What's better than giving a new TV show a whirl, enjoying it immensely and realising that it's one of the best new series of the year so far? Learning that it's coming back for a second season. Ideally, that happens to all of our favourites — but for now, it's definitely on the agenda for new Apple TV+ sitcom Loot. The streaming platform has confirmed that the show, which both stars and is executive produced by Maya Rudolph, will get a second run after its ten-episode first season wraps up. The latter is dropping episodes weekly now, and just when season two will hit hasn't been revealed. Apple TV+ does tend to like a yearly schedule, though — Physical season one arrived last year, and season two last month, for instance — so cross your fingers that Loot will be back to add some workplace-set laughs to your streaming queue within 12 months. If you haven't yet made a viewing date with the immensely funny satire, it does two things at once: slots into the workplace comedy genre alongside everything from The Office and Parks and Recreation to 30 Rock, and joins the list of recent shows that haven't had much sympathy for the ultra rich (see White Lotus, Succession, Squid Game and Killing It). The focus: Molly Novak (Rudolph, Big Mouth), who discovers that her billionaire husband John (Adam Scott, Severance) is cheating on her, becomes a billionaire herself in the divorce settlement, and starts partying around the globe. (She also inhabits the kind of house that doesn't look real, but genuinely is — Loot is partly filmed in one of America's biggest private homes, an enormous mansion that has 21 bedrooms, five pools, a bowling alley and a cinema). Drinking away her days in different countries only lasts for a short spell, though, with Molly's new routine getting a shakeup when she gets a call from Sofia Salinas (Michaela Jaé Rodriguez, Pose), the head of the foundation that bears her name. Soon, she's actually showing up to try to help out rather than merely splashing her cash about. Given that she hasn't worked for two decades, things get chaotic. Joining the always-excellent Rudolph on-screen: the aforementioned Rodriguez, Joel Kim Booster (Fire Island), Ron Funches (AP Bio), Nat Faxon, Our Flag Means Death), Stephanie Styles (Bombshell) and Meagen Fay (Dopesick). Clearly, Loot is a parody. It digs into all that wealth, the folks who have it and the bubbles that surround them. It also knows that handing out a tiny portion of a fortune to great causes is the absolute bare minimum that the one percent can do. And, it's definitely aware of the type of hijinks that can spring in any working environment. Loot's creators Alan Yang and Matt Hubbard are well versed in workplace comedies, sharing Parks and Recreation on their resumes — while Hubbard has written for 30 Rock and Superstore as well. Check out the trailer for Loot below: Loot's second season doesn't yet have a release date, but its first is available to stream via Apple TV+. Read our full review of season one.
Since 2017 in Brisbane, crooning tunes at the pub with a drink in your hand is no longer just something that you do with your mates when you've had enough liquid courage. It's the whole idea behind Pub Choir, which started out in the Queensland capital, still hosts local shows regularly and has also taken its boozy communal karaoke setup on the road around the country. It pivoted to the couch to keep everyone entertained during lockdown, too, and has made the leap to television as well. Over the past five years, Pub Choir has gotten big, unsurprisingly. It's a fantastic concept. So, it no longer just pops up in pubs, but in huge venues — such as Brisbane's Fortitude Music Hall at its most recent homegrown session at the end of June, where 1600 strangers showed up to sip, sing and be merry. The song they were belting out? None other than the current tune of winter, and of 2022, even though it was initially released 37 years ago. That'd be Kate Bush's 'Running Up That Hill (A Deal with God)', which has surged back to popularity thanks to its prominence on Stranger Things season four. If you've seen the Netflix hit's latest episodes, you'll know why. [caption id="attachment_809627" align="alignnone" width="1920"] Jacob Morrison[/caption] Busting out that track in that way must've been something special. It looks like it on the video from the event, which you can find below. But the fact that Kate Bush saw it and loved it as well takes the whole thing up several hills worth of levels. Pub Choir's organisers posted a picture of the email they received from Bush herself after she'd watched their 'Running Up That Hill (A Deal with God)' video. The British singer noted that she's been busy, understandably, but that she was incredibly touched by everyone's "warmth and smiling faces". If that doesn't boost Pub Choir's numbers — not that they need boosting, given that the event already sells out quickly — than nothing will. Reacting to the note, the Pub Choir team said "life as we know it is over, and all that remains is this email from KATE. BUSH. Happy Kate Bush Saw Our Video Day, everybody!!!!!". View this post on Instagram A post shared by Pub Choir (@pubchoir) If you want to be like Bush — and don't we all — you can watch Pub Choir's 'Running Up That Hill' efforts below now. Brisbane also plays host to The Most Wuthering Heights Day Ever each year, where a different Bush track — 'Wuthering Heights', obviously — is in the spotlight. 2022's event takes place on Saturday, July 30 if you want to show your Kate Bush love, and dressing up in a red dress, red stockings and black belt to copy Bush's swaying, kicky dance in the wily, windy moors of Milton's Frew Park is a must. Sydneysiders are getting their own 'Wuthering Heights' event on the same day, in Sydney Park in St Peters — and the same concept applies. For more information about Pub Choir — including upcoming dates around the country — head to the event's website.
For decades, feasting your way through a Sizzler buffet was a regular part of Australian life. Families headed to the all-you-can-eat chain for special occasions, teenagers went along to gorge themselves full of bottomless soft drink and soft serve (and combine the two, obviously), and absolutely everyone couldn't get enough of the brand's beloved cheese toast. But, over the past few years, Sizzler restaurants have been shutting down around the country. Soon, they'll all be gone — with Collins Foods Limited, the company that owns and runs Sizzler in Australia, announcing that it is shutting down the chain's last remaining stores. Those nine restaurants — five in Queensland, three in Western Australia and one in New South Wales — will all close by November 15. So if you're eager for one last excuse to break out your stretchiest pants and indulge in a big dose of nostalgia (and food), you'll need to head to Mermaid Beach, Loganholme, Caboolture, Maroochydore and Toowoomba in the Sunshine State, Innaloo, Kelmscott and Morley in WA, and Campbelltown in NSW to hit the salad bar a last time. Collins Foods has been scaling down Sizzlers' footprint since 2015, when it announced that the brand was "no longer considered to be core to the company's strategic growth". In the half-decade since, 19 Sizzlers have shut down around the country. With COVID-19 now affecting the hospitality industry — and, unsurprisingly, people's eagerness to eat from buffets — Collins Foods has now completely called time on its endless soup, salad, fruit, pasta and dessert (and its regular menu of meals, too; however we all know they were never the drawcard). Announcing the news in a statement to the Australian Stock Exchange, Collins Foods Chief Executive Officer Drew O'Malley said that this was "not a decision we take lightly, especially for a brand as beloved as Sizzler, which has been such an important part of the Collins Foods' history". Collins Foods will continue to licence the Sizzler brand in Asia — so, when Australians are allowed to leave the country for holidays again, perhaps an overseas trip to the buffet can be in your future. In Australia, the Brisbane-based company also operates KFC and Taco Bell. Sizzler's nine remaining stores — in Mermaid Beach, Loganholme, Caboolture, Maroochydore and Toowoomba in Queensland, Innaloo, Kelmscott and Morley in WA, and Campbelltown in NSW — will all close by November 15, 2020. For more information about Sizzler, head to the chain's website. Top image: RegionalQueenslander via Wikimedia Commons.
In the coming years, the Gold Coast is set to welcome a new man-made surf wave pool, as well as a hotel and resort at Dreamworld. Later in 2021, it'll also boast a cabana-filled oceanside precinct on a rooftop. But before all of that comes to fruition, the popular southeast Queensland tourist destination is set to score another new attraction — with its new $60.5 million, six-level art gallery opening its doors on Saturday, May 8. First announced back in 2018, and given a launch date earlier this year, the new addition is part of HOTA, Home of the Arts in Surfers Paradise. Simply called the HOTA Gallery, it has been built at the top of the site's concert lawn, overlooking HOTA's outdoor stage. It's now the country's largest art gallery outside of a capital city and, obviously, it's giving art lovers both locally and Australia-wide plenty to get excited about. Designed by Melbourne-based architects ARM, the multi-floor gallery spans more than 2000 square metres of exhibition space. That includes a main area for touring exhibitions, a permanent collection space across three levels and a children's gallery. There's also an area for storing works that aren't on display, which is pivotal given that the site houses the Gold Coast's $32 million, 4400-piece City Collection. [caption id="attachment_811097" align="aligncenter" width="1920"] Back wall: Nicola Moss Local Air 2021; Kirsty Bruce Wonderwall 2021; Aaron Chapman The Towers Project 2021; Back right: Michael Candy, Steal the Sunshine 2021; Front: Ali Bezer I Can Hear Water 2021; SOLID GOLD: Artists from Paradise, HOTA Gallery. Photo by Paul Harris Photography.[/caption] View-wise, there's much to look at already if you're keen on gazing at creative pieces. Running until July 4, Solid Gold: Artists from Paradise, showcases new works by Gold Coast artists, while Lyrical Landscapes: The Art of William Robinson pays tribute to one of Australia's greatest landscape painters until October 3. There's also Contemporary Masters from New York: Art from the Mugrabi Collection, which makes its world premiere until February 27 – and features 70 works from the likes of Andy Warhol, Jean-Michel Basquiat, Keith Haring, Richard Prince and Jeff Koons. In the children's gallery, World Upside Down runs until October 10, and is designed to be interactive for audiences of all ages. Visitors can also peer at more than just the art gracing the walls. The building's windows offer a stellar view of Surfers Paradise — and, outside, sculptural installations await. Queensland Waanyi artist Judy Watson's addition to the site heroes Indigenous native plants, and includes a pathway that forms a topographical map of Nerang prior to European settlement. It also spans Piccabeen basket and dilly bag sculptures designed with Quandamooka artists Libby Harward and Elisa Jane Carmichael, and features a two-metre-tall feather canopy and snippets of local language sandblasted onto the bleachers. And Sri-Lankan born, Sydney based artist Ramesh Mario Nithiyendran has crafted a six-metre-high, double-sided sculpture made out of bronze, concrete, neon and fibreglass that's designed to reflect the vibrancy of the new building. [caption id="attachment_811082" align="aligncenter" width="1920"] Brett Boardman[/caption] Back inside the building, a rooftop bar and restaurant is also opening its doors. Called The Exhibitionist Bar, it takes over 233 square metres, and pairs panoramic views with tapas, share plates, cocktails, wine, beer and house-made sodas. Both indoor and outdoor terrace seating are a feature, and you'll get a vantage that sprawls over the Goldie's waterways, Surfers' Paradise skyline and the hinterland. Plus, in terms of decor, the venue takes its cues from rainforests — as does the immensely colourful building itself, which is inspired by William Robinson's 'The Rainforest'. HOTA Gallery and The Exhibitionist Bar will both open at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise on Saturday, May 8. For more information, visit the HOTA website. Top images: Brett Boardman
Mysteries to solve, eye-catching landscape to traverse and Eric Bana (A Sacrifice) playing sleuth: it worked in Australian film The Dry and its sequel Force of Nature: The Dry 2, and it has again in Netflix's unrelated series Untamed. The streaming service is betting it will once more when it brings back the latter mystery-thriller for a just-announced second season. After Untamed debuted in Netflix's global English-language top ten in mid-July 2025, the platform has revealed that more is on the way. This show was only originally envisioned to run for one season; however, it's set to return with a new investigation in a new national park. In Untamed, Bana plays Kyle Turner, an Investigative Services Branch agent of the US National Parks Service. Also starring Sam Neill (The Twelve), Rosemarie DeWitt (Smile 2), Lily Santiago (La Brea) and Wilson Bethel (Daredevil: Born Again) — portraying chief park ranger Paul Souter, Kyle's remarried ex-wife Jill, Los Angeles police officer Naya Vasquez and former army ranger-turned-park wildlife management officer Shane Maguire, respectively — the first season saw the Chopper, Dirty John, Blueback and Memoir of a Snail star's character looking into a death in Yosemite National Park, a case that forced him to confront his own past in the course of the investigation. "I am absolutely thrilled that we get the chance to bring another season of Untamed to life," said Bana in a statement as per Netflix's Tudum. "The response to season one has been a testament to the incredible effort by our crew to deliver something truly unique. I can't wait to take Kyle on his next journey. Massive thanks to Netflix, John Wells Productions, Warner Bros Television and our fans." There's no release date for Untamed season two, which was created by Mark L Smith (American Primeval) and and boasts The Pitt's John Wells as another of its executive producers, as yet. But stepping back into the show's world, rather than leaving the project as a six-episode limited series, eventuated because "the more that we got into it, it was just such a great cast ... it was just like, 'oh yeah, how do we keep this going?'", said Smith. Of the new setting, "this won't be the first park he's been in since Yosemite. He's been to a lot of parks. He's been busy, taking on a lot of cases. This will be the latest and it'll be more impactful for him," Smith also shared about Turner. Viewers can also expect Untamed's protagonist to be the newcomer in his surroundings, while digging into a different type of case from the first season — and for the new park, which hasn't yet been revealed, to be a key character the way Yosemite is in season one. Check out the trailer for Untamed season one below: Untamed streams via Netflix — and we'll update you with a release date for season two when more details are announced. Images: Ricardo Hubbs / Netflix © 2025.
Here's a scary statistic: in Australia alone, three million coffee pods go into the bin daily. Over eight days, that's enough trash to fill an Olympic-sized swimming pool. Wish your caffeine habit weren't such a messy strain on the planet? We'd like you to meet Tripod Coffee's brand new coffee capsule. Not only biodegradable, these coffee pods are certified compostable, too. Plus, they fit into your Nespresso machine (or the like). After making yourself a brew, simply toss the pod into your green bin, and it'll break down within 90 days at a commercial composting facility — this handy diagram shows how the pod's transformation rate compares to traditional coffee pods. "Traditional capsules are aluminium or plastic with foil lids, but ours are a compostable biopolymer, with a paper lid," says Ed Cowan, who co-founded Tripod with fellow cricket star Steve Cazzulino while in between matches. For the unacquainted, biopolymer is a macromolecule (like protein) that grows inside a living organism. It comes from the Earth, so it's happy to make its return, without leaving a trace behind. That's why Tripod's capsules are different to most others. Sure, there are plenty of other biodegradable pods around, but most of them aren't compostable. "Every compostable capsule by definition is biodegradable," says Cowan. "But not every biodegradable capsule is compostable." The first of Tripod's coffees in the new capsules is The Green Gatsby, a 100% certified organic coffee from Papua New Guinea, and over the next few months, the brand's six other signature blends will follow suit. Find these mean green waste-fighting machines online here. Learn more about Tripod Coffee on their website.
2023 marks three decades since Snoop Dogg released his first single and album, with the rap star's career evolving in a variety of ways from there. He's dropped hits like they're hot, collaborated with seemingly everyone in the music industry, and popped up on both the big and small screens. He's also taken on MC duties at wrestling matches, released his own wine and adopted aliases. And, in 2018, he shared his kitchen skills with the world via his very own cookbook. Within From Crook to Cook: Platinum Recipes From Tha Boss Dogg's Kitchen's pages, fans can find recipes for everything from 'billionaire's bacon' and 'Bow Wow brownies and ice cream' — and, of course, gin and juice. Yes, the tome means that you can listen to Snoop's tunes while whipping up his dishes and sipping the drink he'll always be synonymous with. Yes, it was another success. [caption id="attachment_908060" align="alignnone" width="1920"] Tulane Public Relations via Wikimedia Commons[/caption] From Crook to Cook reached shelves after Snoop teamed up with Martha Stewart on TV show Martha & Snoop's Potluck Dinner Party. Again, he does love a collab. So, now that it's time for a followup cookbook, the hip hop icon is also calling upon fellow rapper E-40 for help. The end result: Snoop Dogg Presents Goon with the Spoon. It's set to arrive in bookstores Down Under in November 2023, giving Snoop aficionados another way to splash their affection the musician's way after his tour across Australia and New Zealand back in February and March. This recipe collection spans more than 65 dishes, covering everything from mains and desserts to drinks. Despite the name, we're guessing that cask wine isn't included. This new kitchen bible will feature meals that take inspiration from Snoop and E-40's respective music catalogues, as well as Martha & Snoop's Potluck Dinner Party and E-40's Filipino food business Lumpia. And the reason for its moniker? Again, it isn't due to cheap boxed vino, but because that's E-40's — aka Earl Stevens — nickname, and adorns his range of sausages, ice cream flavour and burritos in the US. Snoop Dogg Presents Goon with the Spoon will also get Snoop-loving cooks sharing its wares, thanks to a selection of suggested event menus. Fancy a 4/20 potluck? Catering for a summertime block party? The cookbook includes options for both, plus headnotes and sidebar stories from Snoop and E-40's well-known pals about dinner parties and nights out together. View this post on Instagram A post shared by GOON WITH THE SPOON (@goonwiththespoon) Snoop Dogg Presents Goon with the Spoon releases on November 15, 2023. Top image: Jason Persse via Wikimedia Commons.
If you were looking forward to diggin' on the best-selling American female group in history at their latest Australia and New Zealand live shows this February and March, we come bearing bad news: TLC's Down Under tour has been cancelled. After The Weeknd postponed his 2023 gigs, then The Kid LAROI did the same with his planned early 2024 concerts, it's been a chaotic time for big-name live music shows. TLC made the announcement via social media, advising that scrapping their trip came "due to unforeseen circumstances". Tionne 'T-Boz' Watkins and Rozonda 'Chilli' Thomas were heading this way to mark the 30th anniversary of their smash-hit second studio album CrazySexyCool, returning two years after headlining Fridayz Live in Australia (but dropping out of Friday Jams in Aotearoa due to a COVID-19 case among their touring party). And TLC weren't just coming alone, with Busta Rhymes and En Vogue slated to be on supporting duties. "To our incredible Australian and New Zealand fans, it is with heavy hearts that we announce the cancellation of our upcoming tour. We sincerely apologise for any disappointment to our fans," T-Boz and Chilli posted online. "Your support means everything, and we promise to make it up to you. We can't wait to be back in your beautiful countries soon. Thank you for your understanding and love," the statement continued. CrazySexyCool gave the world 'Creep', 'Waterfalls', 'Diggin' on You' and 'Red Light Special', among other tracks, but the 1994 diamond-certified album wasn't set to be the only source of songs for TLC's 2024 shows thanks to the likes of 'No Scrubs' and 'Unpretty'. And, each gig was going to be a 90s-themed party, with 90s fashion, fan interaction and a few surprises. TLC, Busta Rhymes and En Vogue were heading to Trusts Arena Auckland, Melbourne's Rod Laver Arena, Adelaide Entertainment Centre, Qudos Bank Arena in Sydney, Brisbane Entertainment Centre and RAC Arena in Perth. Ticketholders will receive automatic refunds via their payment method. TLC 30TH ANNIVERSARY OF 'CRAZYSEXYCOOL' AUSTRALIAN AND NEW ZEALAND TOUR 2024 DATES — ALL CANCELLED: Thursday, February 29 — Trusts Arena, Auckland — CANCELLED Saturday, March 2 — Rod Laver Arena, Melbourne — CANCELLED Sunday, March 3 — Adelaide Entertainment Centre, Adelaide — CANCELLED Tuesday, March 5 — Qudos Bank Arena, Sydney — CANCELLED Thursday, March 7 — Brisbane Entertainment Centre, Brisbane — CANCELLED Saturday, March 9 — RAC Arena, Perth — CANCELLED TLC's 30th-anniversary CrazySexyCool tour is no longer going ahead Down Under in February and March 2024. Ticketholders will receive automatic refunds via their payment method.
If the impending winter chill has you dreaming of cosy nights spent quaffing drams of whisky, there's a Melbourne-made creation that deserves a spot in your spirits collection. The team at the city's own Starward Whisky has just unveiled the latest edition of its Ginger Beer Cask series — and, as it has six times before, this spicy little number promises to keep those wintry blues at bay. The seventh iteration of Starward's ginger-based program since 2014, 2022's offering isn't just about pairing ginger and whisky, as fine a combination as that is. Another winning duo gets a look-in as well: chocolate and orange. So, expect to smell ginger, orange and dark chocolate while you're sipping — and to taste ginger, obviously, as well as vanilla, pineapple, sweet raisins and fig. For this year's version, Starward has also added more ginger for extra spice, and only used American Oak red wine barrels, which've helped ramped up the vanilla and coconut characters. Starward's experts say you can try the whisky any way you please, but they particularly recommend sipping it straight, perhaps alongside some good-quality dark chocolate. Either way, it's safe to say you can expect a very good drop — 2021's drop won a Double Gold medal at the 2022 San Francisco World Spirit Competition, while 2020's Ginger Beer Cask edition took out a gold medal at the World Whisky Masters, plus a bronze at the Hong Kong International Wine and Spirits Competition. The special-edition spirit is always quick to sell out, and this year's release is pegged to be no different. It's on sale now, so stocking up for winter ASAP is highly recommended. Starward's Ginger Beer Cask #7 is on sale now via the distillery's website, and at national retailers. A 700-millilitre bottle will set you back $149.
Throughout cinematic history, it's been pretty common for filmmakers to take a normal situation and hype it up to the extreme. It's why the phrase 'based on a true story' exists — realistic experiences often aren't dramatic enough for the big screen. But, when it comes to tackling complex topics — like that of psychological manipulation — overdramatising isn't the most effective or the most responsible way to portray them on-screen. Modern filmmakers seem to be more aware of this than ever before, taking more care to represent victims (and perpetrators) of psychological abuse, manipulation and gaslighting accurately, rather than relying on stereotyped characters and the assumptions society often makes about these fraught situations. More and more, filmmakers are taking on the responsibility to do away with these problematic stereotypes, and talk about themes and nuances of manipulation in a way that doesn't place blame or loathing on the victim. Berlin Syndrome, the new feature from Somersault director Cate Shortland, is the latest film to do just that. It follows Australian photographer Clare (Teresa Palmer) as she explores the streets of Germany, which is where she meets a handsome, charming local teacher Andi (Max Riemelt). But this is not your run-of-the-mill holiday romance — things escalate quickly, and it soon becomes clear that Clare is not able to leave Andi's apartment at her will. She is being kept captive. To say this is a complicated situation would be an understatement. While being kept prisoner by Andi over an extended period of time, Clare finds herself grappling between her desire to escape and her emotions towards Andi. As the name of the film and her behaviour would suggest, Clare starts to experience Stockholm syndrome, a condition where a hostage feels empathy or affection towards their captor. But, unlike many archetypal female characters, Clare is never portrayed as weak — even when she appears to succumb to Andi. This type of psychological manipulation, to a lesser extent, is unfortunately pretty common in real-life abusive relationships. According to a 2012 Australian Bureau of Statistics Personal Safety Survey, one in four women and one in seven men have experienced emotional abuse by a partner. Emotional abuse is rarely portrayed in an accurate way on-screen. Historically, cinema's hostage and kidnap thrillers have painted the perpetrator as overtly villainous — think the Brie Larson-starring 2016 Oscar-winner Room, as a recent example — or as a literal beast, as is the case in Beauty and the Beast (although that's another problem altogether). Often characters that are being manipulated, or stuck in abusive relationships, are portrayed as weak and blamed for not recognising what's happening around them. Berlin Syndrome may be the latest film to portray the victim of abuse as strong, but it seems to be following a pattern of films being more thoughtful in their approach. Last year's Girl on the Train highlighted gaslighting, and how Rachel's husband used her drinking habits to continually manipulate and confuse her, and Netflix's Jessica Jones threw the model on its head, portraying the victim of abuse not only as strong, but with super-human strength. Manipulative situations are never clear-cut. It's possible to still have feelings for someone who treats you badly — to go back and forth between feelings of love, hate and protectiveness. Cinema has shown us that time and time again. In Berlin Syndrome, Shortland makes the situation relatable and, like the examples above, shows that even the 'strong' and 'normal' can be affected by psychological manipulation. But it's easy to see why filmmakers exaggerate these themes — manipulation in its most dramatic form (guns, suicide, violence) can form a compelling narrative. But it's important for us to realise that often it appears in real life in a much more subtle form. In the past, it seemed like filmmakers thought that we wouldn't understand psychological manipulation unless it was shoved in our face. That doesn't seem to be the case anymore. Berlin Syndrome is now showing in cinemas across the country — read our review and watch the trailer here. Words: Kelly Pigram and Sarah Ward.
Late in January, the Alliance Française French Film Festival confirmed the news that Australian movie-goers wanted to hear: not only that the annual cinema showcase would be back this year, notching up its 33rd round of fests, but that it had set its dates and first ten movies. Now, the event has freshly unveiled its full program — so get ready to watch your way through more than 40 flicks that'll whisk you off to France while you're munching popcorn in your cinema seat. There's no shortage of highlights from this year's complete lineup — including the festival's opening night pick, the 19th-century Paris-set Lost Illusions, which had already been announced — but Claire Denis' Fire is easily one of the most exciting films on the bill. It'll play AFFFF straight from the Berlinale, and marks the acclaimed French filmmaker's first release since 2018's exceptional High Life. It also stars her Let the Sunshine In lead Juliette Binoche, with the romantic drama pairing the latter up with French actor Vincent Lindon (Titane) for the first time. Also a standout: Happening, winner of the 2021 Golden Lion at the Venice Film Festival, which adapts Annie Ernaux's autobiographical novel about the rights of women in France in the 60s. It just nabbed filmmaker Audrey Diwan a BAFTA nomination for Best Director, and follows a bright young student who gets pregnant, then sees her options — for her future, and regarding what to do about her situation — quickly dwindle. When AFFFF tours Sydney, Melbourne, Brisbane, Perth, Adelaide, Canberra and Hobart — and in Byron Bay and Parramatta, too — from Tuesday, March 1–Sunday, April 24, the exceptional Petite Maman also sits at the very top of the fest's must-see list. The latest film from Portrait of a Lady on Fire's Céline Sciamma, it already made a few Australian festival appearances in 2021, and channels the director's trademark sensitivity and empathy into a sci-fi-skewing tale of mothers and daughters that's instantly among Sciamma's best. Other top new picks from its complete lineup include the latest film in the OSS 117 spy spoof series, OSS 117: From Africa With Love, once again starring The Artist Oscar-winner Jean Dujardin; François Ozon's Everything Went Fine, which sees the Summer of 85 filmmaker tackle the right to die with dignity; Paris, 13th District, a love story from A Prophet and Rust and Bone's Jacques Audiard; and Murder Party, a murder-mystery with big Cluedo vibes. Or, there's also Anaïs in Love, a rom-com about a woman having an affair with a married man but then falling for his wife; biopic Authentik, about French hip-hop duo Suprême NTM; World War II drama Farewell, Mr Haffmann, as based on the play; and friendship drama The Braves, about two twentysomething women following their dreams to become theatre actors. And yes, the list of French cinema treats gracing the fest's full bill goes on — so don't say you don't have anything to see at the cinema in March and April. ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL 2022 DATES: March 1–April 6, with encore screenings from April 7–10: Palace Central, Palace Norton Street, Palace Verona, Chauvel Cinema and Hayden Orpheum Cremorne, Sydney March 2–April 6, with encore screenings from April 7–10: Palace Electric, Canberra March 3–April 6, with encore screenings from April 7–10: Palace Balwyn, Palace Brighton Bay, Palace Como. Palace Westgarth, Pentridge Cinema, The Kino and The Astor Theatre , Melbourne March 9–20: State Cinema, Hobart March 9–April 6, with encore screenings from April 7–10: Camelot Outdoor Cinema, Luna Leederville, Luna on SX, Palace Raine Square and Windsor Cinema, Perth March 16–April 13, with encore screenings from April 14–18: Palace Barracks and Palace James Street, Brisbane March 24–April 24, with encore screenings from April 25–26: Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas, Adelaide, plus Victa Cinemas, Victor Harbor March 30–April 14, with encore screenings from April 15–16: Palace Byron Bay, Byron Bay April 7–10: Parramatta Riverside Theatres, Parramatta The Alliance Française French Film Festival tours Australia from Tuesday, March 1–Tuesday, April 26. For more information or to buy tickets, visit the AFFFF website.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this months latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from December's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW LANDSCAPERS In 2013, in an ordinary backyard in Mansfield, Nottinghamshire, UK police excavated the bodies of Patricia and William Wycherley. The elderly couple was last seen 15 years prior, with their librarian daughter Susan Edwards and her accountant husband Chris telling neighbours that the Wycherleys had moved — before Susan and Chris fled their own bills and chased their own love of Gallic cinema to France, that is. In 2014, the younger duo were convicted of the Wycherleys murders, despite willingly returning to England to face questioning and offering their own version of events in the process. To the police, the crime was a premeditated act motivated by money. In their tale, Susan and Chris spoke of multiple layers of abuse, of a heated night that ended badly, and of poor decisions inspired by a lifetime of fear. With Olivia Colman (The Lost Daughter) playing Susan and David Thewlis (I'm Thinking of Ending Things) as Chris, Landscapers unfurls the Edwards-Wycherley saga, digging into the story's details across a four-part true-crime miniseries. But as its irreverent name makes plain, this isn't the usual dive into real-life crime — and not just because its two leads turn in phenomenal performances that rank among their very best. As he's done in both TV series Flowers and recent feature The Electrical Life of Louis Wain, filmmaker Will Sharpe brings his whimsical style to this experimental retelling. On paper, such a tone and the visual flourishes that come with it might seem ill-suited to the material, but it's all a part of the show's interrogation of how its central pair — and everyone in general — navigate life by spinning their own version of reality. It's an inspired touch, and makes Landscapers one of the most distinctive and engrossing additions yet to a ridiculously busy, ever-popular genre. Landscapers is available to stream via Stan. ENCOUNTER Excellent casting can't save all films. Ambitious directors can't, either. But with Encounter, it's easy to see how the sci-fi thriller would've turned out if anyone other than Riz Ahmed was leading the show — and if a filmmaker other than Michael Pearce was at the helm. Across the last three years and his past three movies, Ahmed has turned in a trio of stunning performances that lay bare struggling men battling to reclaim a sense of normality. Indeed, arriving after Mogul Mowgli and Sound of Metal, Encounter couldn't be better placed on his resume. As for Pearce, he jumps into this slippery story of a father, a road trip and a possible alien parasite invasion after making a tremendous feature debut with 2017's Beast, and serves up the same commitment to telling thorny tales without needing to explain away everything. When Ahmed's ex-soldier Malik Khan kills a wasp in his motel room with intense determination, it's clear that he's unusually passionate about eradicating insects — and, believing that a meteorite crashed into earth not so long ago, brought extraterrestrial invaders with it, but hardly anyone else noticed, he has good reason for his entomophobia. His mission: to rescue his two young sons (Heartland's Lucian-River Chauhan and first-timer Aditya Geddada) from the bug-sized aliens, even if it means whisking them away from his ex-wife (Janina Gavankar, The Morning Show) in the middle of the night. Co-written with Joe Barton (Girl/Haji), Pearce's film isn't quite the mystery he thinks it is, but it doesn't need to be to relay its weighty character study. Whenever Ahmed is on-screen, which is often, this is a tense and moving examination of trauma, stress and endeavouring to cope with chaos both everyday and extraordinary. Encounter is available to stream via Amazon Prime Video. THE SEX LIVES OF COLLEGE GIRLS Here's a great way to know whether a new TV comedy is worth watching: check whether Mindy Kaling is involved. After stealing every scene she could in The Office, then turning The Mindy Project into a smart, funny and adorable rom-com sitcom made with oh-so-much love for the genre, she just keeps adding new shows to her resume as a co-creator, writer and producer. The Sex Lives of College Girls is the latest, and quickly thrives thanks to the kind of savvy, authentic, honest and highly amusing writing that's always been a hallmark of Kaling's work. If you didn't know she was behind it going in, you'd easily guess. It also sports an immensely descriptive title, following four college freshmen — strangers to each other, but now roommates — as they navigate the move from high school to the fictional Essex College in Vermont. Because three movies currently in cinemas starring a member of Chalamet family just isn't enough (aka Dune, The French Dispatch and Don't Look Up), The Sex Lives of College Girls features his Timothée's sister Pauline (The King of Staten Island). She plays Kimberly Finkle, who heads to Essex as valedictorian of her small-town school, is more excited about the classes than the parties, but still wants to have the full college experience. And, she's thrilled to find herself rooming with aspiring comedy writer Bela Malhotra (Amrit Kaur, The D Cut), star soccer player Whitney Chase (first-timer Alyah Chanelle Scott) and the wealthy Leighton Murray (theatre star Reneé Rapp) — even if the latter in particular doesn't initially return the enthusiasm. The quartet's exploits from there navigate all the usual kinds of relatable college antics, but do so with a warm-hearted vibe, a great cast, insightful humour, and a shrewd focus on friendships and figuring out who you want to be. The first season of The Sex Lives of College Girls is available to stream via Binge. SWAN SONG It took Mahershala Ali a mere two years to back up his first Best Supporting Actor Oscar with a second one, initially winning for the sublime Moonlight before again earning the nod for being the best thing about Green Book. He won't add a third Academy Award to his mantle for Swan Song, but he gives it two tries — playing a terminally ill illustrator who doesn't want to put his family through the pain of losing him, and also playing the clone his character has secretly had made to replace him without his loved ones ever knowing he was even sick. That's the futuristic sci-fi premise behind this poignant drama, which tussles with life, love, loss and two inescapable realisations. This isn't just a movie about facing your own mortality, but about confronting the fact that everything that's important to you — everyone that's important, to be specific — will still continue on after you say goodbye. Not to be confused with the Udo Kier-starring film of the exact same name that's just reached cinemas, Swan Song ruminates on Cameron Turner's (Ali, Alita: Battle Angel) moral quandary after enlisting Dr Scott (Glenn Close, Hillbilly Elegy) to replicate him before he succumbs to his illness. Even after seeing how fellow patient Kate (Awkwafina, Shang-Chi and the Legend of the Ten Rings) and her clone fare, it's a decision that weighs heavily on his mind — especially given his wife Poppy (Naomie Harris, Venom: Let There Be Carnage) is expecting their second child. So much of Swan Song's power stems from Ali's ability to wade through such a difficult choice, and to convey its emotional ramifications often without saying a word. In this thoughtful directorial debut by writer/director Benjamin Cleary, Ali also unpacks the flipside as Jack, who'll replace Cameron, and sees the possibilities his existence brings with literally fresh eyes. Swan Song is available to stream via Apple TV+. THE NORTH WATER When ex-army surgeon Patrick Sumner (Jack O'Connell, Seberg) secures a gig on a whaling expedition to the Arctic working as the ship's doctor, he's clearly running from something. His new colleagues are instantly suspicious of his story, bloodthirsty harpooner Henry Drax (Colin Farrell, Voyagers) among them — although Captain Brownlee (Stephen Graham, Venom: Let There Be Carnage) and whaling company owner Baxter (Tom Courtenay, Summerland) are mostly just happy for his cheap services. That's the setup for The North Water, the 19th-century-set, five-part miniseries that takes to the seas, to the cold and to a brutal world, and proves grimly mesmerising with its Moby Dick-meets-Heart of Darkness vibes. Charting a survivalist tale not just of the physical kind amid all that unforgiving ice (and on those treacherous waters), but also of the emotional and mental variety as well, this is one of the most relentlessly intense shows to hit screens in 2021 — and it's also gripping from start to finish. The first episode sets the scene in a slow-burn fashion, culminating in sights so searing they're impossible to forget — and the story, as well as the vast chasm between Sumner and Drax, only grows from there. Writer/director Andrew Haigh adapts Ian McGuire's novel of the same name, but this series has the Weekend, 45 Years and Lean on Pete filmmaker's stamp all over it. He finds as much empathy here as he has throughout his stellar big-screen projects, and once again demonstrates his extraordinary eye for detail, exceptional sense of place and winning way with actors. With the latter, having O'Connell and Farrell lead the charge obviously helps. They're not only reliably phenomenal; they each put in some of their best-ever work, and their performances seethe with complexity. So does the entire miniseries, which is never willing to pose easy answers or provide straightforward interpretations when ruminating over the minutiae is much more riveting, fascinating and realistic. The North Water is available to stream via Binge. MACGRUBER They can't all be The Blues Brothers or Wayne's World — films based on Saturday Night Live sketches, that is. Eagerly silly, as you'd expect of any MacGyver send-up, 2010's MacGruber definitely doesn't belong in the same category as the two best SNL-to-cinema flicks. That hasn't stopped an action-parody TV series hitting streaming 11 years later, however. And, with Will Forte once again donning a Richard Dean Anderson-style mullet and wearing plenty of flannelette, this MacGruber revival is the satire's finest moment yet. You could easily think that it only exists because Forte had a gap in his schedule, or because even television skits-turned-movies never die, and both are likely true. Still, when it comes to making fun of all the action cliches that'll never leave screens either big or small, this series knows its unashamedly ridiculous niche. The setup: after spending a decade in prison, the eponymous hero is given a reprieve by his pal General Barrett Fasoose (Laurence Fishburne, The Ice Road) when the president's daughter is kidnapped. He's part of the ransom demand, but his long-term foe Brigadier Commander Enos Queeth (Billy Zane, The Boys) also has other plans. Cue a cavalcade of amusingly over-the-top gags about action-flick machismo and every other trope the genre keeps throwing at viewers, all with Forte and his co-stars as committed as ever to the concept, tone and non-stop jokes. If it wasn't so self-aware — and if both Forte and Kristen Wiig (Barb and Star Go to Vista Del Mar) weren't so pitch-perfect in their parts — it might just be stupid rather than stupidly funny. Thankfully, MacGruber knows what it is, knows how to do it well, and knows the difference between being dumb and serving up gleefully dumb fun. The first season of MacGruber is available to stream via Stan. NEW SHOWS TO CHECK OUT WEEK BY WEEK STATION ELEVEN Add Station Eleven to the pile of post-pandemic movies and shows that ponder that very subject — a topic that'll continue to grace our screens for years and decades to come. It's unfair to clump this haunting end-of-the-world miniseries into the same group as opportunistic flicks such as Locked Down, though. Instead, like Y: The Last Man, it predates COVID-19, arrives after garnering a devoted following on the page, and taps into something far deeper than obvious observations about being stuck at home with your significant other and having to scramble to buy toilet paper. The focus of this excellent show, and of Emily St. John Mandel's 2014 book before it, is how art and community all play immeasurable parts in helping humanity process and navigate existence-shattering traumas — and to find a path out the other side. That's a sentiment that might sound mawkish and self-evident when described in a mere sentence, but nothing about Station Eleven ever earns such terms. It all starts with a flu that swiftly proves more than just the usual sniffles, coughs, aches and pains. For eight-year-old Shakespearean actor Kirsten (Matilda Lawler, Evil), the chaos descends during a tumultuous opening-night performance of King Lear led by Arthur Leander (Gael García Bernal, Old), the aftermath of which sees her traipsing around snowy Chicago with Jeevan (Himesh Patel, Don't Look Up), who she has just met. That's really just the beginning of this multi-layered narrative, which also jumps forward 20 years to experience Kirsten's (Mackenzie Davis, Happiest Season) life with a travelling theatre troupe as the planet adjusts to its new normality — and keeps fluttering backwards into her younger exploits, and into the experiences of others connected to her story in various ways. This is a dystopian disaster tale not just about merely surviving, but about truly enduring, and it's a lyrical, heartfelt and character-driven apocalyptic musing with an immediate difference. The first five episodes of Station Eleven are available to stream via Stan, with new episodes dropping weekly. FIREBITE Trust Warwick Thornton to rove his eyes across Australia's sunburnt landscape, imagine vampires prowling the outback and cast those predators within a narrative that hails back to the First Fleet's arrival. The Samson and Delilah and Sweet Country filmmaker co-created new Aussie fantasy-horror series Firebite with Mad Bastards' director Brendan Fletcher, so the credit isn't his alone; however, given that he's spent his career exploring the nation's treatment of Indigenous Australians, it slips easily into his filmography. His third TV project in short succession following the second season of Mystery Road and stunning docoseries The Beach, Firebite also carves out a place for Indigenous tales within the undead genre. Indeed, seeing the colonisation of Australia as the act of ruthless bloodsuckers is an idea so smart and shrewd that this new streaming delight deserves to span on for several seasons. Making glorious use of Coober Pedy's dusty expanse — and its underground dugouts, which help locals escape the heat — Firebite follows two black vampire hunters, aka bloodhunters. Tyson (Rob Collins, The Drover's Wife The Legend of Molly Johnson) doesn't really like the label, but he's determined to keep his hometown of Opal City free of vampires, and he's teaching his teenage daughter Shanika (Shantae Barnes-Cowan, Total Control) the trade. But then The King (Callan Mulvey, High Ground) arrives, and more bloodsuckers follow. As a century of vampire fare dictates, this doesn't bode well for humans. Thornton and Fletcher — and fellow director Tony Krawitz (Secret City) — never merely follow in anyone else's footsteps, though. In fact, they don't just sink their teeth into a familiar concept, but tear into it to tell their own standout tale, and do so with a devil-may-care attitude that drips through Firebite's style, story and performances. The first two episodes of Firebite are available to stream via AMC+, with new episodes dropping weekly. EXCELLENT RECENT BIG-SCREEN RELEASES TO CATCH UP WITH IMMEDIATELY THE POWER OF THE DOG Don't call it a comeback: Jane Campion's films have been absent from cinemas for 12 years but, due to miniseries Top of the Lake, she hasn't been biding her time in that gap. And don't call it simply returning to familiar territory, even if the New Zealand director's new movie features an ivory-tinkling woman caught between cruel and sensitive men, as her Cannes Palme d'Or-winner The Piano did three decades ago. Campion isn't rallying after a dip, just as she isn't repeating herself. She's never helmed anything less than stellar, and she's immensely capable of unearthing rich new pastures in well-ploughed terrain. With The Power of the Dog, Campion is at the height of her skills trotting into her latest mesmerising musing on strength, desire and isolation — this time via a venomous western that's as perilously bewitching as its mountainous backdrop. That setting is Montana, circa 1925. Campion's homeland stands in for America nearly a century ago, making a magnificent sight — with cinematographer Ari Wegner (Zola, True History of the Kelly Gang) perceptively spying danger in its craggy peaks and dusty plains even before the film introduces Rose and Peter Gordon (On Becoming a God in Central Florida's Kirsten Dunst and 2067's Kodi Smit-McPhee). When the widowed innkeeper and her teenage son serve rancher brothers Phil and George Burbank (Spider-Man: No Way Home's Benedict Cumberbatch a career-best, awards-worthy, downright phenomenal turn, plus Antlers' Jesse Plemons) during a cattle-run stop, the encounter seesaws from callousness to kindness, a dynamic that continues after Rose marries George and decamps to the Burbank mansion against that stunning backdrop. Brutal to the lanky, lisping Peter from the outset, Phil responds to the nuptials with malice. He isn't fond of change, and won't accommodate anything that fails his bristling definition of masculinity and power, either. The Power of the Dog is available to stream via Netflix. Read our full review. THERE IS NO EVIL The death penalty casts a dark and inescapable shadow over There Is No Evil, which is just as writer/director Mohammad Rasoulof intends. The Iranian filmmaker has spent his career examining the reality of his homeland, as previously seen in 2013's Manuscripts Don't Burn and 2017's A Man of Integrity — so much so that he's actually been banned from his craft, not that that's stopping him. With There Is No Evil, Rasoulof doesn't simply continue the trend that's guided his cinematic resume thus far. Rather, he interrogates the most severe form of punishment that any society can enact, and doesn't shy away from horrors both obvious and unplanned. To call the result powerful is an understatement, and it's won him Berlinale's prestigious Golden Bear in 2020, and now the 2021 Sydney Film Festival Prize as well. An anthology film that unfurls across four segments, There Is No Evil explores capital punishment, its impact and the ripples that executions have upon Iranian society. Even the mere concept of state-sanctioned killing rolls through the feature like waves, changing and reshaping much in its wake. It touches a stressed husband and father (feature first-timer Ehsan Mirhosseini), a conscript (Kaveh Ahangar, Don't Be Embarrassed) who can't fathom ending someone's life, a soldier (Mohammad Valizadegan, Lady of the City) whose compliance causes personal issues and a physician (Mohammad Seddighimehr, The Sad Widows of the Warlord) unable to practise his trade. While some sections hit their mark more firmly and decisively than others — There Is No Evil's introduction sets a high bar — this meticulously crafted movie, both visually and thematically, has a lingering cumulative effect as it ruminates on the threats and freedoms that come with life under an oppressive regime. There Is No Evil is available to stream via SBS On Demand. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October and November this year — and our top new TV shows of 2021, best new television series from this year that you might've missed and top straight-to-streaming films and specials as well. Top image: Ian Routledge/AMC+.
The Waterside Hotel, standing tall and proud on the corner of Flinders Street and King Street, is set to open before the end of the year following a massive transformation. Come November, the revitalised venue will showcase a new beer garden, multi-level South-East Asian restaurant, rooftop bar, outdoor terrace, ground-floor pub and additional event spaces. While a huge undertaking, the project was in the safe and experienced hands of Sand Hill Road, a group known for redeveloping some of Melbourne's most notable and loved pubs. Their previous renovations include The Espy in St Kilda, the Richmond Club Hotel on Swan Street, and the Garden State Hotel on Flinders Lane. "The Waterside Hotel is the culmination of decades revitalising pubs across Melbourne. We're deeply passionate about breathing new life into treasured venues, and we felt that now was the perfect time to revive The Waterside Hotel — restoring this iconic landmark while offering something truly unique for Melbourne, that is on a global scale," says Matt Mullins, co-owner of Sand Hill Road. This project has been in the works for an eye-watering eight years. While the heritage-listed 1925 facade has been preserved, the interior was entirely redone to modernise the venue and create a new destination for Melburnians to head to for a night out in the CBD. The ground floor pub and beer garden will keep with traditions, offering up modern pub fare. At the same time, the new PAST/PORT restaurant, which spans three levels, will serve a Southeast Asian menu, all under the watchful eye of executive chef Sarah Chan (from the Espy's Mya Tiger). Sand Hill Road has led the project with their signature 'Melbourne-first approach', which seeks to honour the legacy of historic venues, while revitalising them for future success and longevity. Mullins says, "The Waterside Hotel is not just about grand design — it's about how people connect to the rooms, the mood, and each other. We've strived to create something that carries the soul of a Melbourne pub, but on a scale and ambition that feels truly world-class." Images: Michael Pham. The Waterside Hotel is set to reopen in November at 508 Flinders Street, Melbourne. Subscribe now to keep up to date with the latest information. In the meantime, check out the best restaurants in Melbourne's CBD.
Thirty-four-metres long, more than twice as big as a regular hot air balloon and ripped straight from Patricia Piccinini's inimitable mind, Skywhale might just be one of Australia's most recognisable recent pieces of art. It's a sight to see, and the largest-scale example of the artist's fascination with the thin line that separates nature and technology — and it's about to meet its match. Come February, the National Gallery of Australia will unveil Piccinini's new Skywhalepapa, which is designed to form a family with Skywhale. It was originally scheduled to premiere in 2020 — but, after joining the list of things that didn't turn out as planned last year, it'll take to the sky on three mornings in 2021 instead. Both Skywhale and Skywhalepapa will float above Canberra at 5.30am on Saturday, February 6, then again on Monday, March 8, and finally on Saturday, April 3, as part of an event called Skywhales: Every Heart Sings — with the second bulbous sculpture commissioned as part of the gallery's Balnaves Contemporary Series. Although art lovers can check out the event for free, you do need to register if you'll be in Canberra on any of those dates, and fancy getting up early and going along. Of course, that's hardly surprising in these COVID-19-safe times. [caption id="attachment_751759" align="alignnone" width="1920"] Skywhalepapa, 2019/20 (artist's sketch), Patricia Piccinini. Courtesy of the artist.[/caption] Just how big Skywhalepapa will be is also yet to be announced but, given the impressive size of its companion, expect it to be hefty. And if seeing two Skywhales isn't enough, the NGA has been hosting Patricia Piccinini: Skywhales, an exhibition dedicated to them, since March 2020. It'll wrap up on August 1, 2021. If you can't make it to Canberra to see the growing Skywhale clan, it'll also head around the country for an NGA touring exhibition. Locations and dates haven't been announced as yet, and are set to be confirmed in the future. Skywhales: Every Heart Sings takes place at the National Gallery of Australia, Parkes Place East, Parkes, ACT — with the floating sculptures taking to the sky at 5.30am on Saturday, February 6, then again on Monday, March 8, and finally on Saturday, April 3. For further information, visit the NGA website. Top images: Skywhale, 2013, Patricia Piccinini. National Gallery of Australia, Canberra. Gift of anonymous donor 2019, Australian Government's Cultural Gifts Program. Photo: Martin Ollman Photography.
Whether you're in lockdown, working from home or just social distancing in general, your day could always do with a few more cute animals. And, if you didn't realise this before the pandemic, you definitely will have over the past few months: the internet is always happy to oblige. Earlier in the year, Melbourne's zoos started live-streaming their penguins, leopard cubs and giraffes, while Sydney's aquarium brought us playtime with Pig the dugong, the Wild Life zoo opted for cuddles with quokkas and Brisbane's Lone Pine Koala Sanctuary opted for a non-stop look at one of Australia's cutest native marsupials. The list of animal-focused streams has grown over the course of 2020, including Melbourne Aquarium's own series of meditation and relaxation videos. And now, also from Melbourne, a den of small-clawed otters are getting in on the fun. In the latest webcam setup at Melbourne Zoo, a lens has been trained on the site's four Asian small-clawed otter pups. They were born in February this year to otter parents Paula and Odie, who became the first of their species to breed at the Victorian site since back in 2011. And, whether they're sleeping or playfully fighting — a type of behaviour that helps them bond — these little critters are immensely adorable. https://www.youtube.com/watch?v=r14IcXmQMyg&feature=emb_logo The otter webcam joins Melbourne Zoo's Animals at Home portal, where you can also peer at the aforementioned penguins, snow leopard cubs and giraffes — and lions, too. As the otter live-stream runs all day, every day, we can't promise this won't put a slight dent in your usual plans — and, on weekdays, your productivity — but we can promise that it'll help brighten up your day every so slightly. Check out Melbourne Zoo's Animals at Home portal via its website. Images: Zoos Victoria
If you've got an uncompromising desire for top-notch bread and pastries, you're probably well aware of Baker Bleu's exploits. However, getting a taste just got a little easier, with the launch of a fourth location in Cremorne, just a short stroll from Richmond Station. Whether you're an office worker in the area or simply don't mind taking a detour for a special bite, this central spot is ideal for breakfast on the go, lunch with friends or an afternoon pick-me-up. Inside, the all-day dining menu features the bakery's cult sandwiches, Roman-style pizzas and an assortment of freshly made pastries. Meanwhile, a selection of new additions brings a fresh element to the new digs. Tuck into a range of breakfast ficelles featuring salami, provolone and pickles or make a sweet start to the day with challah french toast with whipped ricotta and fresh fig. Casting an eye down the menu, a ploughman's plate with a soft-boiled egg, freshly baked bread and trimmings like pickles, ham and gruyère will hit the spot, while healthy lunch options like the green goddess chicken salad with avocado and chickpeas will help rejuvenate your day. For something shareable, you can't go wrong with a freshly baked sourdough pizza with toppings ranging from margarita to zucchini with garlic cream and stracciatella. Plus, a flat white or latte made with Market Lane Coffee tastes just as good sitting at the indoor banquettes as the sunny outdoor tables. Past visitors to Baker Bleu will have certainly recognised the bakery's appreciation for good design. The Cremorne store is no different, with Melbourne-based studio IF Architecture coming on board to shape a space with seating for 20 and a nifty central table where customers can browse merch and artisanal products from local makers. Rich in textural details, materials like American oak, aluminium and stainless steel evoke the rustic charm of traditional breadmaking. "We're excited to bring Baker Bleu to a new market and look forward to becoming a part of the daily routine of Cremorne's community," says baker and owner Mike Russell. "Come in to get your daily sourdough loaf and coffee or settle in for a lunch or catch up with friends, our Cremorne store has something for everyone." Founded in 2016 by Mike and Mia Russell, Baker Bleu has grown from a small Elsternwick operation to enjoy bustling Melbourne locations in Caulfield North and Hawksburn, alongside Double Bay in Sydney. Focused on an ancient long-fermentation process that doesn't skip any corners, don't be surprised to find Baker Bleu bread on the menu at many of the city's top cafes and fine-dining institutions. Baker Bleu Cremorne is open from Monday-Friday from 7am–4.30pm and Saturday–Sunday from 7am–3pm at 65 Dover St, Cremorne. Head to the website for more information. Images: Sarah Pannell.
After only one Australian bar earned a spot in The World's 50 Best Bars extended 51–100 longlist for 2023, two Aussie watering holes have now made the ranking's actual top 50. In the latest chapter in the Sydney–Melbourne rivalry, both cities are represented, including a perennial favourite in the Harbour City and a fast-rising spot in the Victorian capital. The regular placeholder? The nation's highest-ranking spot to get sipping in 2023 is Sydney's Maybe Sammy, which sits on the list for the fifth year in a row. The innovative bar in The Rocks has improved its ranking from 2022, too, moving up to 15th place from 29th. It came in 22nd in 2021 after placing 11th in 2020 and 43rd in 2019. In Melbourne, Caretaker's Cottage is the other Aussie venue in the top 50, coming in at 23rd. The Little Lonsdale Street only entered the longlist in 2022, when it placed 60th, so enjoys a significant rise up the rankings in its second year. [caption id="attachment_744474" align="alignnone" width="1920"] Maybe Sammy[/caption] For those yet to get acquainted with Maybe Sammy in The Rocks, its luxurious styling nods to old-school Vegas glamour, all blush pink velvet banquettes and lush indoor greenery, while the list of theatrical signature drinks pays homage to the classics. The World's 50 Best Bars has praised it for being "the Sydney cocktail bar where great stories begin", all "thanks to the emphasis on guest experience" — and calls out its latest beverage menu, which it calls the venue's "best selection of drinks yet". Maybe Sammy's 15th placing also makes it not only the best bar in Australia, but also the list's official best bar in Australasia. Hailing from bartenders and owners Rob Libecans, Ryan Nordics and Matt Stirling, Caretaker's Cottage earned some love for being "a subtle temple to great drinks". The World's Best 50 Bars called out "the lighting, the sound, the natural timber adorning much of the room" while noting that "everything conveys warmth and understated elegance". And as for the sips, "Melbourne's best Guinness" and "what is probably Australia's coldest Martini" scored a specific mention. Maybe Sammy and Caretaker's Cottage's top-50 placings give Australia three spots in the ranking's best 100, with the Victorian capital's Byrdi sitting at 61st. And Maybe Sammy doesn't just notch up five years on the list, but five times being named the best bar on the continent. Announced in Singapore on Tuesday, October 17, the 2023 list named Sips in Barcelona as the top spot for a tipple worldwide, as part of a best 50 that spans watering holes from 28 cities. It takes over from 2022's Paradiso, which makes it two years in a row that the most applauded bar has been found in Barcelona. Sitting between Sips in first place and Maybe Sammy in 15th: New York's Double Chicken Please in second, Mexico City's Handshake Speakeasy in third, Paradiso dropping to fourth, London's Connaught Bar sitting fifth after winning in 2020 and 2021, Little Red Door in Paris at sixth, and Mexico City's Licorería Limantour in seventh spot — as well as Tayēr + Elementary in London at eighth, Cartagena's Alquímico in ninth position, Himkok in Oslo sitting tenth, Tres Monos in Buenos Aires placing 11th, Athens' Line coming in 12th, BKK Social Club in Bangkok at 13th and Jigger & Pony in Singapore at 14th. Wondering who's making the calls? The annual World's 50 Best Bars awards are voted on by bar industry experts from around the world, including bartenders, consultants, drinks writers and cocktail specialists. [caption id="attachment_860284" align="alignnone" width="1920"] Maybe Sammy[/caption] [caption id="attachment_871415" align="alignnone" width="1920"] Caretaker's Cottage[/caption] [caption id="attachment_743915" align="alignnone" width="1920"] Maybe Sammy, Trent van der Jagt[/caption] For the full list of the World's 50 Best Bars for 2023 (and past years' lists), head to the ranking's website. Top image: Maybe Sammy, Oficina.
Low-fi. Wild ferment. Skin contact. Sounds like different incarnations of your mate's high school band, but actually this is just the lingo of the world of minimal intervention winemaking. It's a movement that's been gaining popularity in Australia and New Zealand for a while now, and the wines produced as a result of it have been floating around restaurants and bars for the better part of a decade. For some, seeing 'skin contact' on a wine list is like a guiding light — but, often, it can be confusing as to what that actually means. So what is minimal intervention winemaking exactly? In its purest form, minimal intervention means winemaking that doesn't add or remove anything at the cellar — it's about turning grapes into wine with as little interference from the winemaker as possible. Unlike your typical drop made with more traditional methods, there are less sulfites and commercial yeast added throughout the process. Instead, yeast that was already on the grapes when they were picked is left to ferment and make it into wine. So, how can you tell when you're sipping one? What flavours should you expect in the glass? And how long can you keep a bottle in your fridge before it ends up down the sink? To help you wade through the winemaker speak, we've teamed up with Stoneleigh to deliver the ultimate untraditional wine cheat-sheet. With this, you won't have to fumble your way through weighty wine lists (and, after that, chicken out and order the house red anyway). We'll have you picking the most interesting wine on the menu in no time. HOW IT'S MADE Let's start at the vineyard. In the case of minimal intervention wine this is, arguably, the genesis of every great bottle. The process begins with fruit picked at optimum ripeness, which is then harvested and crushed. From here, juices are drained and pressed from the skins, then poured into a fermentation vessel and left at room temperature. This is where things really kick into gear. The fermentation of the natural yeast usually begins within a few days and continues for up to a month. It's similar to the style of fermentation that happens in kombucha, kimchi and sourdough. In the case of Stoneleigh's Wild Valley Sauvignon Blanc, 70 percent of the wine is aged in French barrels, while the other 30 percent goes into stainless steel tanks. Once fermentation is complete, the two are blended to produce a balanced and ripe wine that has more texture and depth. The key difference here from conventional winemaking is there's no chemicals, herbicides, and pesticides, added yeast, sugar or machinery in sight. The result? Keep reading to find out. [caption id="attachment_644048" align="alignnone" width="1920"] Brook James[/caption] HOW IT TASTES As minimal intervention winemaking adopts a hands-off approach, it's often said these wines are the ultimate representation of the land from which the grapes are sourced. Each vineyard will have its own unique environment that produces naturally occurring micro-flora (the stuff that makes wild fermentation happen) and, as such, its own distinct taste. Without the typical stabilisers and filtering process of conventional wines, the flavour profiles of this wine vary wildly from cellar to cellar. It's a spectrum that shifts from wild and crisp to cloudy and funky. Oh, and expect there to be plenty of sediment in the bottom of your glass. Unlike conventional wines, there are no agents (typically egg white or gelatin) added or filtering prior to bottling — so there will be floaties. But don't worry, these are completely harmless and 100 percent fine for ingestion. Think of it like the pulp in a freshly squeezed OJ. Grown in New Zealand's Rapaura valley, Stoneleigh's Wild Valley Sauvignon Blanc is a wine as very distinct. If you track down a glass, you'll smell stone fruit and lemon curd, and maybe even taste some paw paw. HOW TO STORE IT These wines, unlike their conventional counterparts, are best enjoyed young. Without stabilisers and additives, they prove more unstable and harder to age than a traditional drop. So Stoneleigh recommends consuming its Wild Valley Sauvignon Blanc within two years of purchasing to drink it at its peak. The same rules around typical wine storage still apply for low-intervention wines. Store horizontally away from sunlight in a cool, dry place and keep sealed and corked until you're ready to drink. Once open, the wine's flavour will be at its for the next two or three days — don't leave it any longer. [caption id="attachment_644050" align="alignnone" width="1920"] Brook James[/caption] HOW TO PAIR IT Being region-specific wines, many wild fermented wines are a perfect match for vegetable dishes. Look for savoury low-fi drops that play on the earthiness of root vegetables like carrots, parsnips and beetroot. Next time you're hosting a barbecue, skip the six-pack and nab a chilled glass of natural vino instead. Grab bottles with light, bright acidity that work well alongside charred seafood dishes like prawns and scallops or grilled barramundi. Stoneleigh's Wild Valley Sauvignon Blanc is suited to a range of dishes. The winemakers recommend pairing it with an oily fish such as salmon, topped with parmesan herb crust drizzled with fresh lemon or perfect with a range of cow's and goat's milk cheeses. Start your journey through minimal intervention wine with Stoneleigh Wild Valley, whose 2017 sauvignon blanc recently won gold at the New York International Wine Competition 2019. Top image: Brook James.
Sometimes, you just want a sweet treat and a few film facts. For Australian fans of lollies and movies, Fantales have always come through. Sure, the chocolate-covered caramels are great for a sugar fix, but they've become an iconic Australian favourite thanks to their yellow wrappers printed with stories about the big screen's stars. And yes, they're the perfect snack when you're hitting the cinema. Well, they were. Fantales have been around for almost a century, debuting in the 1930s, but the Aussie chocolate is going the way of silent the age. Come mid-July, they'll cease production, with Nestle announcing that it is closing the curtain on the lollies. If you were a pre-internet kid, you'll remember gleaning film tidbits about famous faces thanks to the sweets back in the day when every piece of information about every celebrity wasn't available online instantly. But apparently that hasn't been enough to keep folks buying Fantales. Indeed, Nestle's decision has been made due to declining sales, plus the upgrades that'd be needed to the machinery that makes them "We know our decision to stop making Fantales will be sad news for many people," said Nestlé Oceania Confectionery General Manager Andrew Lawrey. "Many of us grew up with Fantales and have fond memories of them. Despite the sense of nostalgia Fantales evoke, unfortunately people simply aren't buying them as often as they used to," he continued. "In addition, our Fantales equipment needs significant investment. It's become increasingly difficult to get the parts we need to maintain it and, with declining sales, replacing it isn't viable." Before you start fearing for that other Aussie childhood staple — that'd be Minties — Nestle has confirmed that they're sticking around, as are other party bag go-tos like Snakes Alive and Allen's Party Mix. Fantales will cease production in mid-July 2023. You'll find them on supermarket shelves for now while stocks last.
Benito Antonio Martínez Ocasio has won three Grammys and 11 Latin Grammys, starred in Bullet Train and hosted Saturday Night Live, among plenty of other achievements, but he hasn't hit the stage in Australia — yet. By the time that summer 2025–26 is out, Bad Bunny will tick a trip Down Under off of his list, after announcing that his new DeBÍ TiRAR MáS FOToS world tour includes a visit to Sydney. Locking in dates in the Dominican Republic, Costa Rica, Colombia, Mexico, Peru, Chile, Argentina, Brazil, Japan, Spain, Portugal, Germany, Netherlands, United Kingdom, France, Sweden, Poland, Italy and Belgium, too, Bad Bunny has confirmed 23 shows between November 2025–July 2026 so far. Named for his latest album, which released in January this year and spent three weeks in a row atop the Billboard 200 chart, the tour will see him become the first Latin act to headline stadiums globally. Only one stop on Bad Bunny's jaunt around the planet is Australia, however: at ENGIE Stadium in the Harbour City on Saturday, February 28. He's playing the New South Wales capital in-between dates in Brazil and Japan, two other countries where the 'Mia', 'Callaíta', 'Qué Pretendes' and 'Vete' singer will perform live for the first time ever. The Puerto Rican superstar's global jaunt will follow his upcoming No Me Quiero Ir de Aquí gigs, a 30-date residency at José Miguel Agrelot Coliseum in his homeland. Before that, he toured North America in 2024, and both North and Latin America in 2022. His DeBÍ TiRAR MáS FOToS shows will take him to Europe for the first time since his 2019 X 100pre tour. On the charts, DeBÍ TiRAR MáS FOToS, his sixth album, has kept garnering love — also sitting in the Billboard 200 top ten for 13 weeks, taking the number-one slot on Billboard's Latin Albums chart for 16 consecutive weeks and helping him become the first-ever Latin artist with 100 Billboard Hot 100 entries. Before both his No Me Quiero Ir de Aquí residency and DeBÍ TiRAR MáS FOToS world tour, Bad Bunny also has another date with SNL, this time as the musical guest on the season 50 finale that's being hosted by Scarlett Johansson (Fly Me to the Moon). Bad Bunny DeBÍ TiRAR MáS FOToS World Tour 2026 Australian Date Saturday, February 28 — ENGIE Stadium, Sydney Bad Bunny is playing ENGIE Stadium in Sydney on Saturday, February 28, 2026, with presales from 10am on Thursday, May 8, 2025 and general sales from 11am on Friday, May 9. Head to the tour website for more details.
What makes a great avocado on toast? The answer to that question is subjective, because we all have different tastes when it comes to the breakfast and brunch staple. What makes a serving of avo on toast so spectacular that it's dubbed the best that Australia, nation of avid avo toast worship, has to offer? Avocados Australia, the industry body representing the Aussie avo industry, thinks it knows — and it has just named the country's top version, in fact. Since June, the organisation has been running the first-ever Australia's Best Avo Toast competition, aiming to find the avo on toast that'd make all other avo on toasts envious if the dish had feelings (and turned even greener with envy about better avos on toast). The winner hails from Brisbane, with Balmoral's Little Hideout Cafe getting the nod for a menu item called 'seasonal avocado'. [caption id="attachment_862831" align="alignnone" width="1920"] Little Hideout Cafe[/caption] If you're a Brisbanite keen to give it a try — if you haven't already — or you now know where you're headed for an avocado fix next time you're up north, the winning dish goes with slices of avo, rather than smashing it all up. It places them atop a toasted slice of grainy sourdough, then pairs it with roast tomato aioli, whipped feta and beetroot hummus, as well as slices of radish and a sprinkle of homemade dukkah. The cost: $16.90. No, spending that on avo on toast won't rob young Aussies of their chance to buy a house. Yes, visiting the cafe for some avo will help make a dent in Australia's current glut of avocados. View this post on Instagram A post shared by Little Hideout Cafe (@littlehideoutcafe) Little Hideout emerged victorious from a list of ten finalists, with Queensland performing strongly. Nodo in Newstead, Anouk Cafe in Paddington, Cinnamon and Co in West End and Kin and Co Cafe in Teneriffe all hail from Brissie, too, while Guyala Cafe is located in Cairns. In New South Wales, Barbetta Cucina in Paddington and Bolton Street Pantry in Newcastle made the list, while Faraday's Cage in Fitzroy was the sole Victorian finalist, and The Banksia Tree in Port Adelaide the lone South Australian venue. [caption id="attachment_862832" align="alignnone" width="1920"] Barbetta Cucina[/caption] And if you're wondering how the competition worked, it was judged by Avocados Australia, with a focus on the quality of avocados used and how they were heroed in the dish. Little Hideout's avos are supplied by Big Michael's, and grown by Simpson Farms. Little Hideout Cafe is located at 2/185 Riding Road, Balmoral, Queensland. For more information about Avocados Australia's best avo toast competition, head to the organisation's website.
Patricia Coffee Brewers might seem simple on the surface, perhaps yet another Melbourne cafe crammed into a barely workable space. But look again. As one of the first spots in the city to charm drinkers with a tiny standing room-only space, it's the mixture of old-school allure and Melbourne sensibilities that has coffee lovers – literally – lining up outside the door every morning (and afternoon). Since its opening in December 2011, this inconspicuous slice of the city has gone about serving excellent coffee that it roasts itself — white, black or filter — in its own simple way. It's the little details that make Patricia stand out from the crowd: the beautiful marble bar, gentle white ceramic cups, handmade brass hooks, leather aprons and a carefully selected array of reading material. A small selection of pastries on offer changes daily and complements the black brew, all sourced from local suppliers, including All Are Welcome, Mörk, Small Batch and Sucette. Visit on a day when canelés are behind the glass, and you might just end up with a special Patricia creation called a Clouds Mountains: an affogato served with one of these pastries right in the middle of it. Like the most beautiful, elegant dame you know, Patricia manages to hit the flawless spot between great product, delightful service and strong aesthetic consideration. Despite its specialty approach to coffee, the best thing about Patricia remains its accessibility and extremely welcoming service. Be prepared for a rough — almost neverending — peak hour; learn how to duck and fold and, if you're lucky, score one of the coveted perches at the beautiful bay windows. Bask underneath the 'Sunshine' neon installation looming from the ceiling, or enjoy the few minutes you have to take a quick read of the daily news that you'll find expertly pinned to the back wall. Appears in: Where to Find the Best Coffee in Melbourne
If you’ve ever fantasised about swapping your suit and computer for a smock and paintbrush, now’s the time to do it. Inside Llewyn Davis might not have done much for rosy-ing up the ‘independent artist’ dream, but a new website by the name of Behomm does. It’s an online home-exchange service that’s available exclusively to "architects, filmmakers, stylists, photographers, interior designers, art directors and ceramic artists". Rather than having to write clever things on artists’ residencies applications or scrape together spare pennies to pay for accommodation, visually creative types can now swap their homes with those of others living all around the world. From what can be seen on the site, that means access to some exquisite and quirky dwellings. Think New York loft apartments, mountain-top open plan studios, impossibly cute log cabins and lakeside villas. The range varies from modest cottages to expansive, architect-designed houses. What they all have in common, though, is the beautifying influence of an artistic sensibility — space to work, tasteful objects, inspiring views. Membership, open to full-time professionals only (sigh), is organised by invitation — from either another Behomm member or the site’s founders. Exchanges can be of any length — as brief as a weekend or as long as a year. A 50-day trial is free, after which membership costs 40 euros for three months or 95 euros for a year.
As any destination-hopping traveller knows, actually jumping between multiple locations isn't as fun as it sounds. Sure, visiting as many places as you can in a single trip is great, but the minutiae of moving between stopovers is far less exciting. Think complicated itineraries scheduled down to the last second, too many airport waits, and continually packing and unpacking your suitcase — you're exhausted just reading about it, aren't you? Inspired by Elon Musk's proposed high-speed, compressed air-powered transport system, the Hyperloop Hotel aims to take the hassle out of multi-destination trips by turning hotel rooms into a form of travel. Designed by University of Nevada graduate architecture student Brandan Siebrecht, and winning the student category at this year's Radical Innovation Award, the concept uses Musk's Hyperloop to move modular suites between 13 US destinations. Siebrecht's proposal relies upon shipping containers turned into hotel rooms, that can then easily undock from base sites in Austin, Boston, Chicago, Denver, Las Vegas, Los Angeles, Nashville, New York, Portland, San Francisco, Santa Fe, Seattle and Washington, DC. Each suite would be fully customisable, featuring spaces for sleeping, bathing and living, while the permanent structures in each city would boast the usual on-site hotel amenities. With the Hyperloop currently in the testing phase — and mooted to become operational as early as 2018 — Siebrecht believes it could be as little as five years until his idea becomes feasible. Unsurprisingly, however, it won't come cheap. He has floated a cost of US$8-10 million per hotel, and suggested US$1200 per person for travel and a one-night stay. And as for just how long you'd spend in transit, the system Musk describes as a "cross between a Concorde and a railgun and an air hockey table" will reportedly cut travel time down considerably. In the US, it has been suggested that the trek from LA to San Francisco would take just 35 minutes. In Australia, apparently zipping from Sydney to Melbourne could happen in a mere 55 minutes. Via Live Science / Inhabitat. Image: Radical Innovation Award.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=WL-G4oCoDF0&feature=youtu.be HIGH GROUND Violence is never splashed across a cinema screen unthinkingly. Depicting physical force is always a choice, even in by-the-numbers action films where fists and bullets fly far more frequently than meaningful moments. Accordingly, when brutality and bloodshed arrives in a drama that peers back at Australia's colonial past, there's no doubting that the filmmakers responsible have thought about what they're including, why, the message it conveys and the impact it'll have on the audience. High Ground is one such Aussie feature. Its main forceful encounter occurs early, motivating everything that follows and proving impossible to forget. In 1919, ex-World War I sniper-turned-police officer Travis (Simon Baker, Breath) sets out across the area now known as Kakadu National Park, leading a law enforcement team on a routine expedition; however, it doesn't take much — namely, the decisions of his less fair-minded colleagues — for the journey to end with the slaughter of Indigenous Australians. Twelve years later, in the 30s, Travis is still haunted by the incident. In one of High Ground's most important choices, it doesn't require any effort at all to understand why he feels the way he does, or why his eyes have taken on a sorrowful glint. The movie's viewers have witnessed the same awful events, with Aboriginal men, women and children who were enjoying a peaceful waterside gathering all suddenly and savagely killed, and a boy called Gutjuk (played by as a child Guruwuk Mununggurr and Jacob Junior Nayinggul as an adult) only managing to leave the scene alive thanks to Travis' intervention. Even when untainted by blood, the country's landscape has blazed with red, orange and ochre hues since long before European settlement — since the sun first started beating down upon it, undoubtedly — with those colours helping many an Aussie film bake heated feelings of fury and torment into their frames. Indeed, simmering anguish goes with the territory in High Ground. That's true of every movie that recognises that Australia was far from terra nullius when the First Fleet arrived, but there's no escaping the scorching mood that radiates here, as director Stephen Maxwell Johnson (Yolngu Boy) intends. Working with cinematographer Andrew Commis (Babyteeth) to bring screenwriter Chris Anastassiades' (The Kings of Mykonos) script to the screen, the filmmaker fills his first feature in two decades with picturesque yet also pulsating scenery. Peering down at eye-catching swathes of the Northern Territory, the nation's earthy beauty is striking and stunning, and so is the knowledge that it was walked upon by Indigenous Australians for tens of thousands of years. And one goes with the other, as the movie's soundtrack also helps reinforce, layering the noises of birds and wildlife with songs by Yolngu singers such as Yothu Yindi's Witiyana Marika — who also appears in the film as Gutjuk's grandfather Dharrpa — and his son Yirrmal Marika. Read our full review. https://www.youtube.com/watch?v=SG_EVA58P-g NEWS OF THE WORLD A year after his exquisite and rightly Oscar-nominated performance in A Beautiful Day in the Neighbourhood, Tom Hanks returns to the big screen with his latest great film. In News of the World, he plays a Civil War veteran-turned-travelling newsman who becomes saddled with escorting a child back to her family — and he's as gripping and compelling to watch as he's ever been. Hanks' character, Captain Jefferson Kyle Kidd, is a travelling newsman in the very literal and era-appropriate sense. He journeys from town to town to read newspapers to amassed crowds for ten cents a person, all so folks across America can discover what's going on — not just locally, but around the country and the world. Then, on one otherwise routine trip in 1870, he passes an overturned wagon. Only a blonde-haired ten-year-old girl, Johanna (Helena Zengel, System Crasher), remains alive. Kidd soon discovers that she had been abducted by the Kiowa people years earlier during a raid that saw her entire family slaughtered, and was then raised as one of their own, but she has now been left homeless after more violence. The wagon was transporting Johanna to her last remaining relatives and, in the absence of any officials willing to take over — or ensure her safety until they get around to setting off — Kidd reluctantly agrees to the task. Reading the news is still part of their trek, but so is avoiding the many dangers that plague their ride across Texas' golden-hued landscape. If the sight of a wearied Hanks donning a wide-brimmed hat, sitting atop a horse and galloping across scrubby plains feels unfamiliar, that's because it hasn't happened before — with News of the World marking his first-ever western more than four decades after he made his acting debut. (No, his time voicing cowboy plaything Woody in the Toy Story movies doesn't count.) Hanks is a natural fit, unsurprisingly. The grounded presence he has brought to everything from Apollo 13 to The Post couldn't pair better with a genre that trots so openly across the earth, and ties its characters' fortunes so tightly to the desolate and wild conditions that surround them, after all. As a result, the fact that News of the World eagerly recalls previous western highlights such as The Searchers and True Grit doesn't ever become a drawback. Instead, this adaptation of Paulette Jiles' 2016 novel makes a purposeful effort to put its star in the same company as the many on-screen talents who've shone in — and strutted and scowled through — the genre. Hanks takes to the saddle like he's been perched upon one his entire career, of course, and takes to Kidd's lone-rider status with the same naturalistic air as well. But, in a movie directed with less frenetic and jittery flair but the right amount of pulsating emotion by Captain Phillips filmmaker Paul Greengrass, he isn't the only standout. His young co-star is just as phenomenal, in fact, although that won't come as even the slightest surprise to anyone who saw Zengel's performance in 2019's System Crasher, which won the pre-teen the German Film Prize for Best Actress. Read our full review. https://www.youtube.com/watch?v=CGZmwsK58M8 MALCOLM & MARIE Shot in quarantine in mid-2020, Malcolm & Marie meets its eponymous couple on a momentous night, with filmmaker Malcolm (John David Washington, Tenet) all abuzz after the premiere of his latest feature. The critics gushed to him in-person so, arriving back at the flashy house that's been rented for him, he's drunk on praise and eager to celebrate with his girlfriend and aspiring actress Marie (Zendaya, Spider-Man: Far From Home). As she cooks him mac 'n' cheese, he pours drinks and relives the evening's events. But Marie isn't as enthusiastic, or as willing to cast everything about the premiere in a rosy glow. The catalyst for her simmering discontent, other than just the state of their relationship: as Malcolm & Marie writer/director Sam Levinson admits he did himself at the premiere of his 2017 movie Assassination Nation, Malcolm forgot to thank Marie. Levinson's wife only brought it up once, he has said; however, the moment the subject comes up on-screen, Marie isn't willing to accept Malcolm's claim that he simply forgot. Cue oh-so-much arguing, mixed in with cosier banter, broader chats about art and politics, Marie's frequent escapes outside to smoke and Malcolm's impatient waiting for the first reviews of his film to drop. Again and again, their discussion circles back to their history. Malcolm's movie is about a 20-year-old addict, and Marie once was that woman. So, she feels as if her real and painful experiences have hoovered up by him, without any appreciation or recognition — without casting her in the role, too. Where everything from Blue Valentine and the Before trilogy to Marriage Story have previously gone, Malcolm & Marie follows: into the fiery heat and knotty struggles of a complicated relationship. Like Blue Valentine, it charts ecstatic highs and agonising lows. As Before Sunrise, Before Sunset and Before Midnight did, it relies upon dialogue swapped frequently and passionately. And stepping in Marriage Story's territory, it follows a director and an actor as their career choices highlight issues they've plastered over for far too long. Still, while assembled from familiar pieces, Malcolm & Marie slinks into its niche. It's devastatingly stylish thanks to its black-and-white colour palette, elegant costuming and luxurious single-location setting. It glides by almost entirely on the strength of its ferocious performances, with Zendaya and Washington both exceptional. But it's also indulgent and obvious, as well as clumsy in its handling of many of its conversation topics. The film is at its best when its characters fight specifically about their relationship, and at its worst when it forgets that it's about people rather than about ideas. Like most relationships, it soars at times and sinks at others — and, in a very 2020–1 outcome, it easily leaves viewers wondering what might've eventuated if it hadn't been cooked up in a pandemic, designed to work within COVID-19 restrictions and scripted in just six days. Malcolm & Marie is screening in select Sydney and Melbourne cinemas. Read our full review. https://www.youtube.com/watch?v=uZLKevPsC6M PIXIE 2021 is barely a month old, but only one film reaching cinemas this year will feature beloved comedian Dylan Moran as a drug kingpin working out of a fish factory — and remaining as acerbic as ever in the process, of course — as well as Alec Baldwin as a gangster priest who uses his collar and church as a cover. That'd be Irish caper comedy Pixie, which takes its name from the woman, Pixie O'Brien (Olivia Cooke, Sound of Metal), at the centre of a heist, more than a few instances of double-crossing and a long-running feud between two groups of mobsters. Her stepfather Dermot (Colm Meaney, Gangs of London) leads one faction. Her still-yearning ex-boyfriend Colin (Rory Fleck Byrne, Zomboat!) is in his employ, but is willing to put his job and life at risk by ripping off a huge haul of MDMA. That said, most of Pixie's quest to cash in on the big score and flee to art school in San Francisco sees her spending time with best mates Frank (Ben Hardy, Bohemian Rhapsody) and Harland (Daryl McCormack, Peaky Blinders). The former has always had a crush on the titular character, while the latter sports his own feelings — and the fact that they're told "she won't just break you, she'll take a Kalashnikov to your heart" doesn't phase them in the slightest when they think they have a chance to earn her attention and affection. Directed by St Trinian's and St Trinian's 2: The Legend of Fritton's Gold helmer (and Wayne's World and Spice World producer) Barnaby Thompson using a script penned by his son Preston (Kids in Love), Pixie finds enough charm in two key places: its engaging lead actor and its energy. Cooke is fantastic, running rings around every single one of her almost-exclusively male co-stars with her smart, spirited attitude and mesmerising presence. And, tonally, the film sports a distinct mid-90s/early-00s vibe; if you found it on a streaming platform rather than showing on the big screen, you could easily think that it had been sitting in an online catalogue for quite some time and you just hadn't ever heard of it. Still, Pixie is never anything more than watchable. The younger Thompson's screenplay doesn't quite perfect its attempts to make its protagonist her own person, leaning too heavily on male fantasies even despite Cooke's impressive efforts. Also, almost every aspect of the plot seems like the product of someone who spent their formative years worshipping Quentin Tarantino, Martin McDonagh (In Bruges) and John McDonagh (The Guard). In fact, the elder Thompson's stylistic approach actually does the latter, too, which is evident no matter how quickly the whole movies zips along. https://www.youtube.com/watch?v=f8tofjqqrV8 OCCUPATION: RAINFALL Every science fiction film that has reached cinemas since 1977 has sat in the shadows of Star Wars, the best-known big-screen franchise there in the genre. But few movies have splashed around their desire to resemble the George Lucas-created saga and its success as blatantly as the Gold Coast-shot Occupation: Rainfall, the second entry in Australia's Occupation series. Narrative-wise, it follows an alien invasion, which its 2018 predecessor first detailed. That might sound more like Independence Day than Star Wars; however, humanity's survivors are cast as rebels fighting back against ruthless extraterrestrial forces with planet-eradicating weapons, which should ring more than a few bells from a tale set a long time ago in a galaxy far, far away. It's also impossible not to notice the red beams of light adorning sword-like weapons, especially when they're swung around in one-on-one face-offs; the frequent front-on shots of solo pilots sitting in their aircrafts as sky battles rage around them; the way that everything from towering military technologies to bobbing, weaving and crashing aerial conflicts are framed; and the sound effects so familiar you'd be forgiven for thinking they've just been lifted wholesale. There's also a comic green-skinned critter as a sidekick, this time quoting lines from other films rather than saying "ooh, mooey mooey, I love you!" (and, interestingly, voiced by Harry Potter's Jason Isaacs). That Occupation: Rainfall proves so derivative sits at odds with its ambition. Writer/director Luke Sparke is clearly dreaming big, which is to be admired and applauded — as any attempt to remedy Australia's lack of a big homegrown sci-fi franchise should be. Alas, just as Occupation's aping of Red Dawn and Tomorrow, When the War Began was always evident, the debt that Rainfall owes its high-profile influences is obvious to the point of being distracting. The thin storyline doesn't help, with Rainfall starting with the decimation of Sydney, then splitting its focus between resistance fighter Matt Simmons (Dan Ewing, Home and Away) and his reluctant alliance with alien Gary (Lawrence Makoare, The Dead Lands), and the ideological differences between his colleagues Amelia Chambers (Jet Tranter, Tidelands) and Wing Commander Hayes (Daniel Gillies, The Originals). Matt and Gary head to Pine Gap to track down an item of value to the extraterrestrials, which puts them in odd-couple road-movie territory, while Amelia disagrees with Hayes' willingness to conduct experiments on and torture their otherworldly foes. The clunky dialogue everyone is forced to utter doesn't assist either, and neither does the return of Star Wars alumnus Temuera Morrison or the appearance of Community's Ken Jeong — or the always-apparent reality that keeping the franchise going and laying the groundwork for a third film is the main aim above all else. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26; and January 1, January 7, January 14 and January 21. You can also read our full reviews of a heap of recent movies, such as The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger and Only the Animals. Top images: News of the World, Bruce W Talamon/Universal Pictures/Netflix; Malcolm & Marie, Dominic Miller, Netflix.
Fitzroy has welcomed a new haven of 70s disco dazzle, as The Lame Duck arrives to heat things up this summer. Behind a glittering gold door and up a flight of stairs on the corner of Gertrude and Smith Streets, this newbie's rocking a retro pool room aesthetic with a definite disco edge. Cementing those old-school party vibes, expect a healthy dose of wood panelling, a shrine to the one and only Cher, a working photo booth for late-night happy snaps, and a Billy Bass presiding happily over the room. A vintage purple pool table snookers all the others in town, and enormous booths — decked out in hot pink palm trees, no less — are primed for group festivities. With a nifty 4am licence, and a couple of hospitality veterans at the helm, it's a place where letting your hair down is most certainly encouraged. The cocktail offering is embracing the very best of eras past, slinging new-school takes on some of the 70s' best-known daggy drinks. There's the daring Mezcal Sunrise ($18) with pink grapefruit juice, a piña colada-margarita mash-up ($18) and the signature Lame Fluffy Duck ($18) — a gin and Aperol sour. They're all ten bucks if you get there for happy hour between 5–7pm Tuesday to Thursday. More retro classics pepper the snacks menu; you'll find yourself stepping back in time with bites like pickled onions, hot dogs and an oozy baked camembert fondue. Meanwhile, the DJ tunes will be spinning nightly, with residents like JNETT and Capt'n Shergz throwing down a hearty mix of disco, funk and soul jams. Be sure to bring your party shoes — dancing on the tables is a-ok at The Lame Duck. At least for the time being. Images: Jess Middleton.
It's been 15 years since Danny Rogers and Jerome Borazio decided to fill a Melbourne alleyway with tunes in 2005. Thankfully, Laneway Festival has just confirmed it will be heading back to its collection of unconventional venues for another year, revealing its jam-packed 2020 lineup. Returning to Melbourne, Sydney, Adelaide, Brisbane and Fremantle in February, Laneway will raise a plastic cup to the middle of summer with one heck of a lineup. This year's eclectic program is headlined by dance-pop powerhouse Charli XCX. The British songwriter's latest album Charli — which dropped just last week — features everyone from Lizzo to Troye Sivan and Sky Ferreira. It'll be her only Aussie show, as it'll also be for fellow international heavy hitter, American rapper Earl Sweatshirt. They'll be joined onstage by Canadian electro artist — and TikTok sensation — BBNO$, New Zealand's Benee, London crooner Col3trane and Irish post-punk band Fontaines DC. On the local front, you'll be able to get down to DMA's, Hatchie, Stella Donnelly, Hockey Dad, King Gizzard and the Lizard Gizard and this year's Triple J Hottest 100 winners, Ocean Alley. This year, the Sydney leg of the festival will be heading to its new inner-city location for the first time: The Domain. According to organisers, it'll allow the festival to have bigger stages and better sound — and it will be a bit more accessible by public transport. The Melbourne festival will be heading back to Footscray Park for its second year, too. But, enough chit-chat — here's the full 2020 lineup. LANEWAY 2020 LINEUP The 1975 Charli XCX (exclusive) Ruel Earl Sweatshirt (exclusive) Ocean Alley DMA's JID Tones and I King Gizzard & The Lizard Wizard Hockey Dad BBNO$ The Chats Mahalia* KAIIT Benee Stella Donnelly Oliver Tree Fontaines DC Omar Apollo Col3trane Hatchie* Spacey Jane Kucka Pist Idiots JessB* The Lazy Eyes** *East coast only ** Sydney only LANEWAY 2020 DATES Brisbane — Brisbane Showgrounds, Saturday, February 1 Sydney — The Domain, Sunday, February 2 Adelaide — Hart's Mill, Friday, February 7 Melbourne — Footscray Park, Saturday, February 8 Fremantle — Esplanade Reserve and West End, Sunday, February 9 Laneway Festival pre-sale tickets are available from Tuesday, September 24 — you can sign-up for access over here. Top image: BCS Imaging
True-crime documentaries aren't just having a moment. They've been monopolising everyone's viewing lists for the past decade, and making us all fans of the gripping genre in the process. The secret (well, other than the thousands of secrets each true-crime doco is brimming with)? The breadth of topics, because this field can cover everything from fast food scams and unsettling cults to personal quests to catch an elusive serial killer. No matter the subject matter, scenario, illicit acts or people responsible, great true-crime documentaries all have two other things in common: they're impossible to stop watching once you've started, and they'll make you want to seek out more once your series of choice has come to an end. Of course, there are so many to choose from, so we've teamed up with streaming service Binge to pick five standouts that you can feast your eyes on right now — including via a 14-day free trial for new customers.
As one big HBO series came to an end, another signalled its return, with the US cable network dropping the first trailer for Westworld's third season during the Game of Thrones finale. Say goodbye to dragons, fighting over a fancy chair and living in a medieval-looking fantasy realm, and hello to robots, flying cars and stepping outside of everyone's favourite futuristic amusement park. Say hello to Aaron Paul, too, with the Breaking Bad actor not only joining Westworld for the next batch of episodes, but also starring in the initial trailer. His new character was promised a better world, but this dream hasn't come true, so he's now searching for something real. Given how Blade Runner-esque everything is around him, he's probably channelling Jesse Pinkman and exclaiming "yeah, science!" more than once, too (at least internally). As the teaser makes plain, this season steps beyond the confines of the titular amusement park and into the world around it. That's as far as it goes, plot-wise, for the moment, but it's still revealing. While the show has always been futuristic, with its Old West-themed attraction featuring robots who are virtually indistinguishable from normal people, the third season appears to be dialling the sci-fi — and accompanying technology — up a few notches. Here, robots actually look like robots, except when Evan Rachel Wood's Dolores pops up. Now, the bad news: although Westworld's second season aired in 2018, the third season won't hit until 2020. HBO hasn't announced an exact airdate as yet, so watch this space. If a year seems like a long time between android dramas, remember that the first season of the show arrived 43 years after the Michael Crichton-directed movie that it's based on, and 40 years after the film's sequel Futureworld. If you haven't done so already, both are worth viewing while you're waiting for the TV series to return. Check out the first trailer for Westworld's third season below: https://www.youtube.com/watch?v=deSUQ7mZfWk Westworld's third season will air in 2020. We'll keep you updated with an exact airdate when it comes to hand.
Have you ever found yourself in a charming, low-lit restaurant on a Saturday night only to have the ambience destroyed by violent flashes from the table next to you? Perhaps it's happened right in front of you — a date who just had to halt conversation to whip out his iPhone and 'gram both your meals before you could deign to touch it. It's just as bad on the other end too. There's no way his followers at home want to see some poorly framed gourmet blob as they sit down to their own mildly depressing mac and cheese for one. Well, now we have an excuse to send all these terrible snappers on a nice long trip away. In a world first, new London pop-up restaurant Picture House will be letting diners pay for their bill via photos of their food on Instagram. Like a sanctuary for the universally hated, notorious amateur food photographers can snap to their heart's content at this cursed hellhole and get a free two-course meal at the end of it. Unfortunately for patrons and their respective Instagram followers, Picture House is in fact a marketing stunt by frozen food giants, Bird's Eye. Accordingly, the food that will be flooding everyone's newsfeeds will consist of fancy fish fingers and a beige assortment of things that once resembled chickens. Dimly Lit Meals for One should expect a huge influx of submissions in the next week. All in all, the industry is pretty divided on the issue of novice foodie photographers. A restaurant in Cape Town has recently allowed patrons to use the newly-developed #dinnercam in their dining room — a futuristic casing for your meal (pictured above) that creates perfect lighting conditions allowing optimum food wankery. But other establishments like David Chang's Momofuku Ko are outright banning the practice. Still, according to an incredibly impartial survey taken by Bird's Eye, nine percent of Britons can't even go a single day without photographing their meals. Of course, I'm being a little rough. The odd food pic is okay. Of course it is. All I ask is that the food on display should be truly extraordinary. A croque-en-bouche three metres tall? 'Gram that baby. Pasta which the chef has painstakingly arranged into a portrait of your face? That's DP material. But a plate of frocked up chicken dippers with the obligatory hashtag #BirdsEyeInspirations? No thanks. Via London Evening Standard.
Before she was even a teenager, Angourie Rice faced the end of the world. Ever since, she's been living almost everyone's dream. When the Sydney-born Australian actor made her feature film debut, it was in 2013's homegrown apocalyptic thriller These Final Hours, in what was also one of Sarah Snook's (Succession) early movie appearances. Jump to 2024 and Rice has not only a coveted resume to her name spanning everything from Sofia Coppola's The Beguiled to three Spider-Man flicks, but also a role that couldn't be more iconic. Move over Lindsay Lohan, get in Rice as Mean Girls' Cady Heron. Call it fetch, grool, coolness — when you grew up watching a film on repeat and now lead its 20-years-later musical remake, they all fit. The Aussie star of The Nice Guys, Jasper Jones, Black Mirror, Ladies in Black and Mare of Easttown has made it happen. Rice isn't just living the dream in her acting success, however. She also received an email that anyone who has seen 30 Rock, Saturday Night Live or, yes, the OG Mean Girls wishes would land in their inbox: a note from Tina Fey. [caption id="attachment_934705" align="alignnone" width="1920"] Vivien Killilea/Getty Images for Paramount Pictures[/caption] That's how Rice was first given the script for the 2024 movie that's also called Mean Girls, remakes the 2004 favourite of the same name, but isn't merely a case of telling the same tale again two decades later with a different cast. After Fey adapted non-fiction book Queen Bees and Wannabes for the initial Mean Girls film, a phenomenon was born. Alongside getting the world forever equating Wednesdays with wearing pink, the Lohan (Falling for Christmas)-, Rachel McAdams (Are You There God? It's Me, Margaret)-, Amanda Seyfried (The Crowded Room)- and Lacey Chabert (A Merry Scottish Christmas)-starring feature inspired both a made-for-TV and a graphic novel sequel, plus a smash-hit musical that premiered in 2017. And, in a full-circle moment, it's the latter that the new Mean Girls adapts, with Samantha Jayne and Arturo Perez (Quarter Life Poetry: Poems for the Young, Broke & Hangry) directing. So, a parenting book about the behaviour of girls in high-school cliques became a huge success as a teen comedy, then took to the theatre with songs and dancing, and now returns to the big screen with those tunes intact (not that you could really tell that from Mean Girls circa 2024's first trailer). Fey penned the script again — she wrote the book for the stage version, too — and reprises the role of teacher Ms Norbury as well. The only other cast member making a comeback: Tim Meadows (I Think You Should Leave with Tim Robinson) as Principal Duvall. Familiar faces surround North Shore High School's recognisable educators, however. As well as Rice as Cady, The Sex Lives of College Girls' Reneé Rapp plays queen bee Regina George, a part that first had her leading the Plastics on Broadway. Auli'i Cravalho, the voice of Moana, features as Janis. Jon Hamm (Fargo) Jenna Fischer (Splitting Up Together) and Busy Philipps (Girls5eva) are among the adults. Ashley Park (Only Murders in the Building) falls into that category also, after originating the stage's take on Gretchen Wieners and earning a Tony nomination for her efforts. How does as Aussie actor named after a coastal New South Wales town of Angourie become Mean Girls' new Cady? How did she react when Fey appeared in her inbox? How obsessed was she with the original film? And how did she prepare to play such a famous and beloved character? We chatted with Rice about all of the above, as well as why Mean Girls is so relatable, loving musical theatre and what she looks for in a role. [caption id="attachment_934704" align="alignnone" width="1920"] Vivien Killilea/Getty Images for Paramount Pictures[/caption] ON GETTING CAST AS CADY HERON — STARTING WITH THAT EMAIL FROM TINA FEY "The journey for me began with, believe it or not, an email from Tina Fey — which I could not believe. When it landed in my inbox, I was like 'what is going on?'. And it was a note from her with the script saying 'we're making this movie — I saw you in this thing, I think you'd be great for Cady'. I was just astonished that she even knew who I was, and that she was taking the time to send me a personal note. That is so rare when you receive scripts, so that meant a lot to me. Also because I just idolise her so much. So that's how it began. I read the script. I worked on the songs, and yeah." ON BEING A LIFELONG MEAN GIRLS FAN STARRING IN MEAN GIRLS "I had Mean Girls on DVD. I watched it over and over again between the ages of like five and nine. It was that and High School Musical 2 and The Sound of Music, I just watched over and over again. That movie is very, very stuck in my childhood brain — and my adult brain as well. I continued to rewatch it all the way up until I got cast in the movie. And then I was like 'I'm not going to watch it' because I need to have a clean mind going into it." [caption id="attachment_934703" align="alignnone" width="1920"] Vivien Killilea/Getty Images for Paramount Pictures[/caption] ON TAKING ON SUCH A BELOVED PART "There's a huge sense of responsibility to the people who loved the story of Mean Girls in whatever form, and the sense of responsibility to myself as well. So it was daunting, but I realised that I couldn't say no. It just had to be yes because I knew that if I said no and I went to the cinema and watched it, I would feel like I really missed out." ON PREPARING TO STEP INTO CADY'S (AND LINDSAY LOHAN'S) SHOES "I prepared in the same way I do for any role, actually. I go through the script. I annotate it. I also write down questions in certain scenes that I can ask the writer or director. The directors also gave me a character sheet, which is really cool — just a list of questions that you would answer as your character, which was really helpful." [caption id="attachment_934701" align="alignnone" width="1920"] Mare of Easttown, Michele K Short/HBO[/caption] ON DRAWING UPON RICE'S OWN HIGH SCHOOL EXPERIENCES TO PLAY CADY "What I love about Mean Girls is those feelings of being the new kid, feeling left out, feeling like you're not good enough, those are things are universal and you can feel them at any point in your life — starting a new job, or just when you arrive at a party and you only know one person. I definitely had that experience. I wasn't a new kid in high school, but I would go away and travel and come back, and things in high school move so quickly. So I'd come back and find out that my friendship group dynamic was different, or that someone had had a falling out with someone else and I had to pick a side — those sorts of dynamics. So, coming home and feeling like the new kid again because I'd just been away for three months and everything had changed, I did relate to that a lot with Cady." [caption id="attachment_689818" align="alignnone" width="1920"] Ladies in Black[/caption] ON WHAT RICE HAS LOOKED FOR IN A PART EVER SINCE THESE FINAL HOURS "I look for stories that are interesting and characters that have a good arc. That's what I love about Cady. She's got this incredible arc from being naive to being top of the world to falling down and having to get back up again. For me, it starts with the script and the story, and I think that's why I've been fortunate enough to have experiences in different genres and in different formats — limited series and movies. Because it's the story that comes first, and then the genre, and then the time period. I feel very fortunate that I have had lots of different opportunities." ON ALWAYS WANTING TO MAKE A MUSICAL "I love musicals. I love musical theatre. So I was just overjoyed. One of the main reasons I took it was simply because I just wanted to be in a musical. I love the feeling that musical theatre gives me, so I just really wanted to be a part of it." Mean Girls opens in Australian cinemas on Thursday, January 11 and New Zealand cinemas on Thursday, January 18. Read our review. Mean Girls 2024 images: Jojo Whilden/Paramount © 2023 Paramount Pictures.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've had a close-contact run-in. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here's 12 you can watch right now at home. NO TIME TO DIE James Bond might famously prefer his martinis shaken, not stirred, but No Time to Die doesn't quite take that advice. While the enterprising spy hasn't changed his drink order, the latest film he's in — the 25th official feature in the franchise across six decades, and the fifth and last that'll star Daniel Craig — gives its regular ingredients both a mix and a jiggle. The action is dazzlingly choreographed, a menacing criminal has an evil scheme and the world is in peril, naturally. Still, there's more weight in Craig's performance, more emotion all round, and a greater willingness to contemplate the stakes and repercussions that come with Bond's globe-trotting, bed-hopping, villain-dispensing existence. There's also an eagerness to shake up parts of the character and Bond template that rarely get a nudge. Together, even following a 19-month pandemic delay, it all makes for a satisfying blockbuster cocktail. For Craig, the actor who first gave Bond a 21st-century flavour back in 2006's Casino Royale (something Pierce Brosnan couldn't manage in 2002's Die Another Day), No Time to Die also provides a fulfilling swansong. That wasn't assured; as much as he's made the tuxedo, gadgets and espionage intrigue his own, the Knives Out and Logan Lucky actor's tenure has charted a seesawing trajectory. His first stint in the role was stellar and franchise-redefining, but 2008's Quantum of Solace made it look like a one-off. Then Skyfall triumphed spectacularly in 2012, before Spectre proved all too standard in 2015. Ups and downs have long been part of this franchise, depending on who's in the suit, who's behind the lens, the era and how far the tone skews towards comedy — but at its best, Craig's run has felt like it's building new levels rather than traipsing through the same old framework. No Time to Die is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. ETERNALS It's the only Marvel movie by an Oscar-winning director. Focusing on a superhero squad isn't new, even if everyone here is a Marvel Cinematic Universe newcomer, but it's the lone instalment in the franchise that's about a team led by women of colour. It's home to the MCU's only caped crusader who is deaf, and its first openly gay superhero — and it doesn't just mention his sexuality, but also shows his relationship. It happens to be the first Marvel flick with a sex scene, too. Eternals is also the only film in the hefty saga with a title describing how long the series will probably continue. And, it's the sole MCU entry that features two ex-Game of Thrones stars — Kit Harington and Richard Madden, two of the show's Winterfell-dwelling brothers — and tasks them both with loving a woman called Sersi. (The name isn't spelled the same way, but it'll still recalls Westeros.) As opening text explains, Eternals' central immortal aliens were sent to earth 7000 years ago to battle intergalactic beasts, dispatched by a Celestial — a space god, really — called Arishem. With the monstrous Deviants, another alien race, wreaking havoc, the Eternals were tasked with fighting the good fight — and were forbidden to interfere otherwise, which is why they've been absent in the last 25 movies. But now, a new Deviant attacks Sersi (Gemma Chan, Raya and the Last Dragon), her human boyfriend Dane Whitman (Harington) and fellow Eternal Sprite (Lia McHugh, The Lodge). That gets the gang back together swiftly, including the flying, laser-eyed Ikaris (Madden), the maternal Ajak (Salma Hayek, The Hitman's Wife's Bodyguard), Bollywood star Kingo (Kumail Nanjiani, The Lovebirds), the super-strong Gilgamesh (Don Lee, Ashfall), warrior Thena (Angelia Jolie, Those Who Wish Me Dead), the super-speedy Makkari (Lauren Ridloff, Sound of Metal), tech wiz Phastos (Brian Tyree Henry, Godzilla vs Kong) and the mind-manipulating Druig (Barry Keoghan, The Green Knight). Eternals is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. DUNE A spice-war space opera about feuding houses on far-flung planets, Dune has long been a pop-culture building block. Before Frank Herbert's 1965 novel was adapted into a wrongly reviled David Lynch-directed film — a gloriously 80s epic led by Kyle MacLachlan and laced with surreal touches — it unmistakably inspired Star Wars, and also cast a shadow over Hayao Miyazaki's Nausicaä of the Valley of the Wind. Game of Thrones has since taken cues from it. The Riddick franchise owes it a debt, too. The list goes on and, thanks to the new version bringing its sandy deserts to cinemas, will only keep growing. As he did with Blade Runner 2049, writer/director Denis Villeneuve has once again grasped something already enormously influential, peered at it with astute eyes and built it anew — and created an instant sci-fi classic. This time, Villeneuve isn't asking viewers to ponder whether androids dream of electric sheep, but if humanity can ever overcome one of our worst urges and all that it brings. With an exceptional cast that spans Timothée Chalamet (The French Dispatch), Oscar Isaac (The Card Counter), Rebecca Ferguson (Reminiscence), Jason Momoa (Aquaman), Josh Brolin (Avengers: Endgame), Javier Bardem (Everybody Knows), Zendaya (Spider-Man: No Way Home) and more, Dune tells of birthrights, prophesied messiahs, secret sisterhood sects that underpin the galaxy and phallic-looking giant sandworms, and of the primal lust for power that's as old as time — and, in Herbert's story, echoes well into the future's future. Its unpacking of dominance and command piles on colonial oppression, authoritarianism, greed, ecological calamity and religious fervour, like it is building a sandcastle out of power's nastiest ramifications. And, amid that weightiness — plus those spectacularly shot visuals and Hans Zimmer's throbbing score — it's also a tale of a moody teen with mind-control abilities struggling with what's expected versus what's right. Dune is available to stream via Google Play, YouTube Movies and Amazon Video. Read our full review. THE TRAGEDY OF MACBETH Bringing Shakespeare to the big screen is no longer just about doing the material justice, or even about letting a new batch of the medium's standout talents bring their best to the Bard's immortal words. For anyone and everyone attempting the feat (a list that just keeps growing), it's also about gifting the playwright's material with the finest touches that cinema allows. It's never enough to simply film Macbeth like a theatre production, for instance, even if all that dialogue first penned four centuries ago still ripples with power — while riffing about power — without any extra adornments. No Shakespeare adaptation really needs to explain or legitimise its existence more than any other feature, but the great ones bubble not only with toil and trouble, but with all the reasons why this tale needed to be captured on camera and projected large anew. Joel Coen knows all of the above. Indeed, his take on the Scottish play — which he's called The Tragedy of Macbeth, taking Shakespeare's full original title — justifies its existence as a movie in every single frame. His is a film of exacting intimacy, with every shot peering far closer at its main figures than anyone could ever see on a stage, and conveying more insight into their emotions, machinations and motivations in the process. And, he makes a phenomenal solo debut with this up-close approach. His choice of cast, with Denzel Washington (The Little Things) as powerful as he's ever been on-screen and Frances McDormand (The French Dispatch) showing why she has three Best Actress Oscars, also helps considerably. The former plays Macbeth, the latter Lady Macbeth, and both find new reserves and depths in the pair's fateful lust for glory. The Tragedy of Macbeth is available to stream via Apple TV+. Read our full review. THE RESCUE It isn't the first movie about the Tham Luang Nang Non cave incident to reach screens, thanks to the underwhelming The Cave. It won't be the last project to focus on the 12 Thai schoolboys and their soccer coach who were trapped in the Chiang Rai Province spot for 18 days back in 2018, either. Ron Howard (Hillbilly Elegy)-directed dramatisation Thirteen Lives hits cinemas next year, a Netflix limited series executive produced by In the Heights filmmaker John M Chu is also set to debut in 2022 and, to the surprise of no one, more are bound to follow. Still, The Rescue earns another worthy honour. The documentary isn't just an inspirational recounting of a miraculous effort that thwarted a potential tragedy, as told by the brave people who pulled off the feat, although it's certainly that. In addition, this gripping film falls into a genre that always needs more entries: celebrations of skilled people doing difficult things with precision, passion, persistence and prowess. If documentarians Elizabeth Chai Vasarhelyi and Jimmy Chin have a niche, it's this. As co-directors, the married couple has now made three films, all valuing hard work, expertise and when the former leads not only to the latter, but to extraordinary achievements. With 2015 Sundance award-winner Meru, they documented Chin's efforts with two other climbers to scale Meru Peak in the Indian Himalayas. Then came Oscar-winner Free Solo, the exceptional doco about Alex Honnold's quest to free-climb Yosemite National Park's El Capitan. The Rescue swaps clambering up for diving deep, and hones in on an event that captured international headlines as it happened, but still belongs in the same company as the duo's past two releases. Here, viewers start the film with an understanding of what happened thanks to all that non-stop news coverage, but finish it in profound awe of the talent, smarts, dedication and unflinching competence involved. The Rescue is available to stream via Disney+. Read our full review. MALIGNANT The latest film from Australian Insidious and The Conjuring director James Wan, Malignant takes plenty of time in its first half — and, when that's the case, the audience feels every drawn-out second. But after Wan shifts from slow setup mode to embracing quite the outrageous and entertainingly handled twist, his movie swiftly becomes a devilish delight. Heavily indebted to the 70s-era works of giallo master Dario Argento, David Cronenberg's body-horror greats and 80s scary movies in general, Malignant uses its influences as fuel for big-swinging, batshit-level outlandishness. Most flicks can't segue from a slog to a B-movie gem. Most films can't be saved by going so berserk, either. Wan's tenth stint behind the lens can and does, and leaves a limb-thrashing, blood-splattering, gleefully chaotic imprint. Perhaps it's a case of like name, like approach; tumours can grow gradually, then make their havoc felt. Regardless, it doesn't take long within Malignant for Dr Florence Weaver (Jacqueline McKenzie, Miss Fisher and the Crypt of Tears) to proclaim that "it's time to cut out the cancer" while treating a locked-up patient in the film's 1992-set prologue. This is a horror movie, so that whole event doesn't turn out well, naturally. Jump forward a few decades, and the feature's focus is now Seattle resident Madison Mitchell (Annabelle Wallis, Boss Level), who is hoping to carry her latest pregnancy with her abusive husband to term. But then his violent temper erupts again, she receives a head injury, and childhood memories start mixing with visions of gruesome killings linked to Dr Weaver's eerie hospital — visions that Madison sees as the murders occur. Malignant is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. ENCANTO Five years after Lin-Manuel Miranda and Disney first teamed up on an animated musical with the catchiest of tunes, aka Moana, they're back at it again with Encanto. To viewers eager for another colourful, thoughtful and engaging film — and another that embraces a particular culture with the heartiest of hugs, and is all the better for it — what can the past decade's most influential composer and biggest entertainment behemoth say except you're welcome? Both the Hamilton mastermind and the Mouse House do what they do best here. The songs are infectious, as well as diverse in style; the storyline follows a spirited heroine challenging the status quo; and the imagery sparkles. Miranda and Disney are both in comfortable territory, in fact — formulaic, sometimes — but Encanto never feels like they're monotonously beating the same old drum. Instruments are struck, shaken and otherwise played in the film's soundtrack, of course, which resounds with energetic earworms; the salsa beats of 'We Don't Talk About Bruno' are especially irresistible, and the Miranda-penned hip hop wordplay that peppers the movie's tunes is impossible to mentally let go. Spanning pop, ballads and more, all those songs help tell the tale of the Madrigals, a close-knit Colombian family who've turned generational trauma into magic. This is still an all-ages-friendly Disney flick, so there are limits to how dark it's willing to get; however, that Encanto fills its frames with a joyous celebration of Latin America and simultaneously recognises its setting's history of conflict is hugely significant. It also marks Walt Disney Animation Studios' 60th feature — dating back to 1937's Snow White and the Seven Dwarfs — but its cultural specificity (depictions of Indigenous, Afro Latino and Colombian characters of other ethnicities included) is its bigger achievement. Encanto is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. THE MANY SAINTS OF NEWARK So much about The Many Saints of Newark is a matter of when, not if: when familiar characters will show up looking younger, when well-known New Jersey locations will be sighted and when someone will eat ziti. This all occurs because it must; it wouldn't be a prequel to The Sopranos otherwise. Servicing fans is a key reason the movie exists, and it's far more resonant if you've already spent 86 episodes with Tony Soprano and his mafia and blood families while watching one of the best TV shows ever made. This is a film with a potent air of inevitability, clearly. Thankfully, that feeling reaches beyond all the obligatory nods and winks. That some things are unavoidable — that giving people what they want doesn't always turn out as planned, and that constantly seeking more will never fix all of life's woes, too — pulsates through this origin story like a thumping bass line. And yes, on that topic, Alabama 3's 'Woke Up This Morning' obviously gets a spin. The first detail that Sopranos fans should've picked up when this flick first got a title: in Italian, many saints translates as moltisanti. While The Many Saints of Newark spends time with young Tony as a pre-teen in the late 60s (played by feature first-timer William Ludwig) and a teen in the early 70s (when The Deuce's Michael Gandolfini, son of the late, great James Gandolfini, steps into the character's shoes), its protagonist is Dickie Moltisanti (Alessandro Nivola, The Art of Self-Defense). He's seen as an uncle and mentor by Tony, who'll eventually hold the same roles for Dickie's son. The Sopranos mainstay Christopher Moltisanti (Michael Imperioli, One Night in Miami) turns narrator here, in fact, offering knowing voiceover that occasionally channels the show's dark humour — calling out Christopher's death at Tony's hands, for instance. The Many Saints of Newark is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. VENOM: LET THERE BE CARNAGE What's more ludicrous in Venom: Let There Be Carnage: an alien invasion of one man's body that turns into a parasite-host odd-couple show, or a prologue that thinks Woody Harrelson could've been a 90s teen? Kudos to this sequel to 2018's Venom for starting how it means to go on, at least. With its opening, set in 1996 in a home for unwanted children, the film doubles down on silliness, overblown theatrics and packaging itself as a cartoonish lark. The goofiness of the original box-office hit was among its best traits, and worked because that ridiculousness rattled against the movie's gritty superhero setup. Venom adopted all the stylistic markers that've become the serious-minded caped-crusader formula, then let Tom Hardy bounce around like he was in a comedy. But this time, everyone's gone more than a little vaudeville, as has the movie — and the outcome is right there in the title. Carnage isn't just an apt term to describe the film, which has actor-turned-director Andy Serkis (Mowgli: Legend of the Jungle) behind the lens; it's also the name of its second symbiote, aka a flesh-munching extra-terrestrial who inhabits a bag of bones, then brings out its basest urges. Mercifully, Let There Be Carnage isn't big on rehashing the mechanics established in the initial flick, but Venom fits the bill, too, after the creature took up residence inside San Francisco journalist Eddie Brock (Hardy, Capone), then unleashed the franchise's one-body, two-personality double act. Carnage, the red-hued parasite, is the spawn of Venom, albeit bursting forth from condemned serial killer Cletus Kasady (Harrelson, Zombieland: Double Tap) after a scuffle with Brock. And yes, this is the kind of feature that has the scenery-chewing Harrelson proclaim its subtitle with glee. He bellows "let there be carnage!" with winking jokiness, but resembles a ringmaster announcing the next act in a big top. Venom: Let There Be Carnage is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. HALLOWEEN KILLS They can't all be treats. That's true each time October 31 hits, sending children scurrying around the streets in search of sweets, and it's true of the film franchise that owns the spookiest time of year. Since debuting 43 years ago, the Halloween series has delivered both gems and garbage — and off-kilter delights such as Halloween III: Season of the Witch — but its latest and 12th entry carves a space firmly in the middle. Halloween Kills ticks plenty of boxes that a memorable Halloween movie should, and is also a horror sequel on autopilot. Somehow, it's also a Halloween movie lacking purpose and shape. It has The Shape, of course, as Michael Myers is also known. But it's more an exercise in spending extra time in Haddonfield, in its boogeyman's presence and in world inhabited by franchise heroine Laurie Strode (Jamie Lee Curtis, Knives Out) than a compelling slasher flick on its own. After giving the Halloween realm its second-best chapter in 2018, it's easy to see why returning writer/director David Gordon Green (Stronger) and his frequent collaborator Danny McBride (The Righteous Gemstones) have taken this approach. When you've just made a classic follow-up to a stone-cold classic — again, only John Carpenter's iconic franchise-starter is better — you keep on keeping on. That's not quite how Halloween Kills turns out, though. It picks up immediately where its predecessor left off, lets Michael stab his way through small-town Illinois again, and brings back Laurie's daughter Karen (Judy Greer, Where'd You Go, Bernadette) and teenage granddaughter Allyson (Andi Matichak, Son) from the last spin. It also pads things out with a vengeance storyline that endeavours to get political, yet proves about as piercing as a butter knife. Halloween Kills is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. ANTLERS When daylight nightmares infiltrate the horror genre and expose humanity's fears to the sun — in 2019's Midsommar, for instance — viewers tend to take notice. That isn't the case with Antlers, a film that's as gloomy in appearance and mood as an unsettling movie can be, whether it's finding darkness in mining shafts, neglected homes or the memories that haunt teacher Julia Meadows (Keri Russell, The Americans) upon returning to her home town after fleeing as a teen decades earlier. This is a grim and bleak feature in every way it can be, in fact, but it also throws sunlight upon troubles that too often go unmentioned. Writer/director Scott Cooper (Black Mass) uses Antlers' brooding hues and tones to lurk in the realm of myth, to confront domestic abuse, and to muse on the persecution of and violence against America's First Peoples and their land — and, as grey as this creature feature always proves, it wields its colour palette like a spotlight. Antlers can be blunt and blatant, traits that don't bode well for a film about a ravenous beast out of Indigenous American folklore that's biting back at its oppressors. It can be delicate and savvy as well, though, especially when it explores how Julia and her student Lucas Weaver (feature debutant Jeremy T Thomas) both grapple with childhoods no one could ever dream of. Julia has only come back to live with her brother Paul (Jesse Plemons, Jungle Cruise), who is now the town's sheriff, after their father's death. She still sees her younger self cowering in fear wherever she looks, and she can't help but gaze with yearning at bottles of liquor in the local store. Lucas, a slip of a boy, is nervy, jittery and defensive. He looks at the ice cream parlour with the same desire, wanting to lose himself in something fleeting but soothing — a sugar rush, in his case. Antlers is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. CRY MACHO Clint Eastwood has already had his animal phase, thanks to 1978's Every Which Way but Loose and 1980's Any Which Way You Can. At the age of 91, he's already had almost every phase in his career he's going to both in front of and behind the lens. Still, with Cry Macho, he takes the road already well-travelled by seemingly every other on-screen action star and tough guy. Eastwood has been far more than that across his filmography, but he's now buddying up with a child as everyone from Arnold Schwarzenegger and Vin Diesel to Dwayne Johnson and Liam Neeson have before him. Indeed, Cry Macho overtly resembles one of the latter's most recent movies, The Marksman, which only hit cinemas earlier in 2021. It stemmed from a former Eastwood collaborator, in fact, and felt like it should've starred him — which leaves his latest following in its footsteps. A rodeo star whose life changed via injury (his own) and tragedy (losing his wife and son), Mike Milo (Eastwood) is content enough with his quiet twilight years. Alas, his old boss Howard (country singer Dwight Yoakam) now says that the cowboy owes him a favour. The rancher's teenage son Rafo (Eduardo Minett, La rosa de Guadalupe) apparently needs rescuing from his mother (Fernanda Urrejola, Party of Five), and Mike is the man reluctantly tasked with travelling to Mexico City to carry out the job. Unsurprisingly, the situation isn't as clearcut as Howard contends, with corrupt Federales, car thieves and other unhappy strangers on their path all muddying the road home even further. But a forced stopover in a small town, where cantina owner Marta (Natalia Traven, Soulmates) becomes the new female influence in their lives, helps forge a rapport. Cry Macho is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows.
With a program packed full of great events, there's a bunch of ways to fill your days at the SXSW Sydney Gaming Festival. Of course, you could also blow off any attempt at constructing a schedule and spend the whole time playing demos of the 150+ indie games featured in the Games Showcase. With that many titles on offer you're sure to find some that speak to the unique gamer within you, but if you'd like a steer on what to see and play we've gathered ten red hot picks from developers both Australian and international. [embed]https://www.youtube.com/watch?v=DuD8G9GzOFw[/embed] WINNIE'S HOLE Since tumbling into the public domain, the beloved Winnie the Pooh has been showing up in some odd, often horrific places (notably this childhood-ending horror movie). Winnie's Hole, developed by Melbourne studio Twice Different, is buying into this trend with a rogue-lite puzzle game that sees you controlling a virus infecting the bear. As you conquer more cells you begin to twist your huggable host's body in grotesque ways, choosing mutations that allow you to fight off enemies and spread to more inhabitants of the Hundred Acre Wood. It's a compelling blend of disgusting and delightful. [embed]https://www.youtube.com/watch?v=DJbUXpfAWis[/embed] JANET DEMORNAY IS A SLUMLORD (AND A WITCH) If you're reading this and you live in Sydney, chances are you've lived in rental properties before (and maybe still do *shakes fist at real estate market*). If so, Janet DeMornay Is A Slumlord (And A Witch) will probably hit home for you. This first-person horror comedy from Sydney-based studio Fuzzy Ghost has you moving into a fairly dilapidated terrace house and joining a crew of LGBTQIA+ roommates. Problem is, the house has been transported to another dimension and your interactions with the landlord – who, as the title suggests, is a witch – are becoming increasingly threatening. Featuring real-life rental horror stories, it's set to be a funny and frightening look at what it takes to have a home these days. [embed]https://www.youtube.com/watch?v=5m-_bNcnpQE[/embed] THE DUNGEON EXPERIENCE Jacob Janerka might just be the funniest game developer in Australia. In his new project, The Dungeon Experience, you're a visitor to a fantasy-themed experience established by a level 1 mud crab who's packed in being an enemy for a life of entrepreneurship. It's a first-person adventure game that will send you on a quest filled with memorable characters and hilarious dialogue, all the while turning the tropes of the fantasy genre firmly on their head. This is one game you won't want to miss. [embed]https://www.youtube.com/watch?v=lp3Uy4CYNJc[/embed] ANOTHER CRAB'S TREASURE If you're into Souls-likes (that's brutally difficult third-person roleplaying games inspired by the Dark Souls series, in case you aren't familiar) but wish they weren't so uniformly dreary, Another Crab's Treasure is the game for you. Developed by the appropriately named Aggro Crab out of Seattle in the US, this underwater adventure features the fiendish combat you know and love in a bright, cartoony aquatic setting. As Kril the hermit crab you'll use a variety of trash from the ocean floor as both shell and weapons during your mission to buy back your repossessed original shell. [embed]https://www.youtube.com/watch?v=TDjbZyvvyu0[/embed] WAY TO THE WOODS Way To The Woods is the project of Melbourne-based solo developer Anthony Tan who started working on the game while in his teens. It's been a long road – as it often is with game development – so to get a chance to see it in action at SXSW Sydney is a genuinely exciting opportunity. The game puts you in the cloven hooves of a deer who must guide its fawn through a ruined world to get back to their natural environment. With a beautiful, serene art style and a high chance of touching narrative moments, this title is shaping up to be something special. [embed]https://www.youtube.com/watch?v=XHhqezkr5R0[/embed] WOOD & WEATHER If you're looking to recapture the raw, unbridled power you felt while playing imaginary games with toys as a child, Paper House out of Melbourne have you covered. In their new game Wood & Weather, you'll assume god-like control over a city made of wooden blocks, populated by inhabitants that have pleasingly similar aesthetics to old Playmobil sets. As a benevolent deity, you'll tinker with the weather as well as interacting with objects while taking the form of a giant blue hand, all to help the townsfolk solve problems. It's a whimsical, wonderful experience. [embed]https://www.youtube.com/watch?v=KNJ87JU4CII[/embed] DARKWEBSTREAMER With the astronomical rise of Twitch and TikTok, streamers have become the new celebrities. But how far is too far when pursuing fame this way? That's the question darkwebSTREAMER by Adelaide's We Have Always Lived In The Forest poses, as you try your hand at being a fledgling streamer looking to rise to the top of an internet culture where the more extreme and dangerous your content, the more famous you'll become. With an eerie 1-bit art style and use of procedural generation meaning no two sessions are the same, this has the makings of a horror game masterpiece. [embed]https://youtu.be/eTfZzwydEWQ[/embed] DEAD STATIC DRIVE The open road. The wind in your hair. The purr of the engine. The eldritch screeching of the monsters chasing you. Dead Static Drive by Melbourne's Reuben Games puts you in the driver's seat on a road trip through 80s-inspired, fading small town America. A journey to visit family turns into a fight for survival as the end of the world arrives, bringing monsters with it. You'll need to scavenge, sneak and slay to reach the final destination in this top-down horror driving game. [embed]https://www.youtube.com/watch?v=Kp3Tnrl7WOA[/embed] THE DRIFTER The point-and-click adventure renaissance continues with The Drifter, developed by Powerhoof out of Melbourne. Assume the role of Mick Carter, an itinerant who's experiencing the worst day of his life. From witnessing a murder, to returning to life after his own murder, he's got to unravel deepening mystery while trying to keep his wits about him. It's a pulpy thriller that harks back to the guts and gore of 70s Ozploitation flicks, with a focus on fast-paced storytelling rather than finicky puzzles. [embed]https://www.youtube.com/watch?v=s9RDPQv_Tyk[/embed] KNUCKLE SANDWICH Starting over in a new city can be hard, particularly when it's Bright City — the setting for Knuckle Sandwich by Melbourne's Andy Brophy. This fictional Australian metropolis has a missing persons problem, and you get tangled up in it as you take on an amusingly over-the-top gang and a cult. It's an RPG of classic lineage, with a vast array of characters to interact with, a plethora of locations to explore, and turn-based combat that utilises over 100 different mini-games. This one has been on the horizon for a while, and with a recently announced release date SXSW Sydney is a great way to try before you buy. The SXSW Sydney Games Showcase is taking place across Eddy Multi Space, Mercure Sydney and Fortress Sydney from October 18-22. To see session times, and the full list of showcase title, check the SXSW Sydney Gaming Festival website for details. For more inspiration head to our full guide to the best of SXSW Sydney.
They say not to judge something based on its age, and this Melbourne institution is proving just that. Melbourne's oldest licensed pub, The Duke of Wellington, has been entertaining locals for more than 160 years. Having unveiled a new rooftop bar earlier this year, the two-story venue combines sweeping city views with modern yet comforting pub-style meals — making it an ideal spot to get together with friends for a hearty meal and drinks. The food menu adds to the casual vibe with burgers, poké bowls and share-style snack food — think Lygon Street-style lasagne croquettes, charcuterie plates and smoky eggplant dip with flatbread. And in a win for late-night snackers, the kitchen will be open until late. The booze program is packed with a range of tap beers, wines and crafty seasonal cocktails. Among them, you'll find the Spellbound Smash — made with bourbon, orange bitters, blackberries, sage and thyme — and a spiced tequila and coffee number dubbed Café ala Mexicana. There's also group-friendly booths, plus six big-screen TVs for when a sports-watching session's on the cards. Images: Brook James
The future of wearable technology is like thinking about the universe: the possibilities of what could be discovered are endless. But it's annoying enough to integrate an Apple Watch or a Fitbit into your life, let alone walk around wearing weird spy cam glasses all the time, ala Google Glass. Seriously, no one want to be that guy. But what if you could simply attach this technology to your skin with, say, a small temporary tattoo? Well, that sound pretty good to us, and Austin-based mobile development company, Chaotic Moon, are trying to make it happen. The technology, dubbed Tech Tats, are temporary electronic tattoos that would live on top of the wearer's skin, and use the skin as an interface. The tattoo holds an ATiny85 microcontroller, which stores and receives data from temperature sensors via electroconductive paint to interact with your body. "Everyone has this idea of the future as this guy with Google Glass and the Apple Watch and five Fitbits," EricSchneider, Chaotic Moon's Creative Technologist says. "But the goal is really wearable technology that you can’t even see." As well as tracking your movements and fitness, and storing your credit card details and so on, the tats would also be able to monitor your vital signs an send that data to your phone — or even your doctor. The technology is just a prototype at the moment, but it isn't too hard see this coming to life sooner rather than later. Chaotic Moon have said — if the product gets to the public — they want to keep the price point accessible, perhaps even selling the Tech Tats in packages, like Band-Aids. It seems like a happy medium between clunky, wearable technology and getting microchips implanted under the skin — we don't want to go full robot just yet. Via Motherboard.
UPDATE, November 13, 2020: Bohemian Rhapsody is available to stream via Amazon Prime Video, Google Play, YouTube Movies and iTunes. To see Freddie Mercury take to the stage is to see a giant, one who leaps, slinks, prowls, thrusts and struts above the masses. Mercury wasn't a tall man, but he couldn't have had a bigger presence when he was performing. It's evident in every clip of Queen's gigs, and each of the British band's music videos too, but it's never more apparent than in the group's Live Aid show. For 20 minutes at Wembley Stadium on July 13, 1985, in a set played to 72,000 London concert-goers and beamed via television to a global audience of 1.9 billion, Mercury was the towering champion of the world. Unsurprisingly, Queen's Live Aid performance forms a crucial part of Bohemian Rhapsody. Mercury's walk to the stage gives the film its opening moments, via glimpses of his moustache, sunglasses, crotch and singlet-adorned back, while the actual set itself provides the movie's climax. Filmed on the first day of the picture's production, it's an electrifying sequence made all the more so by Rami Malek's spot-on performance as Mercury. But the fact that the blistering show was a greatest hits set really couldn't be more appropriate for the film endeavouring to recreate its glory. The Live Aid gig featured 'Bohemian Rhapsody', naturally, as well as 'Radio Ga Ga', 'We Will Rock You', 'We Are the Champions' and more, and it gave everyone watching exactly what they'd hoped for. Bohemian Rhapsody is a greatest hits movie. It's the neat, easily digestible version of Queen's career, and of Mercury's professional and personal ups and downs along with them. It's also highly sanitised, and even factually altered where it's more dramatically convenient. Here, the Zanzibar-born Parsi man originally known as Farrokh Bulsara chats to Brian May (Gwilym Lee) and Roger Taylor (Ben Hardy) at a pub gig on the night their lead singer quits, talks them into giving him a shot as their new vocalist, and unleashes his now-iconic four-octave range to change music history. Chart success, tours, fame and raucous parties all follow, even after the band's first record label exec insists that the six-minute 'Bohemian Rhapsody' will never be played on radio. Meanwhile, when he's not brandishing his flamboyant stage persona, Freddie struggles with the expectations of his stern father (Ace Bhatti), his complicated feelings for his girlfriend Mary Austin (Lucy Boynton), his sexuality, plenty of drugs and his eventual diagnosis with HIV. Like the best-of releases that fill record stores and try to condense a musician or band's finest work to a single disc, a greatest hits film is never going to cut as deep as a proper album. That doesn't instantly make Bohemian Rhapsody a bad movie, or make best-of records bad records either. You know what you're getting when you listen to a greatest hits album, and it's exactly what's on offer with this formulaic biopic — but it's still largely enjoyable. This isn't exactly real life, and in many parts, it's purely fantasy. And yet, it's an engaging, albeit highly superficial interpretation of Queen and Mercury's heyday as painted with the broadest of strokes and featuring all of the expected tracks. As with many rock biopics before it, Bohemian Rhapsody is all about the gloss, sheen and popular hits that reinforce the existing image of Queen and Mercury, rather than daring to delve beneath the surface. Covering a 15-year time span, this is the band-approved version of the story, not the reportedly darker affair that was originally set to star Sacha Baron Cohen. Still, Bohemian Rhapsody energetically takes to its chosen task. Director Bryan Singer — as well as the uncredited Dexter Fletcher, who took over when Singer was fired two-thirds of the way through shooting — bounces through a template that strings simplistic drama between songs, often using the former to give weight to the latter. The filmmakers also capitalise on a fact that has made the Mamma Mia flicks such a huge success with fans: a killer soundtrack can do plenty of heavy lifting. Great songs don't make for a great movie by themselves, and Bohemian Rhapsody never reaches greatness, or even approaches it. It's entertaining as it hits its intended marks, although it remains noticeable (and even insulting to Mercury's legacy as a queer icon) that the picture skims over certain details. But, regardless of its handling of reality, the film delivers a supersonic turn by Malek. Far, far away from the reserved tension of Mr Robot, he walks, talks, belts out a tune, wears the tightest of pants and juts out his noticeable teeth just like the charismatic Mercury. Malek also gives texture to the movie's slight dives into deeper territory that isn't necessarily in the script — in particular, when Mercury grapples with the loneliness behind his life of excess, fights to retain his connection with Austin and learns of his illness. Both splashed loudly across big and small stages, and giving soulful, lonely stares in quiet moments, it's a performance that's a kind of magic. He will rock you, even if Bohemian Rhapsody itself favours making a big noise over taking on the world. https://www.youtube.com/watch?v=27zlBpzdOZg
The largest-ever showcase of living Australian artists will casually drop by Ballarat this spring, with the inaugural Biennale of Australian Art (BOAA) in town from September 21 until November 6. It's big news for the small city, with the six-week event set to be a major drawcard for the Central Highlands region of Victoria. There'll be 150 artists coming from all reaches of Australia, making up 65 curated solo exhibitions, as the Biennale aims to have equal representation of artists from every state and territory. Taking place in over 14 different venues across Ballarat, its art points will certainly be amped up several notches by the array of visual arts and live music set to take over the town. With the event boasting a strong focus on Indigenous talent, art from the Numina sisters, Abdul Abdullah, Kim Anderson, David Jensz and Peggy Griffiths will be on display, among work from over a hundred others. Music-wise, the BOAA Band Wagon will be doing the rounds: a specially built music truck that'll provide the sound staging for the event's outdoor gigs at Lake Wendouree and St Andrews Grounds, as well as concerts held at Ballarat's other music venues. In special events, there'll be a living sculpture fashion parade, an evening program called BOAA Dark and a lake sculpture walk, which turns Lake Wendouree into an outdoor gallery featuring 26 sculptures. Free mini buses, bikes and rickshaws will transport attendees around the art path, pausing at pit stops providing food and local beers and wines for your hungry, thirsty and very well-arted selves. With the Biennale expected to draw tens of thousands of visitors, Ballarat looks set to be a pretty busy little place over the six weeks. Two-day or six-week (festival) passes are available at $25 and $100 respectively, so start planning your road trips. The Biennale of Australian Art runs from September 21 until November 6 in Ballarat. For more information, visit the BOAA website.
If Meghann Fahy and Brandon Sklenar get teamed up again on-screen after Drop, don't be surprised. In a film set in a swanky sky-high Chicago restaurant, the two make a dream first-date pair. The importance of that shrewd casting move shouldn't be underestimated, because this thriller relies on its stars perfecting a number of complex tasks that are crucial to the feature's vibe. Viewers should feel the sparks between them, even when things get awkward. They need to want to like them as a couple, too. A layer of suspicion also has to float over Sklenar's Henry — but when Fahy's Violet is told by anonymous airdrops to kill him or there'll be grave consequences, no one should hope for that to happen. Directed by the Happy Death Day franchise and Freaky's Christopher Landon, Drop turns the initial in-person encounter been two people who've been connecting online into a fight for survival, and a puzzle. Inspired by IRL unrecognised messages coming producer Cameron Fuller (The Astronaut) and executive producer Sam Lerner's (The Goldbergs) ways on a holiday, the flick boasts a "what would you do?" scenario as well. In actuality, no one was told to get homicidal, of course, but that's what awaits Violet in a largely one-setting mystery where almost everybody is a suspect, tech surveillance and safety are also in focus, and the relatable fears that bubble up about the difference between how we present ourselves online and reality also drive the narrative. Landon's aim: to make a film with a modern Hitchcock feel that also takes inspiration from 90s thrillers, both things that audiences don't see every day in cinemas of late. That mix, that mission, that mood that Landon was looking for — and achieves — stood out to both The Bold Type, The White Lotus and The Perfect Couple's Fahy and 1923 and It Ends with Us' Sklenar. "It had a very clear point of view, which is part of what I found so attractive about the idea of it. I think it really knew what it wanted to do and knew what it was," Fahy tells Concrete Playground. Adds Sklenar: "it's a decisive film". Drop's villain is equally resolute: if Violet doesn't do what she's told or informs anyone about the instructions that she's being sent, this nightmare will impact her young son (debutant Jacob Robinson) and sister (Violett Beane, Death and Other Details). She can see on her home security cameras that someone has already broken into her house while she's out, waiting to harm her loved ones, all as she's attempting to be charismatic with Henry and uncover who is behind her hellish ordeal. Landon is purposeful himself, especially about plunging viewers into an immersive setup. The same applied with his cast and crew: to help those on the filmmaking journey with him, the production built a fully functioning restaurant to shoot in, right down to a real chef creating the menu. [caption id="attachment_1000353" align="alignnone" width="1920"] Alex J. Berliner/ABImages.[/caption] Do real-life awkward date moments — including the highly relatable type when unease simmers, even if just to you, because small things have gone wrong but they feel huge inside your head — assist when that's what you're enlisted to navigate? "We've all had those kinds of experiences," Fahy advises. "Definitely," chimes in Sklenar, noting that he "can't do mouth noises". The duo riff about it. "Like chewing and stuff," says Fahy. "That would be a thing for me," stresses Sklenar. "Makes you twitch. I get that. Noted," responds Fahy again. As the two bounce back and forth while speaking with us, they're in the same bantering mode that Violent and Henry are early in the movie, and charmingly, before the picture's date is saddled with life-and-death stakes. Drop places Fahy in another twisty mystery, as The White Lotus and The Perfect Couple both have in the last few years. With survivors of abuse also factoring into the storyline, as was the case in It Ends with Us, Sklenar is similarly in familiar territory. Symmetry also echoes in the two talents' paths to here, after starting out as actors at around the same time — onstage in the late 00s for Fahy, and in 2011 film Cornered for Sklenar — then working their way through the likes of One Life to Live, Political Animals, Miss Sloane, Mapplethorpe, Vice and Emily the Criminal between them to their recent respective TV successes. Amid jokes from the pair about their parallels, plus also potential other genres that Drop could've taken its thriller-slash-relationship drama into, we chatted with Fahy and Sklenar about the latest standout addition to their resumes. How pivotal it was for the movie to be as invested in the date as in the unnerving airdrops, shooting in the film's very own restaurant, Violet's survival story, approaching the picture as a long play: they all came up as well. On How Crucial It Is That the Film Is Invested in the Date, and in the Relationship at Its Centre, as Much as Its Horror-Thriller Setup Brandon: "It was important." Meghann: "I think it's part of what totally is so fun about the movie, because it has a romantic component to it, it is sort of a date movie, but it is also kind of a thriller. You get both. It's very much a hybrid." Brandon: "There was a sci-fi element early on, but we took that out — we just thought it was too genre-bending." Meghann: "But I think ultimately the story is about this relationship, and these two people who really are connecting in a way that is important and new for both of them. And it would be a great date if she didn't have to kill him." Brandon: "Yeah, it would be." Meghann: "It would be great." Brandon: "And in the end, it ends up being a good thing, I think. I think that it's not all bad." Meghann: "Nope." On Shooting in a Fully Functioning Restaurant That Was Created Just for the Film, Right Down to a Real Chef Whipping Up the Menu Meghann: "It was hugely helpful. I mean, you're in the environment, and it's so real that there's not even a big weird movie light in your face. It's just the lighting on the table and in the ceiling, so you really genuinely walk onto that set and you think 'I'm in a restaurant right now'. Which is incredible. It was very realistic." Brandon: "Yeah, it was." On Fahy's Task Digging Into Violet's Survival Story, and What It Takes to for Her to Keep Enduring Meghann: "I think that the way that we meet Violet is so violent and disturbing, and it has so much to do with her journey as a woman after that — and how she interacts with him, and why she's so nervous to go on the date in the first place. And so it's hugely informative, and was something that Chris and I talked about a lot, because it was so important that we honour her journey into moving on and having a healthy relationship — and being happy and feeling brave, and getting outside of herself and trusting herself. And I think that's what feels so good about this film, is the audience really gets to see her kind of become her own superhero. And it's just so wonderful to see that happen." On How Sklenar Approached Portraying Someone That Viewers Have to Remain on Edge with and Suspicious of, But Also Still Want to Like Brandon: "I think that there's a small degree of being aware of the plot and where it's moving, and trying to mislead the audience consciously in a certain way — and how you look at somebody or how you speak a line, or maybe a moment that you do that isn't scripted necessarily to misdirect the audience. And other than that, I think that it's on the page, mostly. And then, in just finding a rhythm with Meghann, and doing these scenes — it's essentially one giant scene, because it's in real time as soon as we get to the restaurant. So it's one 70-something-page scene." Meghann: "Yeah." Brandon: "And I prepared it like that. I memorised it like a play. And then you just show up and do it, and it just requires a great deal of presence and being present, as it is really like an acting exercise. And just being as present as you possibly can be." Meghann: "I don't think he gives himself enough credit for how interesting he made that character and how many tiny, nuanced things he layered into Henry, but it was really impressive." On Whether Fahy's Run of Twisty Mysteries, Including The White Lotus and The Perfect Couple, Is an Active Choice or How Great Parts Have Come Her Way Meghann: "I guess it's a little bit of both, to be honest with you. It is a genre that I really enjoy myself when I'm watching stuff, and it's super fun to make. So yeah, I think it's kind of — it was never consciously something I was chasing. I think it's just how things worked out. But yeah, there's definitely a mixture of both of those things for sure." On Fahy and Sklenar's Similar Journeys to Drop, After Starting Acting Around the Same Time and Enjoying Recent Small-Screen Successes (Including in 1923 for Sklenar) Brandon: "I guess we kind of do have paralleled situations. Same age. Kind of hitting it at the same time." Meghann: "Same hair." Brandon: "Same hair? Yeah, both Irish. I think that it's cool. I mean, I wouldn't have it any other way." Meghann:"Yeah, me either." Brandon: "I think there's something, there's a certain appreciation you have for the journey when you're not, I think, in your early 20s and you reach a certain level of success, and you've sort of worked at it for a really long time and tried to improve yourself personally along the way — because I'm a firm believer that the external is just a reflection of the internal. And neither of us would be sitting here at this table had we not grown as human beings outside of this crazy thing we decided to do with our lives. So that's imperative. And I think they're one and the same, and it's just a testament to keeping at it." [caption id="attachment_1000366" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] Meghann: "Yeah, taking it as it comes." Brandon: "And trying to do the best you can." Meghann: "Yeah, day by day. 100 percent. I completely agree." Drop opened in cinemas Down Under on Thursday, April 17, 2025.
As the Macrodata Refinement division has learned over two seasons so far, alongside a few other Lumon Industries staff as well, a company that literally messes with your brain as a condition of employment is hardly a great place to work. The shady organisation at the heart of Severance sure does love throwing parties for its hired hands, though — and whether you're keen on a music dance experience, a melon bar, an egg bar social, a waffle party, a coffee cozy, pineapple bobbing, a hall of funhouse mirrors or some choreography and merriment, you'll want to celebrate the Apple TV+ hit officially being renewed for season three. The news comes fresh from Severance's second season dropping its unforgettable final episode, and after a phenomenal sophomore run for the show in general — after it returned in January 2025 almost three years after its first season debuted. So, if you watched season two wrap up and instantly wondered if there'd be more to Mark S (Adam Scott, The Monkey) and Helly R's (Britt Lower, Darkest Miriam) tale, and everyone else's, you didn't have to wait long for an answer. "Making Severance has been one of the most-creatively exciting experiences I've ever been a part of," said Ben Stiller (Nutcrackers), one of the guiding forces behind the series — directing 11 episodes across two seasons to-date, including season two finale 'Cold Harbour', and also executive producing — announcing the show's renewal. "While I have no memory of this, I'm told making season three will be equally enjoyable, though any recollection of these future events will be forever and irrevocably wiped from my memory as well." Added Scott, who not only stars but is also among Severance's executive producers: "I couldn't be more excited to get back to work with Ben, Dan, the incredible cast and crew, Apple and the whole Severance team. Oh hey also — not a huge deal — but if you see my innie, please don't mention any of this to him. Thanks." There's no word yet as to when Severance season three will arrive, after Hollywood's strikes played a part in the extended wait for season two. The show's creator, writer and executive producer Dan Erickson noted that he "can't wait to continue spreading woe, frolic, dread and malice with these truly incredible people". Locking in Severance's return comes just a week after Apple TV+ also confirmed more episodes of another of its huge successes, Ted Lasso, which will be back for its fourth season sometime in the future. In season two of Severance, a few queries earned the show's attention. The first: what happens when a group of employees attempts to raise issues about their workplace? Mark S, Helly R and their colleagues Dylan (Zach Cherry, Fallout) and Irving (John Turturro, Mr & Mrs Smith) all found out, but also started asking more questions about their existence as innies, their forced subservience not only to Lumon but to their outies, and their hopes of releasing their own dreams and desires. Both within and beyond the company's walls, Mark's outie's quest to find his wife Gemma (Dichen Lachman, Kingdom of the Planet of the Apes) also drives season two's narrative. Christopher Walken (Dune: Part Two), Patricia Arquette (High Desert), Tramell Tillman (Hunters), Jen Tullock (Perry Mason) and Michael Chernus (Carol & the End of the World) returned among the cast for season two, joined by new cast members Sarah Bock (Bruiser), Ólafur Darri Ólafsson (La Palma), Gwendoline Christie (Wednesday), Bob Balaban (Asteroid City), Merritt Wever (Memory), Alia Shawkat (The Old Man) and John Noble (Twilight of the Gods). There's obviously no trailer for season three as yet, but check out the trailer for Severance season two below: Severance streams via Apple TV+ — and we'll update you with a release date for season three when one is announced. Read our review of season one and our season-two interview with Christopher Walken.
There are some truly incredible buildings in the world, but unless you have amazingly hi-res Google Street View or a platinum Amex there's just no way you can see them all. That's where architectural photography comes in. Bringing us images of the craziest buildings and landscapes around the world, these photographers constantly fill up our magazines, Tumblrs and Pinterests with pics from where we'd rather be. Now, they've been judged against one another. Each year the Arciad Awards pick the year's best work in architectural photography. There are thousands of dollars in prize money and the winners are bestowed with countless likes, shares and reblogs from all of the internet — and with good reason. The pictures picking up recognition at this year's awards documented Dubai's twister Cayan Tower (pictured above), the space-age Heydar Aliyev Center in Azerbaijan, and a sunken flea market in Barcelona. However the grandeur of the structure wasn't a prerequisite to photographic success. Other noted offerings included a tiny metropolitan roof space in South Korea, a cow shed in the Netherlands and a lone boxy home next to a creek in Ohio. The outright winner was a photograph (pictured below) that showed the aforementioned Azerbaijani architecture with jaw-dropping surrealism. Get ready to take a trip — these images will leave you with a serious case of wanderlust. All images via Arciad.
When it comes to what we drink, we can be creatures of habit. We reach for our go-tos: a cheap-yet-standout bottle of vino, ready-to-sip cocktail cans and brews we know and love. But, if you knew how simple it is to craft winning cocktails, you'd be stocking up your bar cart, filling your ice tray and inviting your mates round for a few cheeky ones ASAP. So together with The Bottle-O, and in honour of World Gin Day — which on Saturday, June 10, is fast approaching — we've found a few easy-peasy, three-step wintery cocktails that'll have you sipping gin like a pro. Ready to up your G&T game? Impress your mates with a martini? Add a slice of summer to the cooler months with a gimlet? We've got you. MALFY ROSA G&T The classic G&T is a favourite among many. It's deliciously bitter, spotlights your gin of choice and always refreshing. In this recipe, there's the added juiciness of Malfy Gin Rosa's grapefruit notes and the sweet kiss of a Med-inspired tonic. A wedge of citrus will add some party to your glass (and a sprig of rosemary will jazz it up further), but it'll be just as delicious without. And, if you're pressed for time (or really cannot be bothered), opt for a four-pack of Bombay Sapphire G&Ts or Gordon's Pink Gin & Sodas (if you'd rather leave the tonic) — just stealthily pour the fizz into a glass and your pals won't know the difference. Ingredients Serves one 30ml Malfy Gin Rosa 60ml Fever Tree Mediterranean Tonic Grapefruit to serve Method Add Malfy Gin Rosa to a glass with ice and top up with tonic water. Garnish with a wedge of grapefruit and enjoy. ROKU GIMLET If you're starting to feel the winter blues — and a tropical holiday is nowhere in sight — this short, sweet, citrusy cocktail is the drink for you. It looks fancy, but once you've secured your coupe, the hardest part is done. You want your glass to be chilly, the liquor to be a delicious pour like Roku Gin and a selection of salty snacks alongside. If you can't find the Japanese spirit, opt for any of the other top-quality (yet affordable) options, like Hendrick's or Four Pillars. Ingredients Serves one 50ml Roku Gin 50ml lime syrup Lime to garnish Method Add Roku Gin and lime syrup to a mixing glass with ice, then stir until the glass feels very cold. Strain into a chilled coupe glass, top with a slice of lime and enjoy. FOUR PILLARS RARE DRY GIN MARTINI If you're looking to impress, the martini is having somewhat of a resurgence. Although its taste divides cocktail-lovers everywhere (some think it's perfection, some know it's too strong), it's the hero on many a cocktail list. Well, the secret to a good martini is in the quality and temperature of your gin: you want something special, and you want it ice cold. Four Pillars Rare Dry Gin is the bottle for you. It's classic, herbaceous and citrus-forward — and it's Aussie made. Just quietly, a nip or two of Hendrick's would do nicely too. Ingredients Serves one 60ml Four Pillars Rare Dry Gin 15ml dry vermouth 2 dashes orange bitters Lemon peel to garnish Method Add all ingredients to a mixing glass with ice, stir and then strain into a chilled martini glass. Top with a twist of lemon peel and enjoy. Whether you're a seasoned gin lover that's looking for a hot new way to enjoy your pour this winter, or you're a newbie looking to take a delicious dive in, these three recipes will sort you out. Celebrating World Gin Day on Saturday, June 10 will be that much more exciting with a group of friends, some gin chilling in the freezer and a trio of recipes that are easy to nail. To begin with gin, head to your local The Bottle-O and take your pick. The Bottle-O is the independent store slinging your favourite boozy sips all over Australia — and a standout spot to nab the gin for your cocktail of choice this World Gin Day. Ready to dive in? Head to the website. Imagery: Declan Blackall.
Everyone has their favourite local cafe. Whether you're in for a morning coffee or a genius sandwich, there's always a handful of go-to, never-fail, delightfully reliable places that you know and love within a stone's throw of your door. So in the spirit of sharing, we thought we'd let you in on a few of our writers' favourite picks, in partnership with Milklab and its brand-new oat milk. These are the great Melbourne cafes that helped our team get through lockdown — and are now helping us stay fuelled in the reopened city. TICKLED PINK, ELWOOD A recently opened sister site to the Thornbury cafe of the same name, Tickled Pink on Elwood's leafy Tennyson Street is all about good coffee, good food and good vibes. The menu features updated takes on classic breakfast and lunch dishes — pumpkin spiced bircher muesli, chilli eggs, feta and house-made chilli on a croissant and truffle benedict on Alaysa bread. There's also a great selection of cold-pressed juices, milkshakes and smoothies to wash it all down. When it comes to the coffee, Tickled Pink's Milklab oat cap is impressively creamy with just the right amount of froth. [caption id="attachment_809989" align="alignnone" width="1920"] Tofu Studio[/caption] KELSO'S SANDWICH SHOPPE, ABBOTSFORD Since 2016, Kelso's has been a northside go-to for sandwiches, burgers or a New York-style chop cheese. Take a seat at the old-school, loosely American-style diner and order a cup of Coffee Supreme house blend filter, then roll up your sleeves to get involved with sambos like the Tuck Shop Salad which is a nostalgic must-try, or the excellent tuna melt. Pair your sandwich with crispy fries or hash browns, which are very hard to say no to. You'll also find regular weekend specials that are worth looking out for. COMMA TUCKSHOP, MOORABBIN Tucked away in the backstreets of Moorabbin, Comma Tuckshop knows a thing or two about good quality coffee, bagels and salads. The cafe on Tuck Street, an offshoot of nearby wine bar Comma Food & Wine, specialises in loaded gourmet bagels. We're talking the likes of Ora King salmon cured overnight in peppercorns, coriander seeds and chilli, paired with caper cream cheese, house pickles, red onion and dill; or Cape Grim hanger steak, which comes with potato chips and dill-pickle mayo and smoked scamorza. If you feel like something lighter, you can grab the superfood-packed chermoula cauliflower salad with freekeh. CABIN, HAMPTON Cabin is a light-filled café in the heart of Hampton with a suitably relaxed and cosy vibe. The north-facing spot is perfect on sunny days for both brunch with mates or for a solo coffee and a read in the rays. Seasonal produce is championed throughout the tidy all-day menu, which also includes a number of baked goods if you're after something snack-sized. Cabin also offers the answer to any smoothie or milkshake cravings you might have, with a very decent selection of both on offer. [caption id="attachment_831729" align="alignnone" width="1920"] Bold & Italic Media[/caption] BICYCLE THIEVES, NORTHCOTE With a name that pays tribute to Northcote's Italian heritage, High Street's Bicycle Thieves is named after the classic 1948 Italian film of the same name. Yet despite nodding to overseas roots, everything here is made from scratch in-house including butter which is churned daily. There's plenty of space both inside and out and the cafe caters to all dietary requirements and cravings, with a creative, all-day menu that spans crumpets to ramen. Coffee by Duke is complemented by an impressive drinks list, from cold brew to kombucha to a selection of brunch-ready cocktails. MACKIE, MULGRAVE Mackie is a beautiful sun-filled cafe just off Mulgrave's Mackie Road that offers an extensive breakfast and lunch menu. For breakfast, it's hard to go past the curry- and coriander-accented chilli scramble, or 'banoffles' (that's Belgian waffles with banana, ice cream, salted caramel, strawberries and walnuts). The lunch menu includes classic cafe fare prepared well. A chilli-spiked burrito bowl, Moroccan lamb shoulder and a Southern-style fried chicken burger all feature. Don't skip the coffee here, either — the award-winning house blend features notes of cocoa and berry, boasts a smooth body and long, sweet finish, flavours which are further enhanced with the addition of Milklab oat. We challenged one of our writers to switch to oat milk for a week. Find out what they discovered here. Ask your barista for Milklab Oat or head to the website for more information. Top image: Bicycle Thieves by Bold & Italic Media
If you're the type of spirits aficionado who likes their tipples to taste exactly how they always have, then you probably aren't all that fond of creative booze flavours. You mightn't be a fan of bloody shiraz gin, for instance. You likely didn't even give lamington vodka a try. And, well, peanut butter whiskey isn't going to be your thing either. For anyone that's now wondering how to make a peanut butter and jelly cocktail, this latest flavour from Sheep Dog Whiskey is probably already having the exact opposite effect. Yes, peanut butter whiskey is now a real thing that exists, and can be sipped by fans of both peanut butter and caramel-hued spirits. And, after launching in the US, where it's made, it is now available in Australian bottle shops. Taste-wise, you can expect the obvious — so, peanut butter and whiskey — however, this tipple also apparently comes with notes of vanilla and caramel popcorn as well. And if you're wondering how to drink it, the brand suggests going neat — or adding it to your next espresso martini. Other options include combining it with grape liqueur so that you really can have a PB&J-flavoured tipple, or whipping up a peanut butter old fashioned. Naturally, if you're not fond of peanuts, this definitely isn't for you. Sheep Dog Peanut Butter Whiskey is now available in Australia for $55 RRP a bottle — from BWS, Dan Murphy's and First Choice.
It didn't happen with Sofia Coppola in the director's chair, but taking a live-action swim in The Little Mermaid's ocean is definitely happening — in 2023, in cinemas everywhere, and with Halle Bailey (Grown-ish) slipping into Ariel's scales and tail. Wondering how that might turn out? Disney has just unveiled the initial teaser trailer for its latest double dip in its beloved catalogue, because the Mouse House just keeps giving its animated hits the flesh-and-blood treatment. Released at this year's D23, the company's fan expo and convention, the first sneak peek at the film doesn't dive into the story that viewers already know and adore — it doesn't need to given how popular the original movie is — but it does show Bailey as Ariel. More than that, it swishes through the mermaid's underwater realm, sunken ships, circular caves and all, and shows her staring up at the light above, pining for a different life. The soundtrack: the flick's star singing 'Part of Your World'. Fans of the original 1989 movie, aka everyone given how popular The Little Mermaid-themed events have proven over the years — such as screenings with live orchestral scores and cocktail experiences at aquariums — are well aware that Ariel dreams of being human, and is willing to make a deal with a sea witch to see her wishes come true. That involves a trade, though: giving up her voice to get legs in return, which'll allow her to live above the water. As well as Bailey as Ariel, this new version of The Little Mermaid features Jonah Hauer-King (World on Fire) as Eric, the human prince that Ariel falls for; Melissa McCarthy (Nine Perfect Strangers) as Ursula, said sea witch; and Javier Bardem (The Good Boss) as King Triton, Ariel's protective father. Also among the cast, on voice duties: Daveed Diggs (Snowpiercer) as Sebastian the crab, Jacob Tremblay (Doctor Sleep) as Flounder and Awkwafina (Shang-Chi and the Legend of the Ten Rings) as Scuttle. Behind the camera, filmmaker Rob Marshall adds The Little Mermaid and its take on Hans Christian Andersen's 1837 fairy tale of the same name to his many big-screen musicals, alongside Chicago, Nine, Into the Woods and Mary Poppins Returns. And as for the tunes, they come courtesy of Alan Menken — returning from the original movie, as do all those old songs — and Lin-Manuel Miranda. If you're keeping track, when it hits cinemas next year, The Little Mermaid will join a hefty list. That's the list of animated Mouse House fare remade either with actors on-screen, photorealistic CGI or both, that is, and it includes Alice in Wonderland, Cinderella, Beauty and the Beast, Dumbo, Aladdin, The Jungle Book, The Lion King, Lady and the Tramp, Mulan, Pinocchio and more. Check out the first trailer for The Little Mermaid below: The Little Mermaid will release in cinemas Down Under on May 25, 2023. Top image: Photo courtesy of Disney. © 2022 Disney Enterprises, Inc. All Rights Reserved.
If you’re keen on your gin but not so passionate about the fake flavours that too often creep into your mixer, Karolina Partyka has a solution. She's the brains and brawn behind Blood Moon: an Australian, handcrafted tonic syrup that hit its $10,000 Pozible target in just three days and is now well on its way to a $20,000 stretch goal. Partyka has spent countless hours in her kitchen, grinding spices with an old-school mortar and pestle and mixing batch upon batch of tonic syrup, to come up with a winning recipe. She's also been digging up some ancient brews — and the rituals to go with them. Blood Moon is a non-alcoholic, concentrated syrup that's made to be diluted with either soda or still water and then matched with your favourite gin. Its key ingredient is cinchona bark — a 17th century answer to malaria and (most importantly) a natural source of quinine. This is what gives tonic its characteristically bitter hit, one far too often achieved via synthetic means. According to Partyka's Pozible campaign, one of Blood Moon’s early samplers described it as 'the difference between a single-origin cold-drip coffee and instant'. Not only does the syrup provide quinine as created by Mother Nature, it also delivers a rich, complex flavour profile — and therefore mixes well with tequila and whiskey too. Three variations will be released: Traditional Cinchona, which contains a combination of cinchona bark, citrus, herbs, spices and floral hints; Australian Native, which is the Traditional blend revamped with native fruits, seeds and leaves; and Unsweetened, which features all the goodness of the Traditional syrup, but without any sweeteners (real or artificial) at all. It's one for the sugar-quitters. To get yourself a bottle, get on board with Blood Moon’s Pozible campaign, which will run for another sixteen days.
The Swiss Alps has an impressive one. Canada's famed Whistler Bowl does as well. And now New South Wales' Kosciuszko National Park has just scored a spectacular suspension bridge, too. Head to this just-opened spot in the Snowy Mountains and you'll be walking across a record-breaking structure, in fact — because it takes the crown as Australia's highest suspension bridge. How high? Located between Guthega and Charlotte Pass in the Snowies, the new bridge sits a whopping 1627 metres above sea level. It's included in a new nine-kilometre track in the national park, and will eventually be part of the 55-kilometre Snowies Alpine Walk — which is opening in stages, with this marking the second leg. "The Snowies Alpine Walk is putting New South Wales on the map for multi-day hikes, and it'll be a must-do walk for anyone who loves Tasmania's Cradle Mountain Overland Track" said NSW Minister for Environment James Griffin, announcing the bridge's opening. "In fact, I reckon it'll be a strong competitor with the Overland," the Minister continued. Make the trek and you'll not only be moseying across the highest suspension bridge in the country — you'll be taking in the stunning scenery, including the alpine and sub-alpine landscapes that are unique to the Snowy Mountains region. Showcasing that terrain and its natural features, and helping cement the Snowies as a must-visit tourist destination, is understandably a key aim of the $17 million in funding that's been put towards the Snowies Alpine Walk by the NSW Government Regional Growth – Environment and Tourism Fund program. At the federal level, an extra $10 million has come from the Australian Government's Regional Recovery Partnerships program, which is targeted at the fourth stage of the trail. Just when the third and fourth legs will open hasn't been revealed, but the third will span from Charlotte Pass through to Perisher, and the last from Perisher to Bullocks Flat. For more information about the Snowies Alpine Walk, and the new bridge between Guthega and Charlotte Pass, head to the National Parks and Wildlife Services website. Images: Boen Ferguson / Department of Planning and Environment.
When trying to navigate city streets on a bike, it's not exactly the safest move to pull out your phone to use the GPS. With new product Hammerhead Navigation though, riders no longer have to worry about losing focus to find directions on an unfamiliar route. The appropriately named device looks like a hammerhead and features LED lights that guide directional change and indicate hazards on a course. The Hammerhead is mounted right in the cyclist's peripheral vision, making it safer to ride on terrain they've never biked on before. The purpose of the simple design is to not distract bikers with complicated screens and graphics. Instead, it uses simple intuitive signals that are not distracting. The route comes from the user's smartphone, which syncs with Hammerhead using a system based on biking apps MapMyRide and Strava. In addition, their app will utilise crowdsourcing to gather information about the best routes (depending on user-set preferences) and potential road hazards. Hammerhead users will also be able to suggest routes to their fellow riders. Once a user chooses a route from their phone, Hammerhead can function from a locked and stored smartphone. No GPS information is stored in the Hammerhead device; rather, it uses location information from the smartphone to navigate the predetermined route. Hammerhead benefits from having a 14-hour single charge lifespan, so you can be sure it will stick with you on longer rides. Because users' smartphones connect to the device using Bluetooth, it will not drain phone batteries like other GPS devices. Like most innovative products these days, the team behind Hammerhead Navigation used crowdfunding to develop their product. Hammerhead is expected to ship to its first backers by September 2014. Go ahead, bike the path less travelled. https://youtube.com/watch?v=lHtwvvKf65w Via Fast Company
