In Melbourne, you'll need to physically head into a Lune to get your mitts on this creative lasagne dish. In Brisbane, you can also order it online. The lasagne escargot leads Lune's June specials menu, which also features peanut pretzels and coconut pandan. For Brisbanites only, there's also cardamom buns, quince and vanilla danishes, and rhubarb and custard cruffins, too. Lune's lasagne escargot are available from all stores — Fitzroy and the CBD in Melbourne, and South Brisbane in Brisbane — until Thursday, June 30. In Brisbane only, you can also order them online.
"You wanna hear a story about how me and this bitch fell out?It's kind of long, but it's full of suspense." They're some of the first words heard in the just-dropped Australian trailer for Zola — and if they sound familiar, that's because this rollercoaster ride of a comedy is based on a lengthy 148-tweet Twitter thread that went viral back in 2015. That October, Aziah 'Zola' Wells tweeted out a hefty tale about a woman she met at Hooters. Zola was her waitress, and they hit it off quickly ("vibing over our hoeism or whatever" is how she explains it in the Twitter thread). Then, the next day, Zola received an invite to head to Florida with her new pal. Where it all goes from there is best discovered either by reading through the chaotic tweets — if you haven't done so already — and, soon, by seeing these OTT events play out in this eagerly anticipated new flick. Indeed, Zola, the film, might ring a bell for a couple of other reasons. It sparked plenty of buzz back at the 2020 Sundance Film Festival — yes, that long ago — but obviously the movie's release both in the US and locally has been delayed by the pandemic, as has proven the case with plenty of other films of late. Also, if you're in Sydney or Melbourne, Zola is one of the already-announced titles on both the 2021 Sydney Film Festival and Melbourne International Film Festival lineups. In fact, it's among the big drawcards at both fests so far. Viewers everywhere across the country will be able to watch the film come September 23, too, as that's when it'll release in Aussie cinemas. Based on the tweets alone, this is one of the year's must-sees. Once you've seen the trailer — which sports a retro aesthetic and a big Hustlers vibe — that feeling will only grow. Bring the story to the screen, Taylour Paige (Ma Rainey's Black Bottom) plays Zola, while Riley Keough (The Lodge) co-stars as her new — and short-lived — friend Stefani. Meanwhile, filmmaker Janicza Bravo (Forever, Them, Mrs America) is behind the camera, guiding viewers on quite the journey. Check out the trailer below: Zola will screen at this year's Sydney Film Festival and Melbourne International Film Festival, before releasing in Australian cinemas on September 23.
My memories of jumping castles as a child usually involved too much birthday cake, nausea and weeks worth of mystery bruises. As an adult, I’d like to believe that there would be significantly less sugar and post-bounce vomiting if given the chance to relive the glory days of jumping like no one is watching. Thanks to the upcoming installation JUMP from UK artist Stuart Semple, we’re going to have the opportunity to double bounce our best friends like it’s Maddy Smith’s sixth birthday party all over again. The internationally-acclaimed artist will be installing a 10mx10m rubber surface, popping up in St Paul’s Court at Federation Square for two weeks in October. With his previous work featured in biennales, major art fairs, and many solo exhibitions across the globe, Melbournians will be fortunate enough to experience Semple’s giant bouncy floor thanks to Fed Square’s Creative Program, who commissioned the work with the aim of giving the public freedom to explore elevation both physically and psychologically. Of the intention behind this work Semple says, "I think that as we get older we tend to lose a connection to the fun, spontaneous child that we once were, finding reasons and excuses not to engage in activities that can elevate our spirit ... JUMP will re-ignite that inner fun-loving sense that we all have." Semple is no stranger to interactive works designed to excite and delight users. Having been in the industry for over 13 years, he is best known for an aerial installation entitled Happy Cloud, which involved releasing more than 2,000 smiley face pink foam ‘clouds’ over major cities such as London and Milan. The best part is that there is no height restriction or requirement, and you don’t even have to ask your mum if you’re allowed to play! Due to popular demand, JUMP remain open 'til October 20.
Socially awkward booze-hounds rejoice! After July, small Melburnian venues with a capacity of 200 or less will be able to apply for exemptions allowing them to serve alcohol past the previously instated 1am cut-off. For those of us who hate the throng of big crowds and waiting in line for hours to get served, our teeny, tiny hole in the wall bars just got that much more appealing. Eligible venues will also need to either offer live music (yes), serve food at all times (double yes) or offer accommodation (yes to the power of infinity). So petite venues with food, live music and accommodation are now able to offer booze into the wee hours, as if we needed more reason to stay out all night at our favourite small bars. The Labor Government is also going to temporarily loosen the freeze around important cultural events like New Year’s Eve and sporting events. Liquor regulation minister Jane Garrett says the original freeze on liquor sales past 1am was intended to reduce alcohol-fuelled violence but research shows small venues are in a low-risk category for this type of behaviour. It’s a positive step towards a more nuanced liquor licensing system that creates variety for revellers, and more importantly, a reasonable response to concerns that the freeze and lockout laws are hurting Melbourne’s entertainment industry. We just pray this doesn’t mean post-1am lines around the block for dinky venues where the booze is still running. Via The Age. Image: Union Electric.
In a time of great upheaval for Australian music festivals, it's rare to get a bit of good news. Which is why we're super-excited to hear that the Secret Garden festival completely sold out in just a few hours, despite having no advertising budget and the lineup not having been released yet. It's testament to the amazing work that the organisers have done over the first five years of this fledgling festival: they have created an event with a great vibe, full of good times and dress-ups (and yes, the occasional paint fight) and they work really hard to make sure everyone has an amazing time. This year's lineup — pulled together by FBi Radio host, GoodGod programmer and all-around great dude Adam Lewis — is full of really excellent Australian bands, all of which have been making serious waves in 2013. There's lots more to come; these are just the first handful of around 40 acts to be announced, not to mention the guerrilla arts performances that pop up all weekend and a huge Farmers vs Zombies battle planned for the first day. But without further ado, here is the first lineup. Bloods Client Liaison D.D Dumbo Donny Benet Elizabeth Rose Goldroom (DJ Set) Lancelot (Live) Little May Nantes Olympia Palms Papa Vs. Pretty Richard In Your Mind The Rubens Ryan Hemsworth Shining Bird Straight Arrows Sures The Trouble with Templeton World's End Press
Greenhart Wine Bar on Toorak Road was your neighbourhood vino-sipping spot. The team paired its natural wines with small, sustainably sourced plates or Euro-centric food — replicating a tried-and-tested hospo combo. Even though it made so much sense for the area, it recently shut down and was taken over by Benjamin Ruan (Benjamin's Kitchen). Instead of going down the common Melbourne wine bar route that's mostly about European influences, he's decided to put his own pan-Asian stamp on the new Greenhart Camberwell. So, instead of pairing a riesling with your usual fresh oysters, match it with a serving of the team's handmade chicken and prawn wontons in a warming bowl of vegetable broth. And forget your cheese platters and charcuterie boards. Change it up with a few soft-shell crab sliders, san choi baos and curry puffs. Larger dishes are also available, including the crispy rockling covered in a ginger, soy and sake sauce; sticky pork belly with chilli caramel and crushed pineapple; roasted duck glazed with hoisin and whisky; and a stack of noodles and curries. Many of these eats are favourites from Benjamin's Kitchen in Alphington, which Ruan has adapted for the wine bar setting. Wines are a mostly Aussie affair, with a few drops from Italy and France thrown in for good measure. For a wine bar, the wine list could be a bit longer, but it's still early days for Greenhart Camberwell. A healthy selection of spirits, Australian and Japanese beers, and cocktails are also up for grabs. Tuck into all of these offerings inside at the bar or by the window to watch folks wander down Toorak Road, or head to the hidden courtyard out back when the sun is shining. It's great to see a Melbourne wine bar stray away from the usual European aesthetic, instead showing how contemporary Asian food and Aussie wines are a perfect pairing. You can find Greenhart Camberwell at 1226 Toorak Road, Camberwell. The wine bar and restaurant is open Tuesday–Thursday 4–10pm, Friday and Saturday 12–3pm and 4–10pm, and Sunday 4–10pm. For more information, head to the venue's website.
It has been a big year for fans of The Crown, and the show hasn't even released any new episodes in 2020 so far. At the beginning of the year, Netflix announced that it would end the royal drama after its fifth season. Then, it had a change of heart, revealing it would continue the series for a sixth season. That's quite the drama — and all of this before the show's fourth season has even aired. If you prefer your royal intrigue on-screen, however, the streaming platform has now just dropped its first teaser trailer for the aforementioned fourth batch of episodes. The clip only runs for 46 seconds, so it doesn't give very much away at all; however Oscar-winner Olivia Colman is back as Queen Elizabeth II. Fans also get the tiniest of glimpses of The X-Files icon Gillian Anderson as Margaret Thatcher and Pennyworth's Emma Corrin as Lady Diana Spencer, too. Also included is a rather pivotal tidbit for The Crown aficionados: just when the show will make a comeback this year. Block out Sunday, November 15 in your diaries, as that's when you can start binging. As Anderson's casting intimates, the fourth season is set to take place during Thatcher's time as Britain's prime minister — and as the sight of Diana in a wedding dress demonstrates, will feature the latter's wedding to Prince Charles (God's Own Country's Josh O'Connor). It'll also be the last chance for fans to enjoy seeing the current lineup on talent, with the series' fifth and sixth seasons — which are expected to follow the Queen in the 1990s and 2000s — switching out its cast again. The show already did exactly that after seasons one and two, of course. This time, after season four, Downton Abbey, Maleficent and Paddington star Imelda Staunton will don the titular headwear, and Princess Margaret will be played by Staunton's Maleficent co-star and Phantom Thread Oscar-nominee Lesley Manville. Also, Game of Thrones and Tales from the Loop's Jonathan Pryce will step into Prince Philip's shoes and Australian Tenet, The Burnt Orange Heresy and Widows star Elizabeth Debicki will play Princess Diana. Check out The Crown's first season four teaser below: https://www.youtube.com/watch?v=_TGInHPoufg The Crown's fourth season will hit Netflix on Sunday, November 15. Image: Sophie Mutevelian / Netflix
IMAX devotees aren't just big-screen obsessives. Rather, they're massive-screen obsessives. When a film is available in the largest possible format, only that will do. Everyone has a movie-loving friend that wouldn't see Oppenheimer anywhere else, or David Bowie documentary Moonage Daydream, Avatar: The Way of Water and Top Gun: Maverick before that. IMAX Melbourne's returning film festival is obviously for them — and everyone else as well. If you didn't head along in 2024, meet the Biggest Best IMAX Film Festival, an event dedicated to the biggest and best titles that the venue can possibly play on its 32-metre-wide by 23-metre-tall screen. It's the world's largest 1.43:1 cinema screen, and it's getting flickering with some of those aforementioned pictures and a heap more on various dates until the beginning of March 2025. Iconic Talking Heads concert film Stop Making Sense is one must-see movie on the lineup, but it has plenty of impressive company. Animated masterpiece Akira, Titanic in 3D, Tom Cruise's Mission: Impossible — Dead Reckoning Part One and Top Gun: Maverick, Australia's own Mad Max: Fury Road, sci-fi great The Matrix, the iconic Apocalypse Now: they're all on the program. So are a stack of Christopher Nolan films, such as Inception, Interstellar and Tenet, plus the full Dark Knight trilogy, all in IMAX 1570 (the highest resolution available, going up to 16K, with Melbourne the only place in the country that can show it). Or, catch a double of Dune and Dune: Part Two, then go blue with Avatar and Avatar: The Way of Water. Of course 2001: A Space Odyssey is on the list as well — it has to be.
Having launched in March of this year, Buxton Contemporary is the newest gallery on Melbourne's art-plenty block and it's pulling no punches when it comes to compelling shows. The first in an exciting annual series of international exhibitions, The Garden of Forking Paths sees Buxton Contemporary unite the distinctive practices of Melbourne-based artist Mira Gojak and Tokyo's very own Takehito Koganezawa. Curated by Melissa Keys and Shihoko Iida, the exhibition features large scale presentations and provocative works which highlight the parallels and contrasting elements between the two art practices. Like forking paths, there are both moments of connection and divergence between the artists' work. Taking place across both floors of the gallery, the show incorporates work from across Gojak's 20-year career, including drawing, sculpture, installation and photographs, with performative video drawings, improvisational works and paper creations by her Japanese contemporary Koganezawa. Located within the University of Melbourne's Victorian College of the Arts at the Southbank arts precinct, The Garden of Forking Paths is on display from Wednesday, November 7 until Sunday, February 17, 2019. Buxton Contemporary is open Wednesday to Sunday, 11am–5pm (Thursday until 8pm) and entry is free. Image: Installation view, The Garden of Forking Paths: Mira Gojak and Takehito Koganezawa, Buxton Contemporary, University of Melbourne. Photographed by Christian Capurro.
Life has been pretty quickly returning to Fitzroy's well-loved neighbourhood local, Builders Arms Hotel. But for quiz fiends and food nerds, the real fun kicks off this Wednesday, February 24, with the much-anticipated return of the pub's legendary trivia night. Working a bit of hump day fun into one Wednesday a month, the series is once again helmed by famously irreverent foodie and host of Triple R's Sunday Eat It program, Cam Smith. Each month, contestants will find themselves engaging in a fierce battle of the facts, with three rounds of questions covering topics from booze and food, to art, culture and even Fitzroy itself. Prepare your senses for a few bonus interactive rounds as well — blind tastings may even be on the cards. Last series, champion teams enjoyed prizes like wine magnums, gourmet meat trays from nearby Meatsmith, loaded food hampers and vouchers to the bistro. To fuel all that brain work, trivia-goers can take advantage of the kitchen's British-accented bistro menu — think, sophisticated cheeseburgers and a fish pie — and that full bar offering, with table service available during play. Images: Harvard Wang.
There's no way you've ever had omakase like that at Ronin. Most Melbourne omakase joints are traditional fine-dining experiences where you delight in multiple courses of artful, meticulously crafted — but seemingly simple — seafood-centric Japanese dishes. The most intimate let you chat with the master omakase chef about the culinary techniques, produce and cultural significance of each dish. It's all about hushed tones and sophistication. At Ronin, Chef Patrick Kwong has no time for such formality. From the moment you sit down at the ten-seat omakase bar, the young chef will beckon you to "get lit" with him and every other guest. He'll likely join you in shooting some tequila and sake throughout the night while the tunes of Taylor Swift, Natasha Bedingfield and Miley Cyrus play in the background. And if you're able to join the second nightly sitting at 8.30pm, it's likely to get pretty rowdy. Vibe-wise, it almost feels like you're at a uni house party. But despite Kwong's friendly laidback attitude, he's incredibly serious about his food. He learned his craft from a Japanese sushi master (who championed the traditional Edo period of omakase) in Malaysia before heading to Sydney, where he worked in several Japanese restaurants. He learned the traditional techniques and customs but had no intention of losing himself within strict codes of how he should behave and what kinds of ingredients he should use. Like Ronin — a type of samurai who had no lord or master — Kwong went on to play by his own rules, deciding when to stick to convention and when to get playful. He started Ronin as a pop-up in Docklands, having to build and dismantle his omakase bar each night. There, he fully honed his rule-breaking style of omakase and became hugely popular. Now Ronin has a permanent location on Little Collins Street (as of December 2023) and it almost immediately books out every time new dining slots are released. If you're lucky enough to get a reservation you'll be treated to 13 courses of outstanding food and, if you're an experienced omakase patron, you'll see how Chef Kwong doesn't just break the rules when it comes to service. He regularly infuses his own Malaysian heritage into dishes — like adding laksa butter to nigiri — while also bringing more contemporary Australian flavours to the experience. For theatrics, he'll even throw glitter on nigiri. But don't let this playful attitude to food fool you. The technique here is next level. And the flavour combos perfectly balanced. Even when he purposely numbs your palate with Sichuan peppers, you'll be keen for more. We could roll through each of the courses and name all the ingredients, but a huge part of the fun at Ronin is just rocking up and going along for the ride, getting a surprise each time Kwong plates up a dish for you. This rising star of Melbourne's food scene takes big swings. And he's absolutely smashing it. If you get the chance to get lit with Kwong, don't miss it. You'll find Ronin at 445 Little Collins Street, Melbourne, open from Tuesday to Saturday. Book a seat at either the 6pm or 8:30pm sittings via the restaurant's website.
Everyone's favourite Fitzroy plant-based pub, Green Man's Arms, is embracing winter by celebrating one of the season's finest offerings — truffles. On Saturday, July 12, the pub will serve up a one-off, five-course lunch packed with truffle decadence, alongside other moreish, plant-based ingredients. Whether you're vegan, vegetarian or none of the above, the food here hits the spot, and you can expect nothing less from Chef Johnny Ly for the truffle lunch. Ly will dish up new and old creations, each with a truffle twist. Guests can expect faux gras canapés; seared king oysters with cauliflower white truffle emulsion and caviar; lion's mane short rib with truffle butter; and even a white truffle semifreddo complete with poached pear and puff pastry. To drink, there's an option to add beer or wine pairings — it is a pub, after all. If you can't make the lunch, the good news is that Green Man's Arms will also be serving truffle specials in addition to the regular à la carte menu throughout July and August. With limited spots, bookings for the Truffle Lunch at Green Man's Arms are expected to go fast. Head to the venue's website to book a spot. Images: Supplied.
Covering a whopping 1000-square metres, Lost and Found Market can easily eat up a whole afternoon. Though it has since moved from its iconic space on Smith Street, the market is still replete with knick knacks, bric-a-brac, retro homewares, and vintage fashion in its new Brunswick home. Composed of 60 individual stalls at any one time, the market is curated by a collection of top scavengers. No more rustling around the racks at the local op shop — all the good stuff is already conveniently under this huge, warehouse roof.
No Child is a one-woman show about the challenges of being a teacher in New York’s toughest schools — think navigating ingrained generational poverty and crime, teenage pregnancy and hormone fuelled hyperactivity, all before the little lunch bell. Though the subject matter doesn’t exactly scream funny, when actualised by one-woman powerhouse Nilaja Sun, whose eight years spent teaching in the US school system informs the performance, the effect is at once hilarious, humanising and heartbreaking. Since premiering off-Broadway in 2006, the play has received international critical acclaim and returns to Melbourne after eight performances in last year’s Melbourne Festival. Amidst the public debate that surrounds the government’s implementation of the Gonski review, No Child offers a sobering portrait of what can happen to the individual when the system fails them. Image via theatreworks.org.au
A film about abstaining from alcohol probably shouldn't make its audience want a drink, but that's exactly what Ruben Guthrie does. On one hand, perhaps the desire to knock back the hard stuff after watching the film speaks to its intended commentary about Australia's booze-friendly culture. On the other, maybe it's just the natural reaction to a movie that is both slickly packaged and self-pitying. Either way, Ruben Guthrie doesn't let the topic of drinking wander far from anyone's minds, whether its titular advertising wunderkind (Patrick Brammall) is guzzling champagne then jumping off the roof of his waterside mansion — and breaking his arm when he almost misses the pool below — or talking about past benders at the Alcoholics Anonymous meeting his mother (Robyn Nevin) swiftly drags him to. Often, he's just arguing about his consumption, first with his disapproving model fiancée Zoya (Abbey Lee), who gives him an ultimatum to stop, and then with his enabling father (Jack Thompson), boss (Jeremy Sims) and best mate (Alex Dimitriades), who can't accept his hiatus from partying. Transitioning from yelling "let's get smashed!" to looking longingly at half-filled bottles, it's the kind of scenario that feels like art imitating life — or a movie adapting a theatre production that was inspired by real experiences more accurately, because that's what it is. Brendan Cowell turned his own attempt to get sober after a big binge into a play, and now fashions it into his first big-screen full-length directorial effort. As a character, Guthrie's aim — and Cowell's before him — is to get through a year without beer, wine, spirits and other tipples. That's clearly a difficult feat for the ad man in the film, made more so by the brash manner in which both the situation and everyone involved in it is depicted. Guthrie feels sorry for himself and seeks redemption, but his behaviour warrants little understanding in return. He lives large, then mopes and yells, with Brammall doing his best to simultaneously channel Cowell and bring nuance to the role. The supporting players, meanwhile, become little more than one-note reminders of Guthrie's conflicting urges. Of course, the constant Aussie fondness for a pint, glass or shot that Ruben Guthrie highlights proves an interesting subject; here, it's just treated a little too superficially, and further suffers when the movie tries to conjure up too much sympathy. Stagey dialogue and travelogue-like shots of Sydney don't add any depth, nor do routine scenes of debauchery contrasted with outdoor activities. Also missing is comedy that does anything more than try to wring laughs out of stating the obvious — as well as the more satirical tone of the play, which might've made the feature and its protagonist feel like a statement. Instead, this cinema cocktail is shaken in its ingredients and, in its final blend of hedonistic excess, garnished with sober navel-gazing. You'll need a stiff drink will wash away the aftertaste.
Every Italian will tell you that no one cooks like their nonna — and to prove that claim true, some of Australia's best Italian chefs and their grandmothers are teaming up for a three-day festival of Italian deliciousness. Running from October 8–10, the Festival of Nonna will be a celebration of the traditional matriarchs of the Boot, with a series of three-course dinners at Collingwood's The Craft and Co. Presented by Sandhurst Fine Foods, it will show off the modern interpretation of Italian food coupled with the tried-and-tested traditions that make the cuisine so damn good. Luca Ciano of Milan's two Michelin-starred Il Luogo di Aimo e Nadia and Massimo Mele of Woollahra's now-closed La Scala on Jersey, will, along with their mums, deliver hands-on demonstrations that show off the tradition and the techniques of crafting the perfect Italian meal. Tickets for the dinners are $65 a pop, which includes three courses with drinks and a sweet party bag.
Trends come in cycles. That's a fact that everyone has not only heard but experienced, and it's also a reality that helps us travel back in time. Missed the grunge era? Fashion revived it in 2023. Love 80s synth sounds? They're not hard to find among pop tunes recently. Wish that you could deck out your home with 60s and 70s decor? In comes IKEA, which is making peering backwards its focus right now. The reason that the Swedish retailer is feeling nostalgic is the same reason that plenty of us do: a big birthday. In 2023, IKEA celebrated 80 years of operation. To mark the occasion, it unveiled the Nytillverkad collection, which scours the company's design archives to hero pieces that've proven a hit in the past, and also riff on its prior highlights in general. That wasn't just a once-off, either. Accordingly, the range keeps dropping new pieces, including a big dose of 60s and 70s items earlier in 2024, and now another batch that's especially fond of the period's flower power. The latest homewares will hit IKEA stores in Australia in April, focusing on bright colours, bold designs and retro florals. Sure, it's autumn here at the moment, but that doesn't have to be the theme of your interior decor. Highlights include floral patterns first introduced in the 70s by designer Göta Trägårdh, including on quilt covers and cushions; a pendant lampshade that initially hit IKEA in 1964; and plant stands and coffee tables that also debuted in the 60s. Or, there's the ÖNNESTAD armchair, which reincarnates the brand's GOGO chair that first arrived in stores in 1972 and remained on offer at the time for more than a decade. It's made out of steel tubes, with updating the piece seeing the chain cutting back from 6.8 kilograms to 3.3 kilograms of the material — and now using high-strength steel — so that it can create twice as many. Prices range from $8 for cushion covers to $199 for chairs, with everything from vases ($19) to mirrors ($99) — available in-between. If all these blasts from IKEA's furniture and homewares past has you thinking about its history, there's a reason that almost everyone can't remember a time before the chain was a homewares go-to. Started by Ingvar Kamprad, aka the IK in IKEA's moniker, it began in 1943 and moved into furniture in 1948. The company then opened its first store in Sweden a decade later — and came to Australia in the 70s. The latest pieces in IKEA's Nytillverkad collection will hit Australia, in store and online, from April 2024 until stocks last. Head to the IKEA website for further details.
UPDATE, April 21, 2023: Elvis is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Prime Video. Making a biopic about the king of rock 'n' roll, trust Baz Luhrmann to take his subject's words to heart: a little less conversation, a little more action. The Australian filmmaker's Elvis, his first feature since 2013's The Great Gatsby, isn't short on chatter. It's even narrated by Tom Hanks (Finch) as Colonel Tom Parker, the carnival barker who thrust Presley to fame (and, as Luhrmann likes to say, the man who was never a Colonel, never a Tom and never a Parker). But this chronology of an icon's life is at its best when it's showing rather than telling. That's when it sparkles brighter than a rhinestone on all-white attire, and gleams with more shine than all the lights in Las Vegas. That's when Elvis is electrifying, due to its treasure trove of recreated concert scenes — where Austin Butler (Once Upon a Time in Hollywood) slides into Presley's blue suede shoes and lifetime's supply of jumpsuits like he's the man himself. Butler is that hypnotic as Presley. Elvis is his biggest role to-date after starting out on Hannah Montana, sliding through other TV shows including Sex and the City prequel The Carrie Diaries, and also featuring in Yoga Hosers and The Dead Don't Die — and he's exceptional. Thanks to his blistering on-stage performance, shaken hips and all, the movie's gig sequences feel like Elvis hasn't ever left the building. Close your eyes and you'll think you were listening to the real thing. (In some cases, you are: the film's songs span Butler's vocals, Presley's and sometimes a mix of both). And yet it's how the concert footage looks, feels, lives, breathes, and places viewers in those excited and seduced crowds that's Elvis' true gem. It's meant to make movie-goers understand what it was like to be there, and why Presley became such a sensation. Aided by dazzling cinematography, editing and just all-round visual choreography, these parts of the picture — of which there's many, understandably — leave audiences as all shook up as a 1950s teenager or 1970s Vegas visitor. Around such glorious centrepieces, Luhrmann constructs exactly the kind of Elvis extravaganza he was bound to. His film is big. It's bold. It's OTT. It's sprawling at two-and-a-half hours in length. It shimmers and swirls. It boasts flawless costume and production design by Catherine Martin, as his work does. It shows again that Luhrmann typically matches his now-instantly recognisable extroverted flair with his chosen subject (Australia aside). Balancing the writer/director's own style with the legend he's surveying can't have been easy, though, and it doesn't completely play out as slickly as Presley's greased-back pompadour. Elvis is never anything but engrossing, and it's a sight to behold. The one key element that doesn't gel as convincingly: using the scheming Parker as a narrator (unreliable, obviously) and framing device. It helps the movie unpack the smiling-but-cunning manager's outré role in Presley's life, but it's often just forceful, although so was Parker's presence in the star's career. In a script by Luhrmann, Sam Bromell (The Get Down), Craig Pearce (Strictly Ballroom, Romeo + Juliet, Moulin Rouge! and The Great Gatsby) and Jeremy Doner (TV's The Killing), the requisite details are covered. That includes the singer's birth in Tupelo, Mississippi, and extends through to his late-career Vegas residency — with plenty in the middle. His discovery by Parker, the impact upon his parents (Rake co-stars Helen Thomson and Richard Roxburgh), his relationship with Priscilla (Olivia DeJonge, The Staircase), Graceland, America's puritanical reaction to his gyrating pelvis, the issues of race baked into the response to him as an artist: they're all featured. Thematically, those last two points thrum throughout the entire movie. Elvis questions why any hint of sex was such a shock, and why it was so easy for a white man who drew his songs, style and dance moves from Black culture, via his upbringing, to be dubbed a scandal. Elvis also does what Luhrmann often does; he's never adapted a fairy tale (no, Moulin Rouge!'s green fairy doesn't count), but he adores larger-than-life stories that seem more than real. Like style, like narrative, clearly, and Presley's leap to the most famous man in the world and, sadly, to exploited, caught in a punishing trap, addicted, and then dead at just 42, has that touch to it here. Yes, that remains true even though this will always be a tragic story. That said, amid the visual flourishes that help cement the vibe — the filmmaker's usual circling images, split-screens, match cuts, frenzy of colour and visible lavishness, aided by cinematographer Mandy Walker (Mulan), plus editors Jonathan Redmond (The Great Gatsby) and Matt Villa (Peter Rabbit 2: The Runaway) — there's an earthiness to Elvis. In fact, the ability to make everything both hyperreal and natural is one of the reasons the feature's live performance scenes have such a spark. There isn't a second of Elvis that doesn't play like a Luhrmann film, of course; crucially, it's always an Elvis movie, too. There's that balance at work, even if viewers won't walk away knowing much more about the man behind the myth-sized superstardom — feeling more, however, happens fast, frenetically and often. Most choices that could've been jarring, such as the musical anachronisms, have depth to them. Luhrmann connects Presley's songs and influence with music since and now in several ways. This is a film about influences in two directions, smartly — because noting that Big Mama Thornton (first-timer Shonka Dukureh) was the first to record 'Hound Dog', that artists like BB King (Kelvin Harrison Jr, Cyrano) shaped Presley, and that his musical roots trace back to gospel churches and revival tents, needed to be inescapable in an Elvis biopic circa 2022. Also inescapable thanks to its Gold Coast shoot: spotting almost every Australian actor around Butler and Hanks, including David Wenham (The Furnace) and Kodi Smit-McPhee (The Power of the Dog) as carnival-circuit performers Hank Snow and Jimmie Rodgers Snow. Stranger Things' Dacre Montgomery plays director Steve Binder, who helmed Presley's 68 Comeback Special — the recreation of which is spellbinding. But Butler is always Elvis' force of nature. His physicality in the part, including as Presley ages, is stunning. The soulfulness baked into his portrayal is as well, and moving. That he acts circles around the prosthetics-laden Hanks, who ensures that the self-serving, one-note Parker is easily the film's villain, might sound fanciful in any other movie. But this is Elvis, and seeing Butler play Elvis is one for the money. Doing just that helped make Kurt Russell a star back in 1979, a mere two years after Presley's death, and that taking-care-of-business lightning bolt should strike again thanks to this exhilarating spectacle.
From Thursday, October 6–Sunday, October 23, Melbourne Fringe Festival is returning with a bang, celebrating its 40th anniversary with what's set to be its heftiest program yet. The independent arts festival will this year dish up over 450 events from talent both established and emerging, covering dazzling performances, participatory art, groundbreaking theatre and everything in between. All speaking to the theme: 'It's About Time'. Fringe even has some brand new goodies in store, including Runaway Festival Park — a new pop-up art park at Queen Victoria Market serving a program of comedy, cabaret, circus and drag performances headlined by Bernie Dieter's Club Kabarett. Fringe-goers can also look forward to the return of an old favourite, as the Fringe Parade and Lygon Street Block Party descends on Carlton for a big, bold, inclusive shindig, complete with two outdoor stages and roving performers. The rest of the program is packed with creative delights for all tastes; from a mesmerising contemporary dance installation in Docklands called Pendulum, to an all-night Meatloaf-themed communal karaoke session. Matthias Schack-Arnott's Groundswell takes the form of a giant percussive rain drum that passersby can 'play' by walking upon its surface. Meanwhile, Prahran Square plays host to a unique live music event, which sees unedited words from three local contemporary writers presented in four-part harmony by a mass choir. [caption id="attachment_823767" align="alignnone" width="1920"] YUMMY Deluxe, Melbourne Fringe Festival 2019, by Theresa Harrison[/caption] Food-meets-art creatives Long Prawn will host a live yabby fishing experience; free participatory public artwork Hexadeca will bring an installation of spinning musical bucket seats to Fed Square; and you can join in a four-hour line dance marathon at Coburg RSL. And of course, gracing stages throughout the festival will be a mega lineup of acts doing what they do best, including Geraldine Quinn, YUMMY, Jude Perl, Kween Kong (Drag Race Down Under), The Chaser's Andrew Hansen, Jordan Barr, Lou Wall and Sarah Ward. [caption id="attachment_867928" align="alignnone" width="1920"] 'Multiply', Melbourne Fringe 2020, credit Gregory Lorenzutti[/caption] Top Image: Duncan Jacobs.
Yarra Valley winemakers Innocent Bystander have thrown open the doors to their new Healesville digs, taking over the lofty space once home to White Rabbit's brewing operations. Launching last week, the cellar door and winery looks set to hold its own amongst the region's many culinary hot-spots, with plans to showcase the label's own award-winning drops alongside a smorgasbord of other Yarra Valley delights. It's a relaxed space, with lots of natural timber and a plethora of seating options, lending itself to wine-tasting fly-bys and long, lazy lunches alike. A whopping, 15-metre stone bar boasts copper wine taps and a KeyKeg system, which means you can sample most varietals by the glass, by the share-friendly carafe or as part of a tasting paddle. There's plenty of local love on display, too, with liquid treats from the likes of Hargreaves Hill Brewery, Four Pillars Gin and Allpress Coffee balancing out all that wine. Meanwhile, an all-day menu is geared for sharing, running from grazing boards and a trio of paella dishes, to classically styled pizzas, fresh from the shiny new Marana Forni pizza oven. Innocent Bystander is open from 10am to 10pm, seven days a week. Find them at 334 Maroondah Highway, Healesville.
Dromana's industrial estate is one step closer to becoming more of a drinking destination than anything else, as it has added yet another small-batch booze outlet to its ever-growing collection. Jimmy Rum has opened the doors to its huge distilling operations and tasting bar. Launching to the public about 18 months after the first bottle of Jimmy Rum was distilled, the digs are roomy and impressive, set across 500 square metres. It's the latest labour of love from founder and head distiller James McPhearson, who jumped into making craft rum after a decades-long career as a marine engineer. As the only distillery in Victoria dedicated to rum, it's currently whipping up four different types of booze: the Barbados, the Silver, the Oaked and the super strength Navy. They're being crafted in a 4.5-tonne, 1500-litre copper still named Matilda, though still have a way to go before they can technically be called rum — Australian classifications require the base spirit to be aged in wooden barrels for at least two years before it's allowed to be technically called as such. With its coastal home, Jimmy Rum is out to spread some serious rum knowledge and shift a few perceptions in the process. This is a spirit worth taking as seriously as the local gins and whiskies Australia's currently obsessed with and McPhearson is more than happy to show you why. You can take an educational tour of the distillery, let the experts guide you through a tasting and nab some take-home rum from the cellar door. At the bar, just metres from the still where they were made, you can sample the full range of Jimmy Rum spirits while nibbling on toasties or charcuterie. Staff will take you through the different ways to taste rum — like sipping neat, with a few drops of water or over hand-cut ice — and you can try out your newfound appreciation on the two distiller's specials available. There's also a tidy range of rum-fuelled classic cocktails, like the Espresso Rumtini and a riff on the old fashioned, while on Saturdays the place comes alive with food trucks and a lineup of live tunes. Jimmy Rum joins a host of drink-slinging neighbours within the Dromana industrial estate, including gluten-free brewery Twøbays, gin distillery Bass and Flinders, and Jetty Road Brewery. That totals four reasons to get in the car and road trip to Dromana this weekend (with a designated driver, of course). The bar is open Thursday–Sunday, but you can stop by the cellar door to buy some rum every day from 9am–5pm. Images: C. McConville.
Lazing on the couch. Wearing your comfiest clothes. Feeling very, very cosy. For folks trying to find something — anything — to be positive about from the past year or so, these benefits of spending so much time at home should rank highly. And, whatever the weather, they're also a recipe for blissful lounge sessions. Fancy feeling extra warm and fuzzy? Keen on some agreeable viewing options that'll not just make you feel cosy, but nostalgic too? Need a feel-good fix that only a nice animated blast from your past can rustle up? Jump into that groove you've got going on the sofa, put on your snuggest outfit and settle in to relive brighter, sunnier times — we've rounded up a whole heap of retro animated flicks that you can stream or watch on VOD right now. https://www.youtube.com/watch?v=92a7Hj0ijLs ALMOST EVERY STUDIO GHIBLI FILM Getting spirited away, spending time with Totoro and chasing a moving castle are now as easy as clicking a few buttons whenever you feel like it. So is revelling in the heartwarming delights of one of the best animation studios there is, too. Over the past four decades, Studio Ghibli's reputation and popularity have only grown with each new film, with the Japanese outfit beloved the world over — for a very good reason. Whether you're fond of the talents of the great Hayao Miyazaki, or you've fallen hard for gorgeous animation by fellow Ghibli co-founder Isao Takahata, Miyazaki's son Gorō Miyazaki, and other directors Yoshifumi Kondō, Hiroyuki Morita and Hiromasa Yonebayashi, you'll find them all available to stream on Netflix. In fact, from Kiki's Delivery Service and My Neighbour Totoro to Spirited Away and The Tale of The Princess Kaguya, every solely Studio Ghibli-produced animated feature except Grave of the Fireflies and the recent Earwig and the Witch is on offer, as well as made-for-TV movie Ocean Waves. Twenty-one Studio Ghibli films are available to stream via Netflix. https://www.youtube.com/watch?v=hgW6hUO2oyg FERNGULLY: THE LAST RAINFOREST Mention the words Robin Williams and animation in the same sentence, and one film springs to mind. Aladdin deserves the instant recognition; however the 1992 hit was actually the second movie released that year to feature Williams' vocal stylings, after FernGully: The Last Rainforest. In the latter, he voices Batty Koda, an unstable bat who says he's been experimented on by people. He's fantastic, obviously — and he raps. But that's just one of the highlights of this environmental musical fantasy, which follows a logger, Zak (voiced by Jonathan Ward), who is shrunk down to fairy size by the winged, magical Crysta (Samantha Mathis). Christian Slater, Tim Curry, Cheech Marin, Tommy Chong and Tone Loc also provide voices, and the movie's message against pollution and deforestation is a worthy one. Oh, and any Aussie 90s kid knows, the entire film is set in Australia. FernGully: The Last Rainforest is available to stream via Fetch TV. https://www.youtube.com/watch?v=ZisWjdjs-gM PIXAR'S ENTIRE CATALOGUE Disney+, Disney's very own streaming platform, was always going to become the one-stop-shop for all of the entertainment behemoth's many famous brands, franchises and studios. That includes Pixar — and with the company spending the past quarter-century making lively, thoughtful, soul-lifting animated features, there are plenty of movies for fans to stream, re-stream and then stream yet again. In fact, all 25 Pixar features to-date are available on the platform, including last year's Onward and Soul, and this year's Luca as well. That means you can now spend, hours, days and weeks reliving the ups and downs of the Toy Story saga, enjoying the antics of Ratatouille's wannabe chef, being overwhelmed with emotion thanks to Inside Out and pondering the life of a dutiful robot left all alone in WALL-E. Pixar's entire feature catalogue is available to stream via Disney+. https://www.youtube.com/watch?v=X-rpEUuxgmY THE LAND BEFORE TIME If The Land Before Time taught us anything, it's this: even in prehistoric times, when you're a cute baby dinosaur and your species rules the earth, life isn't just about roaring, eating and playing. For "longneck" Littlefoot (voiced by Gabriel Damon), his trek to find the Great Valley is filled with peril — but it also fuels one of the most beloved non-Disney, Pixar and Studio Ghibli animated films there is. Of course, Littlefoot's journey also involves life lessons, endearing adventures and plenty of other cute, tiny dinosaurs, all in a movie that sparked a whopping 13 direct-to-video sequels between 1994 and 2016 (as well as a TV series). It seems that a pre-Jurassic Park Steven Spielberg knew what he was talking about when he decided he wanted to produce a movie like Bambi, but with dinosaurs. Also a producer on this heartfelt flick: George Lucas. The Land Before Time is available to stream via Google Play, YouTube Movies and Amazon Prime. https://www.youtube.com/watch?v=1huZhKwhIQc A HEAP OF DREAMWORKS FLICKS When DreamWorks jumped into the animation game back in the 90s, it did so with a splash. In one year, 1998, it released both the computer-animated Antz and the traditionally animated The Prince of Egypt. Then, in 2001, it had audiences everywhere falling for a cranky, green, Mike Myers-voiced ogre in Shrek. Not every DreamWorks film has hit the mark, of course. For every franchise-starter such as Madagascar and Kung Fu Panda, there's been the less-successful likes of Shark Tale and Over the Hedge — and, more than many other animation studios, its flicks entertain actual kids far more than kidults. But if you're still keen for a DreamWorks-shaped trip down memory lane, both Netflix and Stan boast a sizeable array of the company's aforementioned movies, including everything from Bee Movie, Megamind and Monsters vs Aliens to How to Train Your Dragon and more. A variety of DreamWorks films are available to stream via Netflix and Stan. https://www.youtube.com/watch?v=fq2FZdvQXXg THE IRON GIANT What it means to be alive is one of humanity's oldest questions, and one of our most frequent literary and cinematic narratives as well. In The Iron Giant, a 100-foot-tall metal-eating alien robot voiced by Vin Diesel is doing the pondering, after the eponymous figure plummets from the sky and lands outside the town of Rockwell, Maine circa 1957. There, in a tale based on Ted Hughes' 1968 novel The Iron Man, he befriends a curious nine-year-old called Hogarth (voiced by Eli Marienthal), as they both try to hide from the Soviet-fearing Cold War-era US government. Marking the debut feature by director Brad Bird (The Incredibles and its sequel, Ratatouille, Mission: Impossible — Ghost Protocol and Tomorrowland), the result is one of the smartest, sweetest, most ambitious and astute all-ages animated films there is — which you'd expect from a movie that uses a towering space robot to contemplate not just human nature, but our ability to defy expectation and choose who we wish to be. The Iron Giant is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. https://www.youtube.com/watch?v=aMlIpQ5pbCk DISNEY'S CLASSICS For decades now, no childhood has been complete without a whole bunch of animated Disney movies. The Mouse House has been in the business of making feature-length animated flicks for 83 years — since Snow White and the Seven Dwarfs first released in 1937 — and it's still going strong. Obviously, everything from Pinocchio, Bambi and Cinderella to The Sword in the Stone, Robin Hood and The Rescuers are all on Disney+. More recent films, such as The Little Mermaid, The Lion King, Pocahontas, Mulan, The Hunchback of Notre Dame and Atlantis: The Lost Empire, are too. And so is the movie that combined a cartoon mouse, eight pieces of classical music and over two hours of gorgeous animation into a masterpiece: the pioneering, imaginative and highly experimental hit Fantasia. Disney's animated films are available to stream via Disney+. https://www.youtube.com/watch?v=1v6-T52zLO0 FANTASTIC MR FOX Roald Dahl, Wes Anderson and stop-motion animation: that's a match made in cinematic heaven. Dahl wrote the acclaimed 1970 children's novel about the canny and cunning titular fox, of course, while Anderson brings it to life with a voice cast that includes George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Willem Dafoe and Owen Wilson. While Fantastic Mr Fox is his first animated feature, the director behind Rushmore, The Royal Tenenbaums and The Life Aquatic with Steve Zissou is a natural when it comes to witty comedy paired with playfulness, ample sight gags and a whole lot of visual symmetry. As for the story, it follows Mr Fox's (Clooney) efforts to outsmart a trio of mean farmers — and it's told here with energy, personality and Anderson's usual charm. Fantastic Mr Fox is available to stream via Netflix. https://www.youtube.com/watch?v=S1-0Fst-J08 WHO FRAMED ROGER RABBIT It's the part live-action, part animated film that's really not for kids, and it's still a delight more than three decades later. Who Framed Roger Rabbit steps back to 1947, plays with both neo-noir and comedy, and creates a world where humans and cartoons — or Toons as they're called — co-exist. A who's who of Hollywood's late-80s best and brightest were all considered for the part of private detective Eddie Valiant (Harrison Ford, Bill Murray and Eddie Murphy among them), but Bob Hoskins is pitch-perfect in the role. Also working a charm is the film's dark but funny tone, its exceptional special effects, and the reteaming of Robert Zemeckis and Christopher Lloyd after Back to the Future. Oh, and the fact that this always-entertaining PI tale is basically an oddball take on all-time classic Chinatown. Who Framed Roger Rabbit is available to stream via Disney+. https://www.youtube.com/watch?v=bmhXPNg3DZ8 THE NIGHTMARE BEFORE CHRISTMAS More than a quarter-century ago, Tim Burton and Henry Selick served up one of the most enchanting holiday films to hit the big screen — and one that doubles as both Halloween and Christmas viewing. It's Burton's name that everyone remembers; however a pre-Coraline Selick is actually in the director's chair on The Nightmare Before Christmas, which charms with both its offbeat story and its gorgeous stop-motion animation. Burton came up with the narrative though, because Jack Skellington only could've originated from the Beetlejuice and Edward Scissorhands filmmaker's brain. Imaginative, original and engaging (even as it nods to Dr Seuss a few times), it still remains a treat for all ages no matter the time of year. The Nightmare Before Christmas is available to stream on Disney+.
If there's a question that no employee wants to hear from the person setting company agendas, pulling strings and signing paycheques, it's "what do we do?". In The Consultant, Regus Patoff (Christoph Waltz, Guillermo del Toro's Pinocchio) asks a variation of it early — "what do we make?" he queries at CompWare after he arrives amid grim circumstances. The mobile gaming outfit came to fame under wunderkind Sang (TV first-timer Brian Yoon), so much so that school groups tour the firm's office. Then, during the visit that opens this eight-part Prime Video thriller, a kid shoots and kills the company's founder. That doesn't stop Regus from showing up afterwards clutching a signed contract from Sang and spouting a mandate to do whatever it takes to maximise his legacy. Regus is as stern yet eccentric as Waltz has become known for — a suit- and tie-wearing kindred spirit to Inglourious Basterds' Hans Landa, plus Spectre and No Time to Die's Ernst Stavro Blofield. He first darkens CompWare's door in the thick of night, when only ambitious assistant Elaine Hayman (Brittany O'Grady, The White Lotus) and stoner coder Craig Horne (Nat Wolff, Joe vs Carole) are onsite, and he won't take no for an answer. There's no consultant job for him to have, Elaine tells him. There's no business to whip into shape, she stresses. By the next morning, he's corralling employees for an all-hands meeting and telling remote workers they'll be fired if they don't show up in-person within an hour, even if he proudly doesn't know what CompWare does — or care. Giving the small screen its latest moody and mysterious workplace nightmare, The Consultant adapts horror author Bentley Little's 2016 novel of the same name, but plays like Severance filtered through Servant. Similarities with the former come with the setting, tone and keep-'em-guessing setup, while commonalities with the latter arise from sharing creator Tony Basgallop. Both series kick off with a blow-in, unsettle a group already coping with tragedy and reorder their status quo with severe methods. Both lace the chaos that follows with nods towards the supernatural, and both ask what bargains we're willing to make — or not — to live the lives we're striving for. The Consultant hinges upon two ideas: the disdain all workers have for head honchos who slash and restructure without knowing the daily grind, bothering to understand it or even pretending to get to know their staff; and the lengths someone might be willing to go to, including what they may accept and overlook, to advance their own careers. Regus doesn't waste any time earning ire, whether through arbitrary firings — he claims one worker smells of "putrid fruit" — or by pitting his employees against each other to fight for a management office. But, as he sits in the top-floor suite still splattered with Sang's blood, he also accepts Elaine's self-given title bump to Creative Liaison and rushes Craig's new game into production. There's still plenty getting Elaine and Craig questioning, such as Regus' around-the-clock calls, the basement records room filled with invasive personal files that no one previously knew about, his sudden rule changes — one day, shoes are verboten — and how he whisks off Sang's visiting mother (Gloria John, Shifter), who actually now owns the company, but doesn't take her to her hotel or anywhere else she can be found. Elaine and Craig also have a romantic past to deal with, The Consultant's most obligatory narrative detail. Plus, Craig is preparing to marry the Catholic Patti (Aimee Carrero, Spirited), who isn't fond of his slacker vibe or his at-work friendships. And, there's a helluva mid-series night that involves a sky-high nightclub, a Russian model (Gena Heylock, Chicago Med) with prosthetic limbs and a wild car ride. The heavy splashes of red that colour The Consultant's opening titles and much of CompWare's office lighting aren't subtle. Neither is the "devil made me do it" excuse offered by Sang's boy killer or the soundtrack's use of Elvis Presley's '(You're the) Devil in Disguise'. But Basgallop excels at keeping viewers guessing about whether the diabolical events that come his characters' way have nefarious sources, or if they're as easily explainable via everyday details. His two currently streaming series are also masterclasses in using their confined settings — The Consultant steps beyond CompWare HQ rarely, like Servant and its Philadelphia brownstone — to bubble with unease. The Severance comparisons kick in again here, too, weaponising and satirising a tech company's look and feel, as well as its attitude and atmosphere. While O'Grady backs up her stellar turn opposite Euphoria's Sydney Sweeney in The White Lotus with another astute performance — and character — and Wolff conveys disaffected but driven with ease, The Consultant wouldn't be as quick a binge without Waltz. Quentin Tarantino has built two films around him, with both Inglourious Basterds and Django Unchained winning the actor Oscars, and he's perfectly cast here. There's also a slipperiness to Waltz's involvement that matches Basgallop's fondness for the same trait. Viewers know exactly how the series' biggest-name star will play Regus and he doesn't disappoint, but that alone doesn't explain everything about the sinister character. As Waltz gets menacing and malevolent, and O'Grady and Wolff flit from shock to acquiescence and back again and again, The Consultant makes expected points about corporate culture, its cut-throat dynamics and increasingly 24/7 demands; the 21st-century employment landscape and its ruthlessness towards employees; and the engrained mindset that has everyone dutifully complying with authority. Familiar but still topical, sly, smart and shrewd: that's the thematic terrain the series traverses, and well. Try not to think of recent social-media moves when Regus starts throwing his weight around, for instance. Try not to ponder your own horrible bosses — yes, Waltz has played one before in Horrible Bosses 2 — and career pressure points, too. There's no point trying not to get drawn into this tense, suspenseful and slickly made series, however, which boasts Destroyer and Yellowjackets' Karyn Kusama among its directors, and lures in viewers as easily as addictive mobile games. Check out the trailer for The Consultant below: The Consultant streams via Prime Video.
Six businesses in Healesville — all on the same block — have joined forces to create the Healesville Makers Quarter. Whenever you fancy it, you can jump in your car, drive an hour from the city, and spend an afternoon tasting your way around their creations, from small-batch wines to award-winning gins. In the collection are Four Pillars Gin and Watts River Brewing, alongside four wineries: Jayden Ong, Payten & Jones, No. 7 Healesville and Giammarino. And, on top of teaming up, they've launched an event series called Sip & Stroll. The first happened on the Winter Solstice, and the second will take place on Saturday, September 13, to mark the coming of spring. Arrive anytime after midday for an afternoon of drinks, bites and stories. As you wander from venue to venue, you'll be treated to exceptional wines, limited-edition brews and experimental drops. In between sips, learn about the skill, experience and ideas that went into them — and kick back in the fresh air and rolling hills of the Yarra Valley. You're welcome to take your dog along with you.
Ice cream maker-turned-activist Ben & Jerry's is once again taking its frozen treats into the political realm. In the past, the much-loved ice cream (or lack thereof) was used to support marriage equality. Now, it'll become a platform for taking action on climate change with the new limited-edition flavour, Gimme S'More Renewables. The flavour's launch corresponds with the global Rise For Climate Day on Saturday, September 8, and will be available in Ben & Jerry's stores for just one day, and while supplies last. All proceeds will be donated to the company's long-term climate activism partners, 350.org Australia. On the day, fifty marches and picnics are scheduled to take place across Australia — you can find the closest event to you here. Ben & Jerry's has also sent personalised pints of Gimme S'More Renewables to federal and state politicians, acting as a direct call on Australian leaders to accelerate renewable energy and commit to a fossil-fuel-free world. In a show of good faith, the company has committed to being carbon positive and using only renewable resources by 2030. Plus, its 2020 deadline for using renewable electricity sources and eliminating coal from its energy mix is just around the corner. All Ben & Jerry's shops are currently powered by Powershop, an electricity provider that is 100 percent carbon neutral. If you need more than the drought and the bleaching of the Great Barrier Reef to convince you to get involved, the Gimme S'More Renewables sounds pretty damn tasty, too — a combination of marshmallow ice cream, chocolate cookies, Graham cracker swirls and fudge flakes. Ben & Jerry's limited-edition Gimme S'More Renewables will be available at all Ben & Jerry's Scoop Shops on Saturday, September 8. Find your closest one here.
As Victoria's COVID-19 cases have started to increase again over the past couple of weeks — with 233 new cases recorded since June 25, and 64 in the past 24 hours — the State Government has extended its State of Emergency for four more weeks, launched a suburban testing blitz and tightened some gathering restrictions for all Victorians. Now, it's reintroducing strict stay-at-home orders for ten Melbourne postcodes that are experiencing the worst community transmission of coronavirus. Coming into place at 11.59pm tomorrow, Wednesday, July 1 until least Wednesday, July 29, the new rules are very familiar. They're what were in place at stage three of the state's COVID-19 restrictions in late March. So, if you're in one of the "hot zones" postcodes, you'll only be able to leave your home for one of four reasons: for work or school, for care or care giving, for daily exercise or for food and other essentials. You won't be able to have friends and family visit either — unless it's for care — but the Victorian Chief Health Officer Brett Sutton said a decision about whether or not you can visit your partner will be announced tomorrow (before the rules come into force). Plus, businesses in these suburbs will need to revert back to stage three rules, too. Which means, restaurants and cafes must offer takeaway only, and gyms, galleries, beauty parlours, swimming pools, libraries and theatres will need to close. These rules will also effect all Victorians who usually go into these suburbs — you won't be able to enter an impacted suburb, unless it's for one of the four aforementioned reasons. The ten postcodes that will be required to return to stage three stay-at-home restrictions tomorrow are: 3012: Brooklyn, Kingsville, Maidstone, Tottenham and West Footscray 3021: Albanvale, Kealba, Kings Park, St Albans 3032: Ascot Vale, Highpoint City, Maribyrnong, Travancore 3038: Keilor Downs, Keilor Lodge, Taylors Lakes, Watergardens 3042: Airport West, Keilor Park, Niddrie 3046: Glenroy, Hadfield, Oak Park 3047: Broadmeadows, Dallas, Jacana 3055: Brunswick South, Brunswick West, Moonee Vale, Moreland West 3060: Fawkner 3064: Craigieburn, Donnybrook, Mickleham, Roxburgh Park and Kalkallo Premier Daniel Andrews said the restrictions were reintroduced as the recent COVID-19 figures are "unacceptably high" and "pose a real threat to all of us". "I know this will be terribly disruptive and difficult but if everyone sticks to the rules and we see transmission come down, then in four weeks the restrictions can lift," the Premier said in a statement released today, Tuesday, June 30. The Premier also said that Victorian Police will be actively enforcing the suburban lockdowns and on-the-spot fines, as in the initial lockdown, will apply. It's also possible, that if cases continue to rise, other Melbourne postcodes will also need to go back into lockdown, too. Stay-at-home restrictions will come into force in the above ten suburbs at 11.59pm on Wednesday, July 1. For more information, head to the Victorian Department of Health and Human Services website.
Prepare to spend more time scrolling through streaming queues — Apple is following in Netflix's and Disney's footsteps and releasing its own streaming platform. Called Apple TV+ and set to launch in spring this year — in the southern hemisphere — the new subscription service will feature a heap of new original television shows, movies and documentaries. They'll all be available ad-free and on demand, with access via the company's existing Apple TV app. While the platform's exact release date hasn't been announced, nor has pricing or the regions that it'll be available in, the company has revealed a sizeable lineup of new series it hopes will attract your TV-loving eyeballs. Fancy watching Reese Witherspoon, Jennifer Aniston and Steve Carell navigate the world of morning television in the appropriately titled drama series The Morning Show? Jason Momoa in a new sci-fi show called See, which is set in a world where humans are born blind? A revival of Steven Spielberg's Amazing Stories anthology series? A new docu-series from Oprah — and the return of her book club? They're all on the way. So is Are You Sleeping?, which is based on a novel about true crime podcasts and featuring Octavia Spencer and Aaron Paul; crime thriller Defending Jacob, starring Chris Evans; and a TV remake of Terry Gilliam's film Time Bandits, with a pilot directed by Taika Waititi. The list goes on, and includes a comedy set in a video game development studio from the folks behind It's Always Sunny in Philadelphia, a yet-to-be-named CIA undercover agent series starring Brie Larson, and new shows from both M. Night Shyamalan and La La Land director Damien Chazelle (separately, not together — although a collaboration between the two would certainly be interesting). In preparation for its new streaming service, Apple also announced an update to its existing Apple TV app, which'll be available from May. The app will also become available on Samsung Smart TVs in the second half of the year, and via Amazon Fire TV, LG, Roku, Sony and VIZIO platforms sometime in the future — meaning that you won't need an Apple device to watch Apple TV+. https://www.youtube.com/watch?time_continue=15&v=Bt5k5Ix_wS8 Also on the cards: Apple Arcade, a paid gaming subscription service that'll feature more than 100 new and exclusive games on an all-you-can-play, ad-free basis — and, crucially, with no additional in-game purchases required. It's due to release in more than 150 countries around the same time as Apple TV+, and will be accessible via a new tab in the App Store. For news junkies, the company also launched Apple News+. Available now in the US and Canada, but not coming to Australia until later this year, it offers access to more than 300 magazines, newspapers and digital publishers in one spot. Titles included range from Vogue to National Geographic Magazine to The Wall Street Journal, for the US price of $9.99 per month. Apple TV+ is set to launch in spring 2019, Australian and New Zealand time. We'll keep you updated with further details when we have them.
With Game of Thrones finishing its run a few months back, there's currently a huge fantasy-shaped hole in the TV and streaming landscape. Of course, the beloved show is set to go on thanks to its own prequel; however plenty of networks and platforms are trying their hands at the genre in the interim — and giving television buffs plenty to watch. Amazon is hoping to fill the gap with its forthcoming Lord of the Rings series, although it isn't due until 2021. HBO's next contender arrives this month, courtesy of its adaptation of His Dark Materials. And, while Netflix already has its Dark Crystal prequel, which launched back in August, it'll soon drop new series The Witcher as well. In fact, the Henry Cavill-starring show will arrive on Friday, December 20, just in time for some Christmas break binge-viewing. As seen in both the initial trailer and the just-released new sneak peek, the witcher of the title is Geralt of Rivia (Cavill, sporting long blonde locks), a monster hunter who prefers to work — aka slay beasts — alone in a realm called The Continent. But life has other plans for the lone wolf, forcing him to cross paths with powerful sorceress Yennefer of Vengerberg (Anya Chalotra, Netflix's Wanderlust) and young princess Ciri (newcomer Freya Allan). The latter harbours a secret, because of course she does, with the series blending plenty of fantasy staples such as magic, royalty, fighting factions, battling hordes, fearsome creatures, a heap of sword-swinging and many a scenic location. After stepping into Superman's shoes and facing off against Tom Cruise in Mission: Impossible — Fallout, The Witcher marks Cavill's return to TV a decade after starring in regal period drama The Tudors. As well as Chalotra and Allan, it also features Jodhi May (Game of Thrones), MyAnna Buring (Kill List), Lars Mikkelsen (House of Cards) and Australian actor Eamon Farren (Twin Peaks). Behind-the-scenes, the show's eight-part first season is created, executive produced and co-scripted by Lauren Schmidt, who has everything from The West Wing, Parenthood and Power to Daredevil, The Defenders and The Umbrella Academy to her name. If the series' name sounds familiar, that's because The Witcher is based on the short stories and novels of writer Andrzej Sapkowski — and, as well as being turned into comics, it was adapted the video game series of the same name. A Polish film and TV show also reached screens back in the early 2000s, although they were poorly received. Check out the latest trailer for Netflix's The Witcher below: https://www.youtube.com/watch?v=ndl1W4ltcmg The Witcher will hit Netflix on Friday, December 20. Image: Katalin Vermes.
After introducing its cookie pies to the world last month, followed by serving up an OTT red velvet one, Gelato Messina is bringing the decadent dessert back again. This time, though, it's filled with a gooey choc-hazelnut spread the gelato chain calls Messinatella. Hang on, a cookie pie? Yes, it's a pie, but a pie made of cookie dough. And it serves two–six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. These pies are available for preorder from Monday, June 8 — so if you missed out last time, here's your chance to get yourself a piece of the pie. On its own, the indulgent choc chip pie will cost $20. But to sweeten the deal, the cult ice creamery has created a few bundle options, should you want some of its famed gelato atop it. You can add on a 500-millilitre tub for $28, a one-litre tub for $34 or a 1.5-litre tub for $39. To get your pie to your oven, you will have to peel yourself off the couch and head to your local Messina store between Thursday, June 11 and Sunday, June 14 to pick it up. Once you've got the pie safely home, you just need to whack it in the oven for 10-15 minutes and voila. You can preorder a Messina cookie pie from Monday, June 8 to pick up from all NSW, Vic and Queensland Gelato Messina stores (except The Star and Coolangatta) from June 11–14.
Not everyone is a sports fan, but if you like live tunes, the Australian Open should still be on your radar even if you care little about on-the-court action. Only one music event in the world takes place as part of a Grand Slam, and that's AO Live. On the lineup for 2025's iteration: none other than Kesha, Armand Van Helden, Kaytranada and Benson Boone. Game, set, match, music: that's what's on offer when the Australian Open returns in January 2025 with two jam-packed weeks of tennis, plus a few aces for music lovers in the form of its three-day festival. It was back in 2023 that the annual Melbourne sports event launched the AO Finals Festival, getting a heap of talents taking to the stage. Unsurprisingly proving a hit, the fest returned in 2024, and will now be back again in 2025 under a new name. The venue: John Cain Arena, where AO Live will run from Thursday, January 23–Saturday, January 25. 2025's version features the event's biggest lineup so far — complete with Bag Raiders, Bella Amor, Channel Tres, Dijok, Kah-Lo and Jade Zoe. The fest kicks off with Boone on the Thursday, followed by Kaytranada on the Friday. Both days will span 5–9pm. Come Saturday, coinciding with the women's finals, Kesha will make her first visit to Australia in seven years, joined by Van Helden. Wrapping up AO Live, the day will kick off at 2pm and finish at 7pm. Expect plenty of company, with the 2023 fest selling out, then 2024's moving venues to John Cain Arena to take advantage of its 10,000-person capacity. AO Live ticketholders will also get a ground pass to the Australian Open, so you can watch the tennis as well as catching live tunes. As always, there'll be scores of food and drink pop-ups scattered throughout Melbourne Park, as well as big screens showing all the on-court action. [caption id="attachment_975223" align="alignnone" width="1920"] Brendan Walter[/caption] AO Live 2024 Lineup Thursday, January 23: Benson Boone Bella Amor Friday, January 24: Kaytranada Channel Tres Dijok Saturday, January 25: Kesha Armand Van Helden Bag Raiders Kah-Lo Jade Zoe AO Finals Festival images: Ashlea Caygill.
If you're on the hunt for rare furniture, then Nicholas & Alistair in Abbotsford should be your first stop. Legend has it that owners Nicholas Mesiano and Alistair Knight once drove through a blizzard in the French Alps just to retrieve a dining table by Italian artist Piero Fornasetti. In other words, they know their stuff and they always make sure they get it – which means all you have to do is find your way to their showroom to discover your next household gem. Be warned, you will want to spend all your savings.
