Adelaide has been getting a major dose of cool as of late. Though the small bar scene may be a Melbournian namesake, this SA sister city is in the midst of a rebirth and has all of the makings to become its own small bar mecca. If you're headed to Adelaide, you'll want to check out the East End, along with Peel and Leigh streets, which house many of the city's newer bars — many of which only opened in 2015. From underground speakeasies and sake bars to American style dives and even a bar fitted out to resemble a log cabin, Adelaide has it all and in partnership with the Hahn Brewers we're bringing you the best of it. MAYBE MAE The concealed entrance to this 1950s cocktail lounge is not easy to find, but Maybe Mae is well worth the extra effort. Hidden in a tunnel beneath the Bread and Bone Wood Grill, the timber wall has no signage or even a door handle — this spot is as speakeasy as it gets. The space, inspired by movie star and sex symbol Mae West, is marked by a glamorous, Hollywood interior of green leather booths and large brass mirrors. It only opened last year, but this throwback of a bar is already a favourite stop on a night out. 15 Peel Street, Adelaide. PINK MOON SALOON Pink Moon Saloon is possibly the coolest-looking bar in the city. Located in the site of a former service laneway, the space best resembles a log cabin set in between two tall city buildings. Opened in 2015, this newcomer is a perfect addition to Adelaide's blooming small bar scene. The vibe itself is worth the visit alone. The drinks menu is inventive and playful (you can still grab a beer) while the small food menu is well designed for drink-induced nibbling. 21 Leigh Street, Adelaide. BANK STREET SOCIAL For a busy local hotspot, the Bank Street Social is your go-to. Get your boogie on to DJs spinning funk and disco, or relax on one of their luxe, golden-clad booths. On the food side of things, the regional pizza bar is focused on fresh, local ingredients and keeps the post-dance hanger at bay. 48 Hindley Street, Adelaide. MR. GOODBAR The vibe at Mr. Goodbar is best understood by their shrine to Saint Amand — that is, the patron saint of bartenders. The joint is dedicated to good times and, in their own words, to "the best kinds of sin". The waistcoat-wearing staff serve up their drinks alongside a simple food menu includes a daily cheese and charcuterie selection ($16-18) and blue swimmer crab cakes ($16). Overall, the space has a emphasises the old-world chic to it and is well-deserving of its name. 12 Union Street, Adelaide. [caption id="attachment_589691" align="alignnone" width="1280"] @jenjen_fifinha via Instagram[/caption] BADDOG BAR Baddog is a grunge-lovers haven, with an interior combination of leather, concrete and steel that just works. The well-lit bar boasts an impressive selection of small batch, local and international liquor, but is a great spot to settle down with a beer. Their in-house piano is the centre for which their blues and roots live acts congregate and play most nights until late. 63 Hyde Street, Adelaide. BRKLYN Housed upstairs at 260 Rundle Street, BRKLYN pays homage to New York's most loved borough. The entrance to this hidden gem is styled to look like a NYC subway — complete with subway-style mosaic tiling — and one half of the bar has even been made to look like a Brooklyn street, with various shopfronts and even an in-house barber. To cap it all off, their menu pays homage to the Jewish-owned delis of NYC, serving up the classic Reuben pastrami on rye with house-made pickles and Old Bay popcorn. 260A Rundle Street, Adelaide. 55ML 55ml is an intimate hole-in-the-wall with a simple but top-notch booze list, board games and tacos — need we say more? It has all the makings of great night out and is an ideal location for getting stuck in. Patrons easily lose time in this dimly-lit small bar, where the relaxed vibe is matched with pickleback specials — and they're just a few reasons to check this place out. We suggest you settle in with a beer and some chorizo tacos, grab the Jenga and let the hours fly by. 55 Mill Street, Adelaide. THE QUEEN'S HEAD This gem is the oldest licensed venue in its original location in the whole of South Australia, it's been sitting pretty on the corner of Kermode Street and Abbott Lane for 175 years. Not only a sunny spot for an afternoon beer, the kitchen at Queen's Head has award-winning pizza, burgers, steaks and sides and each weeknight has its own food special. 2KW BAR When you want to go somewhere a little bigger (and a little fancier) than the above, which also has incredible views of Adelaide and is cool in summer and warm in winter, then head to 2KW Bar. Sit back in the privacy of perfectly manicured hedges and enjoy a drink and some fancy food (try the crayfish). GONDOLA GONDOLA Gondola Gondola is an Asian-inspired bar and bistro that serves up sake, Japanese whiskies and craft beer. The food menu is also varied, from Vietnamese lamb shank stew and banh xeo (savoury pancake) to some Thai-flavoured sashimi and lemongrass beef. Despite this variety, the space has an authentic vibe and is a must do on any boozy (or foodie) visit to Adelaide. 1 Peel Street, Adelaide. Sign up to Hahn Brewers and use your weekend to take a trip to Adelaide.
Unlike many other music festivals gearing up to make their first appearance since before the pandemic, much-loved camping fest Pitch Music & Arts is preparing to host its second post-COVID instalment. But if last year's well-timed (and sold-out) return was anything to go by, it's set to go off with just as big of a bang as any other comeback on your calendar. The long-running celebration is headed back to Moyston, in the foothills of Victoria's Grampians, from Friday, March 10–Tuesday, March 14 2023. Not only will its three stages play host to a sparkling lineup of local and international musical talent, but the tunes will be backed by a hefty program of interactive art and installations. Basically, you're in for a very big, very busy four days. [caption id="attachment_875292" align="alignnone" width="1920"] Duncographic[/caption] Guiding your sonic journey will be legends like Germany's Helena Hauff, UK electro act Four Tet (who's also hitting Golden Plains the same weekend), DJ and producer Nightmares on Wax, Berlin-born supergroup Moderat and a live set from UK-based duo OVERMONO. You'll also catch the likes of Leon Vynehall, Ben UFO, Fatima Yamaha and Âme flying the flag for the international dance scene, joined by a juicy lineup of homegrown heroes — Mildlife, Ayebatonye, C.Frim, Yarra, IN2STELLAR and Soju Gang, included. While the supporting program of artistic delights is yet to drop, last year's offering — including works by street artist Adnate and installation king Clayton Blake (Winner of Best Art at Burning Man 2018) — should leave you pretty excited for what's in store. [caption id="attachment_875293" align="alignnone" width="1920"] Duncographic[/caption] In between all the dance-floor sessions and arty things, festival-goers can make themselves at home in the Pitch Pavilion, unwinding with a yoga class, meditation or sound bath. There'll also be an ethical design market to shop, a range of food stalls to fuel your weekend and a Pride Patrol doing live drag performances. If that all sounds like your true calling, you'll have to enter the Pitch Music & Arts 2023 ballot where, for the first time, entrants will be required to make a 'Pitch Pledge' — a written commitment to positively contributing to the Pitch community, leaving no trace and behaving respectfully while onsite. [caption id="attachment_875295" align="alignnone" width="1920"] Ash Caygill[/caption] PITCH MUSIC & ARTS 2023 LINEUP: ABSOLUTE. AK Sports Âme Anetha Ayebatonye Ben UFO Bertie BIG WETT Bradley Zero C.Frim X Mirasia Call Super Cassie Raptor Club Angel Daria Kolosova DAWS Dax J DJ EZ DJ Heartstring DJ Stingray 313 DJ Tennis Effy Ewan McVicar Fatima Yamaha (Live) FJAAK DJ Four Tet François X HALFQUEEN Héctor Oaks Helena Hauff I.JORDAN IN2STELLAR Interplanetary Criminal Jaguar Jennifer Cardini Juicy Romance Jyoty Kalyani KAS:ST Kelly Lee Owens (DJ Set) KETTAMA Ki/Ki Kim Ann Foxman Leon Vynehall (Live) LSDXOXO m8riarchy Major League Djz Mano Le Tough Marie Montexier Mildlife Miley Serious Moderat (Live) Nightmares On Wax NLV OVERMONO (Live) Parfait Paula Tape Peach Pretty Girl (Live) Roi Perez RONA Ryan Elliott Sam Alfred x STÜM Soju Gang Sophie McAlister SWIM Tama Sumo x Lakuti Tinlicker (Live) u.r.trax Yarra Yikes Young Marco Pitch Music & Arts will return to Moyston from March 10–March 14, 2023. Head to the festival's website for further details, or to enter the ballot before 3pm AEDT on Wednesday, November 2. General tickets will go on sale from 12pm on Thursday, November 10. Top Images: Alex Drewniak and William Hamilton Coates.
Cinephiles have many reasons to love France. After its early filmmaking pioneers played an enormous part in establishing the medium, the country's New Wave of fresh talents helped revitalise it more than half a century later — and in the decades since, the nation has continued to make a considerable impact. Among its many achievements, it's also home to the most famous film festival on the planet, as well as the highest density of cinemas per capita. In short: the world loves the combination of France and film, and the country itself does as well. For the next month around Australia, it's time to say oui s'il vous plaît to all of the above. And, with apologies to anyone who'd love to be jetting off to Paris, it's time to do so by visiting a cinema screen near you. As it has for the past 30 years, the Alliance Francaise French Film Festival is currently treating much of the country to the best, brightest, latest and greatest movies that the European nation has to offer. If there's ever been a reason to escape into a darkened room with a glass of wine and a cheese platter, this is it. Touring Melbourne, Canberra, Perth, Brisbane, Hobart, Adelaide, Avoca Beach, Parramatta and Byron Bay until April 14, this year's AFFFF brings a feast of 54 films to Aussie audiences — big name stars, touching dramas, weird and wonderful delights, and veteran filmmakers trying their hand at English-language flicks all included. If you're feeling spoiled for choice, we've watched and picked the 12 titles you should seek out. Joyeaux viewing. https://www.youtube.com/watch?v=osqw349H9zE NON-FICTION In one of her three appearances on the 2019 AFFFF lineup, Juliette Binoche explores the complexities of living a creative life in Non-Fiction. Despite its title, Olivier Assayas' latest film isn't based on fact — and while Binoche once again plays a famous actor, she's not aping her own existence or revisiting her character from the director's Clouds of Sils Maria. And yet, this witty affair still steps into the dramas of combining the actual and the imagined, as writer Léonard (Vincent Macaigne) earns acclaim and fame for infusing his personal love affairs into his latest book. He's also romantically entwined with Binoche's TV star Selena, while her husband Alain (Guillaume Canet) is Léonard's publisher, setting the scene for a smart, amusing and perceptive dissection of life and love in today's always-online, always-sharing times. https://www.youtube.com/watch?v=AtOwfo1ypOw HIGH LIFE Already one of the best films of 2019, and of any other year for that matter, High Life is as audacious and alluring as it sounds. As should be expected from inimitable writer/director Claire Denis, this sci-fi flick is as intelligent and profound as the rest of her filmography, too, and as craftily determined not to be pinned down. Worlds away from the romance of Let the Sunshine In, Denis re-teams with Juliette Binoche for an existential — and sometimes sexual — nightmare that unravels in the clinical surroundings of a prison spaceship that's hurtling towards the edges of the solar system. But, among a high-profile cast that also includes Mia Goth and Outkast's Andre Benjamin, it's Robert Pattinson who's the star of the show. Playing a man and father haunted in a plethora of ways, the continually impressive actor furthers his hot streak of exceptional, challenging roles under the direction of similarly exceptional, challenging filmmakers. https://www.youtube.com/watch?v=N2L2USPgiMI A FAITHFUL MAN As he did with 2015's Two Friends, Louis Garrel writes, directs and stars in this ruminative romantic comedy, which marks the actor-turned-filmmaker's second stint behind the camera. He plays Abel, who's quickly discarded by his pregnant girlfriend Marianne (Laetitia Casta) in favour of his best friend — and, years afterwards, becomes an object of affection for his former pal's now-grown sister Eve (Lily-Rose Depp). Told from multiple perspectives and shot with a probing eye for beautiful sights, A Faithful Man is the epitome of bittersweet, with Garrel proving a keen observer of human intricacies as both a performer and a helmer. Indeed, while this infidelity-driven affair is light from start to finish, it's also steeped in genuine feeling and drawn from a deep vein of thoughtfulness. https://www.youtube.com/watch?v=H9d310frjNk THE SISTERS BROTHERS For his debut English-language feature, Jacques Audiard pans for gold with The Sisters Brothers — and finds it. The French filmmaker's first flick since winning the 2015 Palme d'Or for Dheepan, this slice of old west life delivers a rich, rewarding, contemplative and comedic western, combining the genre's recognisable grit and verve with its own melancholic spirit. For Charlie Sisters (Joaquin Phoenix), the gun-slinging, bounty-hunting assassin trade is a dream. For the elder Eli (John C. Reilly, taking part in another great double act after Stan & Ollie), it's losing its shimmer. Then their latest job goes awry, with their advance man (Jake Gyllenhaal) teaming up with their prospector target (Riz Ahmed) in a quest for riches, sparking shoot-outs and soul-searching in equal measure against a magnificent backdrop. https://www.youtube.com/watch?v=lXSojVVG4Z8 THE WILD BOYS The Wild Boys might bake its influences into every lurid frame — think Guy Maddin, Jean Cocteau, John Carpenter, Rainer Werner Fassbinder, David Lynch and more — but this wild ride could never be described as the simple sum of its parts. Story-wise, Bertrand Mandico's feature debut follows five unruly teens who commit a crime at the turn of the 20th century and, in an act of both punishment and rehabilitation, are subsequently taken on a sea voyage to a mysterious island. Just like the libidinous quartet, audiences are gifted a sensual swirl of stimuli and subversion; however to say much more about the narrative or the cast is to spoil the movie's many surprises. Whether flitting from flickering black-and-white to bursts of luminous colour, emphasising his exaggerated sets or experimenting with framing, Mandico ensures that every second of The Wild Boys is a vibrant and textured delight. https://www.youtube.com/watch?v=cyGC0W8PfoI AMANDA Collecting awards and nominations around the globe — Cesar and Lumiere nods in France, a prize in Venice and the top spot at last year's Tokyo Film Festival — Amanda is an involving drama that never takes the obvious route. Its title refers to the seven-year-old niece (Isaure Multrier) of 24-year-old Parisian David (Vincent Lacoste), who comes into his sole care after a devastating tragedy. Subtle rather than overt, and never blatantly tugging at the heartstrings, this is a tender yet clear-eyed account of coping with life's unexpected developments. While director Mikhaël Hers (This Summertime Feeling) approaches the material with a bittersweet tone, he also displays a a delicate and even effervescent touch. His leading man helps considerably, with The French Kissers, Eden and Sorry Angel's Lacoste fast becoming on of France's most compelling young talents. https://www.youtube.com/watch?v=eIU_IHfp3cU REVENGE A striking debut from writer/director Coralie Fargeat, Revenge stalks across the screen with all of the rape-revenge genre's violence and horror — and with visceral style and a firm feminist punch as well. During a desert getaway gone wrong, the attractive Jen (Matilda Lutz) segues from mistress to the arrogant Richard (Kevin Janssens), to victim of his brutish pals (Vincent Colombe and Vincent Colombe), to avenger of the myriad of savage wrongs committed against her. The storyline is standard; however Fargeat approaches the film's visuals, mood and energy with the same do-or-die determination as her persistent protagonist. Lutz, too, puts in an all-consuming performance, aptly conveying the feature's specific blood-soaked tale while embodying the fury of every woman who has ever had to fight back against overwhelmingly cruel and vicious forces. https://www.youtube.com/watch?v=zfeEhb4xnps THE NIGHT EATS THE WORLD Zombie movies are as common as ravenous, human-eating crowds after a horrific on-screen outbreak; however The Night Eats the World gives a distinctive taste to the genre's familiar flesh. The first feature from writer/director Dominique Rocher, the sparse horror flick plays out like a cross between I Am Legend and 28 Days Later… with a dose of expected survivalist antics and a few borrowings from single-settling thrillers; however this atmospheric, evocative film boasts a tone that's never less than intriguing. When the world turns from normal to undead in the space of an evening, Sam (Anders Danielsen Lie) is left to fend for himself. His only company is a zombified neighbour (Denis Lavant), and his own ingenuity is all that's keeping him safe from the attacking hordes outside. There's a rich flow of existential dread coursing through this addition to the genre, not only about mortality but also isolation and loneliness. https://www.youtube.com/watch?v=uRF290gedLs SORRY ANGEL At last year's AFFFF, BPM (Beats Per Minute) broke hearts and burrowed into souls with its depiction of 1990s Paris — a time when queer men loved passionately and fought proudly for their place in the world, but always found their existence lingering under a cloud. Consider Christophe Honoré's Sorry Angel not quite its successor, but its dance partner, with the two films sashaying through similar space while unleashing their own moves. Here, writer Jacques (Pierre Deladonchamps) meets student Arthur (Vincent Lacoste) and, as a bond grows between them, the former's illness and the latter's idealism shape their relationship. Sublimely blue in its melancholy mood and its exacting colour scheme, the end result is a layered, almost novel-like, always tender and touching study of life and love. — SW https://www.youtube.com/watch?v=JywE77VYpWc BY THE GRACE OF GOD Exploring sexual abuse in the Catholic Church, By the Grace of God was always going to prove both topical and sorrowful, regardless of its timing. Based on a real-life French case, the film's ripped-from-the-headlines storyline has recently seen two figures portrayed within its frames take legal action, in an ultimately unsuccessful attempt to block its release. In Australia, the movie arrives hot on the heels of high-profile local legal proceedings; however, the anger, dismay and empathy the Silver Bear recipient inspires is all its own. Focusing on three men (Melvil Poupaud, Denis Ménochet and Swann Arlaud) who were inappropriately taken advantage of by the same priest (Bernard Verley) as children, this is a measured, moving, sensitive and sobering picture from filmmaker François Ozon, who ventures worlds away from previous efforts such as Swimming Pool and Young & Beautiful. https://www.youtube.com/watch?v=gZnjwuicCq0 KNIFE + HEART It's 1979. Someone is savagely murdering gay porn stars, all of whom work for successful, ruthless producer Anne (Vanessa Paradis). And, as she tries to keep making movies while her actors keep dropping like flies, she's coping with the end of her relationship with her editor. Kudos to writer/director Yann Gonzalez for Knife + Heart's exceptional premise, which also features films within films, creepy legends, spooky woods and rather inventive weapons. Still, it's his eye-popping execution that makes this a weird and wonderful delight. In his hands, nothing is too much — and we mean nothing. The end result is an assault on the senses that's as brutal as its slasher set-up and as theatrical as its campy tone. — SW https://www.youtube.com/watch?v=WRFwJS7pu80 THE WORLD IS YOURS There are heist films, and there are heist films. The World Is Yours has earned comparisons to Guy Ritchie and Quentin Tarantino's work; however it's no mere derivative take on a well-worn genre. Instead, it's a splashy, stylish, skilfully executed and supremely entertaining effort in its own right, and a mighty fun time at the cinema. Perhaps best known for making music videos for M.I.A., Simian Mobile Disco, Kanye West and Jay-Z, and Jamie xx, French filmmaker Romain Gavras turns this account of small-time gangsters dreaming big into a cool, comic and confidently engaging caper that drips with energy and charm from start to finish. Veterans Isabelle Adjani and Vincent Cassel take to their roles with glee, but it's A Prophet's Karim Leklou who stands out among the movie's stars — playing the son of a seasoned grifter who just wants to pull one last job so he can sell icy poles in North Africa. — SW The Alliance Française French Film Festival tours Australia from March 5, screening at Sydney's Chauvel Cinema, Palace Norton Street, Palace Verona, Palace Central and Hayden Orpheum Picture Palace from March 5 to April 10; Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Kino Cinemas and The Astor Theatre from March 6 to April 10; Perth's Palace Raine Square, Cinema Paradiso, Luna on SX, Windsor Cinema and Camelot Outdoor Cinema from March 13 to April 10; and Brisbane's Palace Barracks and Palace James Street from March 14 to April 14. For more information and to buy tickets, visit the AFFFF website.
Before the opening credits roll on the first of its eight season-one episodes, Binge's new Australian sitcom Colin From Accounts explores some of life's big questions. When two strangers cross paths and literally come to an impasse, who should proceed off into their regular lives to begin with — and who should hang back out of their way till they're gone? Also, what's the appropriate way to interact? Are smiles, nods, waves, and mouthing "you go" or "after you" acceptable? And, if you're the person who scores right of way, how do you show your gratitude as you're merrily venturing forward? These may seem like trivial matters, as everyday and relatable as they clearly are, but the right moves might just inspire a life-changing meeting. They could also have serious consequences, and bond you in a complicated situation for around 12 years with someone you wouldn't have otherwise met. Or, both could occur. That's how it pans out in Colin From Accounts, with the rom-com spying the familiarity, comedy and chaos in bumping into another person on the street. Medical student Ashley (Harriet Dyer, The Invisible Man) and microbrewery owner Gordon (Patrick Brammall, Evil) do just that one otherwise standard Sydney morning. He lets her go first, she flashes her nipple as thanks, then he's so distracted that he hits a stray dog with his car. A girl, a guy and a meet-cute over an adorable animal: that's this delightful and very funny series' straightforward underlying formula. But as the circumstances surrounding Ash and Gordon's initial run-in demonstrate, Colin From Accounts isn't afraid to get awkward, much to the benefit of audiences. There's a syrupy way to proceed from the show's debut moments, intertwining sparks flying with idyllic dates, plus zero doubts of a happy ending for humans and pooches alike. If this was a movie, that's how it'd happen. Then there's Dyer and Brammall's way, with the duo creating and writing the series as well as starring in it, and focusing as much on ordinary existential mayhem — working out who you want to be, navigating complex relationships and learning to appreciate the simple pleasure of someone else's company, for example — as pushing its leads together. Before Ashley becomes 'Flashley', she's a 29-year-old medical student reeling from an unexpected breakup with a colleague (Tai Hara, Underbelly: Vanishing Act). Before Gordon is forced to ask his ex Yvette (Annie Maynard, Playing for Keeps), a vet, to do him a favour, he's a fortysomething who has been single for a unicycle-buying amount of time. By the time the day of their first encounter is out, they'll be sharing a hefty debt and a Sydney home — the former for the dog's treatment and the latter because pets aren't allowed at Ash's sharehouse. She's in his phone as 'Ashley $12k', the amount they're on the hook for. He's in hers as 'Dog Car Guy'. They joke about being each other's weird mate, and openly wonder if two people can be friends once exposed mammary glands get involved. Just like in the Hollywood versions of this kind of tale, romance does blossom. That Dyer and Brammall are behind Colin From Accounts, their past chemistry on fellow Aussie comedy No Activity and the fact that they're married IRL means that pairing them up as more than new pals was always going to be on the show's agenda. It's how the series fleshes out each character and their baggage — including those who-am-I questions, Ash's difficult dynamic with her attention-seeking mother Lynelle (Helen Thomson, Elvis), and the responsibility that running your own business and committing to care for other people each bring — that helps give it depth. Colin From Accounts lets Ash and Gordon unfurl their woes and wishes, and also lets them grow. Sometimes, that happens by peeing and pooping in the wrong place, because that's also the type of comedy this is. Sometimes, it's because the show's central couple have taken a risk, or faced their struggles, or genuinely found solace in each other. There's more than a touch of Catastrophe to Colin From Accounts, in its thrusting of two strangers together by a twist of fate that sees them sharing caring duties — for a dog rather than children, however. In lesser hands, there'd be an initial dose of New Girl as well, but Ash is no manic pixie dream girl singing her way through Gordon's life or unleashing a big bag of quirkiness. Credited with penning four episodes apiece, Dyer and Brammall bring sharpness and authenticity to their scripts, especially when confronting the truth that neither Ash nor Gordon know what they truly want. There's a clear-eyed feel to Colin From Accounts' still-light embrace of one of life's immutable realities: that we're all just moseying forward, being spontaneous, coping with the fallout, colliding with other people — and critters — and hoping for a content-enough outcome. Watching Dyer and Brammall bounce off of each other, dog in tow, is easy. Even when things are at their most strained between Ash and Gordon, and even when Colin From Accounts is swinging for its broadest grabbag-style laughs, their rapport always feels grounded. The script layers in gags about the pair's age difference, and contrasts the distinctive brands of Millennial and Generation X chaos, but the series is never in laugh track-heavy sitcom territory. Neither actor's impressive work should come as a surprise, of course, and nor should their ability to find drama as well as comedy in the show's premise. See: their respective resumes, including Dyer's work in Killing Ground and Wakefield, and Brammall's on Offspring and Glitch. Colin From Accounts may focus on Ash and Gordon's ups and downs, and on Dyer and Brammall as its driving forces, but it also mines a wealth of other talent. Thomson is a scene-stealer, as part of a subplot that examines the lifelong hurt that can spring when no one actually says what they mean. As Gordon's brewery colleagues, Genevieve Hegney (Doctor Doctor) and Michael Logo (Why Are You Like This) each have their moments to shine, and the same applies to Emma Harvie (Frayed) as Ash's fellow med-student bestie. Behind the lens, directors Trent O'Donnell (another No Activity alum), Matt Moore (The Great) and Madeleine Dyer (Monster of Many Worlds) keep the series both breezy and weighty — and instantly bingeable. Check out the trailer for Colin From Accounts below: Colin From Accounts streams via Binge. Images: Lisa Tomasetti / Tony Mott.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including 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, 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. BERGMAN ISLAND Each filmmaker sits in the shadows of all who came before them — and as cinema's history lengthens, so will those penumbras. With Bergman Island, French writer/director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and the creative wonders our minds conjure up. Her central duo, two filmmakers who share a daughter, literally tread where the great Ingmar Bergman did. Visiting Fårö, the island off Sweden's southeastern coast that he called home and made his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't dream of trying, as they're each searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. Bergman's Scenes From a Marriage has already been remade, albeit in a miniseries that arrived on the small screen a couple of months after Bergman Island premiered at the 2021 Cannes Film Festival — but across one half of Hansen-Løve's feature, that title would fit here as well. Her resume has long been filled with intimate looks at complicated relationships, including in 2009's Father of My Children and 2011's Goodbye First Love, with her movies both peering deeply and cutting deep as they unfurl the thorny intricacies of romance. Accordingly, when Chris and Tony find themselves sleeping in the bedroom where Bergman shot the original Scenes From a Marriage, it's a loaded and layered moment several times over. That said, the thing about willingly walking in someone else's footsteps is that you're not bound to taking the exact same path — as Bergman Island's characters learn, and as the filmmaker that's brought them to the screen clearly already knows. Turning in finessed and thoughtful performances, Krieps and Roth bring a lived-in dynamic to the film's first key couple, with the chaos that swirls from being in the same line of work but chasing disparate aims not just flowing but bubbling in their paired scenes. He's the kind of Bergman fan that's adamant about going on the Bergman safari, a real-life thing that all visitors can do, for instance, while she prefers being shown around informally by young film student Hampus (acting debutant Hampus Nordenson). But their Fårö escapades only fill half of Bergman Island, because the movie also brings Chris' budding script to life. She tells Tony the tale, seeking his assistance in working out an ending, but he's too immersed in Bergman worship to truly pay attention. The feature itself, Hansen-Løve and the audience all savour the details, though — eagerly so. There, in this film-within-a-film, 28-year-old director Amy (Mia Wasikowska, Blackbird) visits an island, too — "a place like this," Chris advises, and one that visibly resembles Fårö. She dances to ABBA to cement the Swedish ties, and also spends her time on the locale's shores wading through matters of art and the heart. The catalyst for the latter: her ex Joseph (Anders Danielsen Lie, The Worst Person in the World). They're both attending a wedding of mutual friends, and their lengthy, passionate and volatile history quickly pushes to the fore. While they've each moved on, they're also forever connected, especially when placed in such close quarters. Accordingly, that tumultuous relationship is as bedevilled by other creative endeavours, and also by the thrall of history, as Chris' quest to put pen to paper. And, via the movie-inside-a-movie concept, there's an evocative sense of mirroring that couldn't spring any firmer from Bergman himself. Read our full review. WASH MY SOUL IN THE RIVER'S FLOW A silent hero and a rowdy troublemaker. That's what Ruby Hunter calls Archie Roach, her partner in life and sometimes music, then characterises herself. She offers those words casually, as if she's merely breathing, with an accompanying smile and a glint in her eyes as she talks. They aren't the only thoughts uttered in Wash My Soul in the River's Flow, which intersperses concert and rehearsal clips with chats with Hunter and Roach, plus snippets of biographical details from and recollections about their lives as intertitles, and then majestic footage of the winding Murray River in Ngarrindjeri Country, where Hunter was born, too. Still, even before those two-word descriptions are mentioned, the film shows how they resonate within couple's relationship. Watching their dynamic, which had ebbed and flowed over three-plus decades when the movie's footage was shot in 2004, it's plain to see how these two icons of Australian music are dissimilar in personality and yet intertwine harmoniously. Every relationship is perched upon interlocking personalities: how well they complement each other, where their differences blend seamlessly and how their opposing traits spark challenges in the best possible ways. Every song, too, is a balance of disparate but coordinated pieces. And, every ecosystem on the planet also fits the bill. With Hunter and Roach as its focus, Wash My Soul in the River's Flow contemplates all three — love, music and Country — all through 2004 concert Kura Tungar — Songs from the River. Recorded for the documentary at Melbourne's Hamer Hall, that gig series interlaced additional parts, thanks to a collaboration with Paul Grabowsky's 22-piece Australian Art Orchestra — and the movie that producer-turned-writer/director Philippa Bateman makes of it, and about two Indigenous stars, their experience as members of Australia's Stolen Generations, their ties to Country and their love, is equally, gloriously and mesmerisingly multifaceted. When is a concert film more than a concert film? When it's Wash My Soul in the River's Flow, clearly, which is named for one of Kura Tungar's tracks. Bateman could've just used her recordings of the legendary show, which won the 2005 Helpmann Award for Best Australian Contemporary Concert, and given everyone who wasn't there the chance to enjoy an historic event — and to bask in the now-late Hunter's on-stage glories more than a decade after her 2010 passing — but that was clearly just the starting point for her movie. With Roach as a producer, the documentary presents each of its songs as a combination of five key elements, all weaved together like the feather flower-dotted, brightly coloured headpiece that Hunter wears during the performance. With each tune, the film repeats the pattern but the emotion that comes with it inherently evolves, with the result akin to cycling through the earth's four seasons. First, a title appears on-screen, overlaid across breathtakingly beautiful images of the Murray and its surroundings, and instantly steeping every song in a spectacular place. From there, the Kura Tungar rendition of each tune segues into practice sessions with Grabowsky and the AAO of the same track, plus both text and on-the-couch chatter between Hunter and Roach that speaks to the context of, meaning behind and memories tied to each piece. Hunter's 'Daisy Chains, String Games and Knuckle Bones', which springs from her childhood, gets that treatment. Roach's unforgettable 'Took the Children Away' does, too. 'Down City Streets', as written by Hunter and recorded by Roach, also joins the lineup. The list goes on, and the power that each song possesses alone — which, given the talent and topics involved, is immense — only grows when packaged in such a layered manner. Read our full review. THE SOUVENIR: PART II In showbusiness, nepotism is as inescapable as movies about movies. Both are accounted for in The Souvenir: Part II. But when talents as transcendent as Honor Swinton Byrne, her mother Tilda Swinton and writer/director Joanna Hogg are involved — with the latter working with the elder Swinton since her first short, her graduation piece Caprice, back in 1986 before Honor was even born — neither family ties nor filmmaking navel-gazing feel like something routine. Why this isn't a surprise with this trio is right there in the movie's name, after the initial The Souvenir proved such a devastatingly astute gem in 2019. It was also simply devastating, following an aspiring director's romance with a charismatic older man through to its traumatic end. Both in its masterful narrative and its profound impact, Part II firmly picks up where its predecessor left off. In just her third film role — first working with her mum in 2009's I Am Love before The Souvenir and now this — Swinton Byrne again plays 80s-era filmmaking student Julie Harte. But there's now a numbness to the wannabe helmer after her boyfriend Anthony's (Tom Burke, Mank) death, plus soul-wearying shock after discovering the double life he'd been living that her comfortable and cosy worldview hadn't conditioned her to ever expect. Decamping to the Norfolk countryside, to her family home and to the warm but entirely upper-middle-class, stiff-upper-lip embrace of her well-to-do parents Rosalind (Swinton, The French Dispatch) and William (James Spencer Ashworth) is only a short-term solution, however. Julie's thesis film still needs to be made — yearns to pour onto celluloid, in fact — but that's hardly a straightforward task. As the initial movie was, The Souvenir: Part II is another semi-autobiographical affair from Hogg, with Swinton Byrne slipping back into her on-screen shoes. This time, the director doesn't just dive into her formative years four decades back, but also excavates what it means to mine your own life for cinematic inspiration — aka the very thing she's been doing with this superb duo of features. That's what Julie does as well as she works on the film's film-within-a-film, sections of which play out during The Souvenir: Part II's running time and are basically The Souvenir. Accordingly, viewers have now spent two pictures watching Hogg's protagonist lives the experiences she'll then find a way to face through her art, all while Hogg moulds her two exceptional — and exceptionally intimate and thoughtful — movies out of that exact process. Julie's graduation project is also an escape, given it's patently obvious that the kindly, well-meaning but somehow both doting and reserved Rosalind and William have been pushed out of their comfort zone by her current crisis. Helping their daughter cope with her heroin-addicted lover's passing isn't something either would've considered might occur, so they natter away about Rosalind's new penchant for crafting Etruscan-style pottery instead — using small talk to connect without addressing the obvious, as all families lean on at some point or another. They provide financing for Julie's film, too, in what proves the easiest part of her concerted efforts to hop back behind the lens and lose herself in her work. Elsewhere, an array of doubt and questions spring from her all-male film-school professors, and the assistance she receives from her classmates is quickly steeped in rivalries, envy and second-guessing. Read our full review. FACING MONSTERS "If you want the ultimate, you've got to be willing to pay the ultimate price." Uttered by Patrick Swayze in 90s surfing action flick Point Break, that statement isn't directly quoted in Facing Monsters. Still, when it comes to the underlying idea behind those words — that anything at its absolute pinnacle comes at a cost, especially seeking bliss hanging ten on giant swells — this new Australian documentary unquestionably rides the same wave. Directed by Bentley Dean, and marking his first movie in cinemas since 2015 Oscar-nominee Tanna, the film focuses on Kerby Brown, the Aussie slab surfer who is at his happiest atop the biggest breakers possible. He's turned hunting them into his life's mission — think Point Break's 50-year storm, also set in Australia, but every time that Kerby hops on a board — and Facing Monsters commits that pursuit to celluloid. Helming solo unlike on Tanna — which he co-directed with Martin Butler, as he did on prior documentaries Contact, First Footprints and A Sense of Self as well — Dean understands three key aspects to Kerby's story. The thrills, the spectacle and the calm: they're all accounted for here, including simply in the astonishing imagery that fills the film. There's no shortage of talk in Facing Monsters; Kerby himself, his brother and frequent partner-in-surf Cortney, his partner Nicole Jardine, and his parents Glenn and Nola all chat happily. But this movie makes much of its impact, and captures plenty that's pivotal, all via its visuals alone. Cinematographer Rick Rifici has long shot the sea as if it's an otherworldly space, including while working as a camera operator on Storm Surfers, as a water cinematographer on Breath, and as the underwater camera operator on Dirt Music, and he's as as crucial here as Kerby. The long, wide, lingering image that begins the film is one such unforgettable moment — essential and exceptional, too. Kerby floats in a sea of lush but rippling pink, face to the sky, his board strapped to his leg. It's a near-supernatural sight, and a transcendent one, but amid the unshakeably striking beauty of the shot, uncertainty also loiters. An unspoken query, too: is this a picture of bliss or bleakness? Next comes a quick cut, letting Kerby's bloody face and bandaged head fill the the screen instead, and making it instantly clear that his love of riding big waves has physical and severe consequences. The gorgeous visions return from there, and the intimacy as well — the latter largely flowing from talk from this point forward — but Facing Monsters' first frames truly do say it all. Indeed, it's noticeable that the remainder of the movie feels like it's paddling after this opening sensation and atmosphere. Facing Monsters is a documentary about chasing, of course — waves, obsessions, addictions, demons, solace and happiness alike. The dangerous nature of slab surfing plays out like a quest as much as an adventure, driving Kerby ever since he and Cortney got bored with the swells at Kalbarri in Western Australia, where they grew up, then starting seeking out bigger and bigger possibilities. That's there in the chatter as well as the imagery, in a film that aims to convey the what and why behind its subject's choices through immersion first and foremost. It's fitting, then, that watching Facing Monsters sometimes resembles riding high — when its visuals express everything they need to — and sometimes floats in shallower waters. Ensuring that audiences share the awe and wonder that Kerby experiences on his board is easy with Rifici's astounding help; diving deeper into exactly what else makes its point of focus tick, and has through swirls of drugs and booze, life-threatening incidents in the surf, and becoming a father, is a far more evasive task. BOOK OF LOVE In 2018's The Nightingale, Sam Claflin gave the performance of his career so far while playing thoroughly against type. As a British lieutenant in colonial-era Tasmania, he terrorised the film's female protagonist to a nerve-rattlingly distressing degree — and his work, just like the phenomenal feature he's in, isn't easy to watch. Book of Love, his latest movie, couldn't be more different; however, Claflin's portrayal could use even a sliver of the commitment he demonstrated four years back. The film around him could, too. Here, he plays a floundering novelist who doesn't want to do a very long list of things, so it makes sense that he takes to the part with a dissatisfied attitude that drips with not only unhappiness, but pouting petulance. He's meant to be one of this dire rom-com's romantic leads, however, and he constantly looks like he'd rather be doing anything else. Author of The Sensible Heart, Claflin's Henry Copper is instantly as dour as his book sounds. It too is a romance, but he's proud of its sexlessness — to the point of boasting about it to bored would-be readers who definitely don't make a purchase afterwards. He's also seen using his novel as a pick-up line early in the movie, and that goes just as badly. In fact, his whole career seems to be a shambles, and the prim-and-proper Brit can't understand why. But he's also surprised when he's told that his latest has become a bestseller in Mexico, and he's hardly thrilled about the whirlwind promotional tour his brassy agent (Lucy Punch, The Prince) swiftly books him on. Upon arrival, where his local translator Maria Rodríguez (My Heart Goes Boom!) doubles as his minder, he's visibly displeased about everything he's asked to do — more so when he discovers that she's taken the liberty to spice up his work. Of course, Maria's revisions — a wholesale rewrite that plunges The Sensible Heart into erotic page-turner territory — are the sole reason that Mexican women are lining up at Henry's events to throw themselves at him. And with both his British-based and Mexican agents adamant that his publicity tour must go on, he's forced to grin and bear that truth as they take a road trip across the country. Henry and Maria are a chalk-and-cheese pair in a host of other ways, naturally, but apparently sparks can't help igniting in this contrived scenario. It's telling that BuzzFeed Studios is behind the film, the site earns a mention in the movie and its plot feels like a gif-heavy listicle from the outset. Indeed, based on how slight and stereotypical every aspect of Book of Love proves, writer/director Analeine Cal y Mayor (La Voz de un Sueño) and co-writer David Quantick (Veep) don't appear to have spent much time fleshing anything out beyond that potential starting point. Tired, not wired: that's the end result, including Book of Love's place in the current literary-focused subgenre of romantic flicks that's also spawned the 50 Shades movies, the After films and fellow forgettable 2022 release The Hating Game. Claflin's patent disinterest is the least of the feature's troubles given that its storyline is nonsensical, there's no sign of chemistry between its leads, the dialogue couldn't be flatter and the travelogue setup has already been overdone. The charismatic Rodríguez certainly deserves better, even if no one else involved inspires the same description solely based on their efforts here. She's stuck playing a character that's been given as much depth and texture as a full stop — the archetype: feisty put-upon single mother with big dreams but crushing responsibilities — but she's also the only part of the movie that feels remotely real. OFF THE RAILS In need of a bland and derivative friends-on-holidays flick that's painted with the broadest of strokes? Keen to dive once more into the pool of movies about pals heading abroad to scatter ashes and simultaneously reflect upon their current lot in life? Fancy yet another supposedly feel-good film that endeavours to wring humour out of culture clashes between English-speaking protagonists and the places they visit? Yearning for more glimpses of thinly written women getting their grooves back and realising what's important on a wild Eurotrip? Call Off the Rails, not that anyone should. Coloured with every cliche that all of the above scenarios always throw up, and also covered from start to finish in schmaltz, it's a travel-themed slog that no one could want to remember. A grab bag of overdone tropes and treacly sentiment, it also doubles as an ode to the songs of Blondie, which fill its soundtrack — but even the vocal stylings of the great Debbie Harry can't breathe vibrancy into this trainwreck. Alongside its woeful been-there-done-that plot, its lack of personality, its yearning to be the next Mamma Mia! and all those Blondie tracks — the prominence of which makes zero sense given how briefly and haphazardly each song, hits and deeper cuts alike from a lengthy list, are deployed — Off the Rails does have another claim to fame to its name. The British film also marks the last on-screen appearance of Kelly Preston, who passed away in mid-2020; however, it isn't the swansong that any actor would want. Her involvement does give the movie's messages about making the most of one's time, embracing what you love and keeping in touch with the people who matter while you can a bittersweet tone, but not enough to wash away its mix of dullness and overdone mawkishness. Or, to invest depth into what's largely 94 minutes of middle-aged travellers arguing about anything and everything. Once close, Kate (Jenny Seagrove, Peripheral), Liz (Sally Phillips, Blinded by the Light) and Cassie (Preston, Gotti) now just call on big occasions — and even then, they're barely there for each other. But when fellow pal Anna dies, they reunite at her funeral, and are asked to carry out her final wish by her mother (Belfast's Judi Dench, in a thankless cameo). The task: catching a train across Europe, through Paris to Girona, Barcelona and Palma in Spain, to recreate a backpacking jaunt the four took decades earlier. Specifically, they're headed to La Seu, a cathedral with stained-glass windows that look particularly spectacular when the sun hits at the right time (the film calls it "god's disco ball"). Anna already bought their Interrail passes, and her 18-year-old daughter Maddie (Elizabeth Dormer-Phillips, Fortitude) decides she'll join the voyage, too. Amid the bickering, which fills most of debut feature director Jules Williamson's scenes and screenwriter Jordan Waller's dialogue, the usual antics all roll out. Old feuds are unearthed, transport often goes awry every which way it can and the main middle-aged trio cause middle-aged women problems (getting drunk, getting lost, causing a scene in a boutique, delivering a baby and the like). Menopause earns some discussion, romance also springs — which is where the always-welcome but underused Franco Nero, aka cinema's original Django, comes in — and life lessons are ultimately learned. If that sounds tediously stock-standard on paper, it certainly plays out that way in a sunnily shot but always plodding ostensible comedy. Few performances could improve this plight, and Off the Rails' happily one-note efforts can't either, especially when its most interesting character and corresponding portrayal — courtesy of Dormer-Phillips as Maddie — keeps being pushed aside. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3. You can also read our full reviews of a heap of recent movies, such as Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman and Blind Ambition.
Live life long enough and anything can happen. Enjoy an undead existence for hundreds of years and that feeling only multiplies, or so the wealth of movies and TV shows that've let vampires stalk through their frames frequently remind viewers. A sharehouse-set mockumentary focused on bloodsucking roommates who've seen more than a few centuries between them, What We Do in the Shadows embraces that idea like little else, though — as a Jemaine Clement and Taika Waititi-starring movie, aka one of the funniest New Zealand comedies of this century, and then as a hilarious American TV spinoff. The premise has always been ridiculously straightforward, and always reliably entertaining. That dates back to Clement and Waititi's short film days, which is where this franchise began as 2005's What We Do in the Shadows: Interviews with Some Vampires — and continues right through to the TV iteration's now-airing fourth season, which screens in Australia via Binge and in New Zealand via Neon. A camera crew captures the lives of the fanged and not-at-all furious, squabbles about chores, a rising body count and avoiding sunlight all included. Their domesticity may involve sinking their teeth into necks, blood splatters aplenty, sleeping in coffins and shapeshifting into bats, but it also covers arguing about paying bills, keeping the house clean and dealing with the neighbours. For fans of the film, the stakes were high with this leap to television. What We Do in the Shadows, the movie, had already given rise to a homegrown offshoot courtesy of Wellington Paranormal — the NZ TV show that trailed the movie's cops (Mike Minogue and Karen O'Leary) as they kept investigating the otherworldly — which first arrived in 2018. But the small-screen version of What We Do in the Shadows has a few crucial and important things going for it: another killer cast, this time inhabiting a ramshackle, gothic-style abode in Staten Island; the same glorious sense of silliness, including everything from blood sprinklers and undead labour disputes to getting a genie to magic up a giant penis in the latest season alone; an eagerness to gleefully skewer the entire vampire genre; and well and truly letting anything happen within its frames. Season four picks up after a climactic end to the show's prior batch of episodes, which only finished airing back in October 2021. Its bloodsucking roommates were all set for their own adventures, after Nandor (Kayvan Novak, Cruella) decided to explore his roots in his ancestral homeland in what's now Iran, and Nadja (Natasia Demetriou, Eurovision Song Contest: The Story of Fire Saga) took up a prestigious job in London with the Supreme Vampiric Council, who oversee the vampire world order. Her beloved Laszlo (Matt Berry, Toast of London and Toast of Tinseltown) stayed behind at the last minute to take care of the baby that burst its way out of energy vampire Colin Robinson's (Mark Proksch, The Office) body. To accompany Nadja, in his place he sent Nandor's familiar Guillermo (Harvey Guillen, Werewolves Within), who has also discovered throughout the first three seasons that he's a Van Helsing — yes, a vampire hunter. What We Do in the Shadows wouldn't be What We Do in the Shadows if its central quintet were scattered around the world, rather than bantering together, so homecomings are swiftly in order. A year has passed in the show, old grounds have been stomped, new jobs trialled and that infant is now a young boy — who, eerily, still looks like Colin. Nandor returns more determined than ever to find a wife, and thinks that one of his many from the Middle Ages could be the one again; bringing back a Djinn (Anoop Desai, Russian Doll) to grant his wishes helps. Nadja has big ambitions, too, but of the professional rather than personal kind. Taking over the local Vampiric Council again, she sets her sights on turning it into a vampire nightclub. Its custodian The Guide (Kristen Schaal, The Bob's Burgers Movie) is unsurprisingly far from thrilled. If vampire nightclubs and blood sprinklers sound familiar, that's because back in 1998, Blade got there first. That's the type of winking and parodying that What We Do in the Shadows loves — and keeps finding ways to turn into comedy gold. It'll always be difficult to beat the show's exceptional first-season episode that featured Wesley Snipes as a half-vampire version of himself, alongside everyone from Tilda Swinton to Paul Reubens referencing their own past undead film roles (Only Lovers Left Alive and Buffy the Vampire Slayer, respectively), but this series never stops trying. It's just as devoted to fleshing out the demonic world that exists beyond human eyes, with a new episode set at an anything-goes night market where the supernaturally inclined trade for everything they can a particular treasure. That nodding and nudging will never grow old, thanks to the stellar writing behind it, as well as the fantastic cast bringing it to the screen. Matt Berry should star in all comedies always (see also: the aforementioned Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace), and his pronunciation, the way that Laszlo yells "bat!" when he turns into a bat and the character's general buffoonery will always be among What We Do in the Shadows' biggest weapons. Hearing him read In Cold Blood to the young Colin, as a bedtime story, is a scene for the ages alone. He's ably matched by always riotous Demetriou and the equally amusing Novak, who lean into their vamps' eccentricity-laced personalities with as much gusto. Nadja's unapologetic passion, pursuing whatever she wants whenever she wants, always feels fleshed out, as does Nandor's awkwardness despite a past as a bloodthirsty warrior. It was always going to take something special to match the big-screen What We Do in the Shadows. That's a task that its TV spinoff has always managed, however, and as enchantingly as the immediately catchy strains of theme song 'You're Dead' by Norma Tanega — a tune the two versions share. Nothing about this delight sucks, not for a second, and season four is as ace as ever. Check out the trailer for What We Do in the Shadows season four below: What We Do in the Shadows' fourth season streams in Australia via Binge and in New Zealand via Neon. Images: Russ Martin/FX.
Capers can be one of many different things depending on when you visit. On weeknights, it's a wine bar and restaurant suitable for parents. On Friday and Saturday nights, it morphs into the place to be for Gen Zs, which makes sense when you consider that cousins and co-owners Christian Evripidou and Anastasios Konnari opened it as a youthful alternative to old-school Greek tavernas. The interiors have the cosy, lived-in feel of a house, while the sun-dappled courtyard is a dreamy in summery months. The homestyle food menu is divided into 'meze' (small plates that comprise things like marinated olives, grilled halloumi and Cypriot sausages) and 'piata' (larger plates that include the likes of spanakorizo, pastitsio and the famed dakos salad). In a nod to its inner north patrons, there's a vegan moussaka with dairy-free bechamel and mushrooms in place of mince. Wines from Greece and Cyprus occupy primacy alongside a few local varieties, while cocktails incorporate Greek liqueurs and ingredients like traditional spirit skinos mastiha, plomari ouzo and Anglias Cypriot brandy to spin magical numbers like the Greek Salad Martini, a combination you didn't know you needed but won't regret trying. There are also beers, speciality spirits and non-alcoholic options.
For half a century, no trip to the Sunshine Coast has been complete without visiting a 16-metre-high pineapple. In 1983, even Princess Diana and the then-Prince Charles went there, as throngs of tourists have before and since. Stop by now and you'll still see a giant piece of tropical fruit, but one that's had a revamp, with the Queensland big thing officially reopening after undergoing renovations. Plenty of changes have been floated for The Big Pineapple and its 165-hectare site over the years, with a craft brewery, water park, and places to stay via an RV park, an eco resort and a hotel all among the ideas under the attraction's master plan. For now, however, owner Peter Kendall and his company CMC Property have focused on repairing and restoring the main highlight itself, as well giving the location's train the same treatment. The Big Pineapple has also scored a new cafe, new viewing platform and new children's playground. If the towering sight looks extra shiny — and ready to gleam in the obligatory snaps that everyone takes while they're in its presence — that's thanks to sandblasting, repairs and marine paint by the hundreds of litres. To get a good glimpse, that's where the new viewing platform comes in. Dating back to the 50s, the train now has a similar sheen after a restoration process, including to its carriages and track. "We are awaiting some final certification for the train and hope to start public train rides soon, providing rides across the property including access to Wildlife HQ," said Kendall, also mentioning the zoo with 200-plus species of animals that's been onsite since 2014. Stopping by The Big Pineapple hasn't just been about its fibreglass namesake for some time, given that TreeTop Challenge Sunshine Coast and its high-ropes courses and ziplines also calls it home. So does coconut foods producer COYO, as well as Sunshine & Sons distillery. Come October, The Big Pineapple Festival — the locale's music festival — will return for the first time since 2021. The fest started in 2013, then ran annually surrounded by pineapple fields until its present three-year break. Getting a ticket isn't just about seeing live tunes in the location's natural amphitheatres in such close proximity to The Big Pineapple, but also pitching a tent at event's 4000-person campground. [caption id="attachment_944026" align="alignnone" width="1920"] The Big Pineapple, Alpha via Flickr[/caption] "The Big Pineapple is undoubtedly the most-recognisable tourism icon of the Sunshine Coast and so I am very proud of the team's work to restore the pineapple to its original glory," said Kendall. "This is just the first stage of the regeneration project. Our number-one priority was to reopen the main pineapple structure and cafe, and to get the train running again." "Our next priority is to complete the renovations to the inside of the pineapple structure itself and we hope to reopen it for tours later on." [caption id="attachment_698027" align="aligncenter" width="1920"] Anne and David via Flickr[/caption] Find The Big Pineapple at 76 Nambour Connection Road, Woombye, Queensland — open 8.30am–4pm daily. For more information, visit the attraction's website.
Long considered one of Melbourne's go-to steak destinations, The Station Hotel sure knows how to make a good piece of meat shine. And that also means the kitchen's got the goods when a proper Sunday roast is on the cards. Hit this gorgeous heritage pub in Footscray from 12pm each week and enjoy one of the ten varieties of steak on offer — split into grass fed or grain fed options. Oysters, parmas, burgers, risottos and fish and chips also make an appearance, for those wanting other traditional pub offerings. Wash it all down with a long list of regularly rotating Aussie beers and wines — or some top shelf spirits — to have the ultimate Melbourne pub experience at Footscray's Station Hotel. Appears in: The Best Pubs in Melbourne for 2023
Yayoi Kusama's list of achievements just keeps growing. At the age of 96, the Japanese talent has proven a pioneer and an icon many times over across her eight decades of making art, and now she has breaking an Australian record to her name as well. Thanks to the exhibition that shares her moniker, which has been on display at Melbourne's NGV International since December 2024, Kusama can now claim the nation's highest-attended ticketed exhibition ever. This news confirms what Aussies have long known: we're dotty for the creative genius who uses spots aplenty in her work, plus pumpkins, tentacles and flowers — and for an art figure who knows how to get audiences losing themselves in a gallery via her infinity rooms. Since Yayoi Kusama opened on Sunday, December 15, 2024, it has welcomed more than 480,000 people through the door. That number still has time to go up, too, given that the exhibition runs until Monday, April 21, 2025. That it's open from 8am–6pm till Wednesday, April 16, then will operate from 8am–midnight daily between Thursday, April 17–Monday, April 21, will assist. To put that huge attendance in context, Victorian Premier Jacinta Allan compared it to one of Melbourne's best-known venues. "This record-breaking exhibition has brought five MCGs worth of visitors to the heart of Melbourne — that's great for local jobs, great for local businesses and great for families looking for something to do these holidays," Allan said. "We're truly overwhelmed by how enthusiastically Victorians and visitors alike have embraced this exhibition — and connected so strongly with Kusama's work and life story. This milestone is a testament to the enduring impact of Kusama's work and the growing appeal of contemporary art in Australia," added NGV Director Tony Ellwood AM. This celebration of Kusama was already in the history books for giving Australia its largest-ever retrospective dedicated to the artist. In terms of tickets sold, Yayoi Kusama takes the record from another Victorian exhibition, Van Gogh and the Seasons, which displayed in 2017 and saw 462,262 people head along. The National Gallery of Victoria's spectacular tribute to Kusama includes the Japanese icon's brand-new Infinity Mirrored Room–My Heart is Filled to the Brim with Sparkling Light among its ten immersive installations, breaking the world record for the number of such pieces by the artist assembled in one spot as well. In total, there's 200 pieces on display, taking over the St Kilda Road gallery's entire ground floor with a childhood-to-now survey of its subject's creative output. Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court, a new version of Narcissus Garden, the yellow-and-black spheres of Dots Obsession, the all-ages-friendly The Obliteration Room, participatory floral piece Flower Obsession, the mirror-heavy Chandelier of Grief, gourds aplenty in The Spirits of the Pumpkins Descended into the Heavens: they're all part of the exhibition. Across the eight decades of art on offer, some pieces have never been seen Down Under until now. Some are sourced from private collections, and others from Kusama's own personal stash. Overall, Yayoi Kusama steps through the artist's work via a thematic chronology. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they all appear. Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne until Monday, April 21, 2025 — including from 8am–6pm between Saturday, April 5–Wednesday, April 16, and from 8am–midnight between Thursday, April 17–Monday, April 21. NGV Friday Nights: Yayoi Kusama runs each Friday until Friday, April 18, 2025. Head to the NGV website for more details and tickets. Images: Visitors and artworks in the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photos: Danielle Castano, Sean Fennessy, Tobias Titz and Kate Shannassy.
Lower Johnston Street — the section beyond Brunswick, Smith and Wellington — has been quietly rallying against the increasing gentrification of Melbourne's inner north. For years, the austere grey streetscape has played the role of a front, while in dark and confined corners, creative minds have grouped together to preserve what's left of that old-Melbourne vibe. Beyond the ornate western typeface, painted in drop shadow on its large smokey windows, Nighthawks is perhaps the new pièce de résistance in the lower Johnston Street revolution. Step inside and — not unlike a '54 Stratocaster —the letters cast a brilliant yellow-red sunburst over the room. A cursory glance would nod to creative influences from far-flung places; inside you'll see saloon doors formed from frosted glass, a sizzling record player, a Williams pinball machine from 1979 — imported from Germany and still sporting the 2 Deutsche Mark label over the coin slot — and the venue's heart and soul: a simple wooden bar lined with black leather stools and a well-stocked liquor cabinet. Nighthawks could well fit in on the streets of Osaka or San Francisco — or behind an unmarked door in a Berlin back-alley — but there is something about this place that is uniquely Melbourne. It's the kind of place Nick Cave would have drunk at in the '80s (back when you could still see him play with The Birthday Party, and probably for around $10). It captures the essence of old Fitzroy and Collingwood, back when it was still an affordable area to the artists, musicians and poets who lived and performed there. Sharing a wall with Bluebird Espresso, and across the road from the Bendigo Hotel, Nighthawks is in good company. It's also the perfect middle ground for when you want to sip on a whisky, enjoy a pint, or just sit back, relax and take in the soothing cracks and pops of a spinning piece of pressed black wax. Nighthawks may be the new kid on the block, but it feels a bit like a friend's place you've been hanging out in for years. The front bar plays host to regular intimate live performances, while the heated rear beer garden doubles as an outdoor pop-up cinema every second Wednesday night. You can even order pizza from across the road — as long as you play nice. You wouldn't be a jerk at a friend's house, so as the Nighthawks dictum states: be nice or leave. Images: Lewis Fischer.
Twice a year, in February and November, a striking phenomenon descends over Melbourne. As the sun rises or sets in perfect alignment with the east-west corridors of the CBD grid, its glowing orb moves neatly in between the skyscrapers to create a rare spectacle that's been dubbed Melbhenge. We chatted to Sara Webb, Postdoctoral Researcher in Astrophysics at Swinburne University of Technology, to learn how it all works. "What people sometimes don't realise is that the sun doesn't always set directly in the east and in the west — it actually changes throughout the year and that's because our earth is on a slight tilt," explains Webb. "So it's constantly setting in a slightly different position every day of the year." Throw in an east-to-west city grid like that of Melbourne's CBD and you've got the perfect angles and conditions to create an annual sunset spectacular. "Because we do have the Hoddle Grid, that's pretty much the whole length of the CBD you can see down. There are two times a year when the sun lines up perfectly with that position," she says. For those playing along at home, the sunrise alignment occurs every February, while the sunset version happens in early November. [caption id="attachment_829240" align="alignnone" width="1920"] Captured by Gabriele Marini @gabryxx7[/caption] Melbhenge is next set to grace us with its presence on November 2, 3 and 4 this year, when the sun sets at around 7.55pm at the exact angle of 250 degrees and ends up being framed perfectly by the CBD buildings. To cop the best possible view, nab yourself a spot looking west along the likes of Bourke, Lonsdale and Collins Streets. Hot tip: the steps of Parliament House are a favourite for photographers looking to capture the moment on film. You've probably heard of a similar 'henge' effect happening in other similarly laid-out cities, like New York's famed Manhattanhenge. And of course, there's the OG Stonehenge in Wiltshire, England, which was built around 2500BC to align exactly with the sunrise on the summer solstice. But as it turns out, Melbhenge might not be the first and only of its kind in Victoria. "[Indigenous Australians] actually had what we think was some type of 'henge', made out of these stone structures, where the equinox hit in a specific section — so with the winter and the summer solstice," explains Webb. Known as Wurdi Youang, the egg-shaped stone arrangement is located at Mount Rothwell near Little River, and is thought to be anywhere between 200 and 20,000 years old. Yep — it could be even older than Stonehenge itself. Melbhenge is visible at sunset from November 2 to 4, with one of those days set to be more perfectly aligned than the other two. You'll be able to catch it at sunrise in early February next year, too. Top Image: Melbhenge captured in 2018 by Daryl Teo @lookaboutstreet
When Suicide Squad reached cinemas screens back in 2016, it garnered plenty of attention. Critics largely hated it, fans loved it and some folks tried to shut down Rotten Tomatoes because of it. Come awards season, it picked up an Oscar (for best achievement in makeup and hairstyling) as well as two Razzie 'worst' nominations. The divisive reactions just kept coming, although there were two things that almost everyone agreed on. Firstly, most people rightfully loathed Jared Leto's interpretation of the Joker. Secondly, the majority of viewers adored Margot Robbie as Harley Quinn. While the DC Extended Universe hasn't gotten a whole lot right in its attempts to emulate the Marvel Cinematic Universe (see Batman v Superman: Dawn of Justice and Justice League, for example), its powerbrokers did seem to pay attention to the super-sized Suicide Squad debate. In response, they're giving the world what it wants: more Robbie as everyone's favourite ex-psychiatrist turned antihero. In Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), Harley Quinn has moved on from the clown prince of crime (much like DC has moved on from Leto, at least for now, with Joaquin Phoenix playing the character in the new standalone Joker film). In the aftermath of their breakup, she rounds up a crew filled with other fearsome Gotham ladies — including Black Canary (Jurnee Smollett-Bell), the Huntress (Mary Elizabeth Winstead) and Renee Montoya (Rosie Perez) — to thwart supervillain Black Mask (Ewan McGregor). Directed by Cathy Yan (Dead Pigs), also co-starring Chris Messina and Ali Wong, Birds of Prey marks Quinn's first solo cinematic outing — and as the just-dropped first trailer shows, it's going big. When it hits theatres in February 2020, expect plenty of colour, chaos and formidable gals wreaking havoc, in what's been rumoured to be the first in a Quinn-focused trilogy. With Suicide Squad getting a sequel in 2021, confusingly titled The Suicide Squad and helmed by Guardians of the Galaxy's James Gunn, the pigtailed prankster definitely isn't leaving screens anytime soon. Check out the trailer for Birds of Prey below. https://www.youtube.com/watch?v=1SuGhiVLUrM Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) will hit cinemas in Australia and New Zealand in February 2020.
Nowadays there are subscription services for just about anything. Board Games? Check. Booze? Check. Legos? Check. Organic period products? You betcha. Meet Juuni, a subscription that delivers a customisable box of organic tampons, pads and liners to your doorstep each month. If you're anything like us, every 28 days, you'll find yourself digging around the bottom of your bag or making a desperate run to the convenience store. To help save you from the stress of being caught out — because, face it, periods are stressful and annoying enough as they are — founder Eri Stewart (who's also behind Hard to Find) created a line of organic products that look and feel more like a gift set than a necessity. Unlike your typical tampons, Juuni's products are bleach-free, pesticide-free and 100-percent biodegradable. The certified organic cotton is hypoallergenic and contains no synthetic dyes or fibres. The pads and liners also have an organic top sheet and the plastic wrappers are biodegradable, too. Apart from the necessities, the well-designed boxes also include surprise gifts each month to help brighten up your week. And you can choose to include one of Juuni's face mask to boot, which contains aloe leaf, cucumber, pomegranate and green tea — all of which help soothe and brighten skin and combat hormonal skin break outs. So, how does it work? You build your custom box with the likes of tampons ($3.99 for a ten-pack), pads ($3.20 for a five-pack) or liners ($3.20 for ten-pack) and choose if you want to receive deliveries every month or every three months (the latter works to be slightly better value and includes free shipping). All new customers get their first box free, too, and you can cancel whenever you want. To sign up for Juuni and get your first box free, head over to the website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Stephen King's literary output contains multitudes. Horror, which the author has been best-known for since his 1974 debut Carrie, is just one genre on his bibliography. Accordingly, a life-affirming tale about the fact that we all also contain multitudes — Walt Whitman's poem Song of Myself is naturally quoted — isn't a surprise from the writer. Filmmaker Mike Flanagan bringing King's novella The Life of Chuck to the big screen might've been less expected, though, if the director behind recent TV must-sees The Haunting of Hill House, The Haunting of Bly Manor, Midnight Mass and The Fall of the House of Usher wasn't again exploring characters not initially appreciating, then slowly dawning upon the fact, that the choices they're making aren't necessarily ones that are making them happy. Flanagan has adapted King's work before, first with 2017 film Gerald's Game, then with 2019 The Shining sequel Doctor Sleep. Neither was a fantasy/drama that celebrates life's wonders and small joys — and just relishing existing for the time that we each have in general — however. That's The Life of Chuck through and through, with Flanagan's characteristically perceptive version of the King story that was first published in 2020 compilation If It Bleeds proving one of the most-heartwarming viewing experiences of 2025. Consider the 2024 Toronto International Film Festival's People's Choice Award-winner if not an antidote then a helpful reminder whenever minor annoyances blight your days: this picture understands that revelling in the delights, not the dramas, is a more-fulfilling mindset. Being a part of the film's cast was an instant yes for Karen Gillan (Douglas Is Cancelled), who initially starred in Oculus for Flanagan. The 2013 horror movie brought the Scottish actor to the US before playing Nebula in the Marvel Cinematic Universe and rolling the dice in the Jumanji franchise joined her resume. And yes, The Life of Chuck immediately stood out, she tells Concrete Playground. More than that, the picture's thoughtful examination of relishing tiny, everyday wins and treasures, and discovering what and who truly light up your life, is "such an interesting thing to dive into just as a human being," Gillan advises. "It's a great question to ask yourself." "I found myself asking myself this in preparation for the film, and after having watched the whole film. I asked myself 'how am I spending my precious time on this planet in the way that I want to?' and 'am I doing the things that make me truly happy?'. And 'if it were to all end tomorrow, what would I go and do that I've been too scared to do?'. And it was such an interesting way to reflect on how I'm living my life. So I just found it really moving on just a human level." [caption id="attachment_1017401" align="alignnone" width="1920"] Amy Sussman/Getty Images[/caption] In The Life of Chuck, Tom Hiddleston (Loki) portrays the titular character, as do Jacob Tremblay (Queen of Bones), Benjamin Pajak (Honeypot KK) and debutant Cody Flanagan at various stages, all as the flick steps through its namesake's existence in reverse. The movie begins as the end of days approaches, with society crumbling with it. Think: the internet disappearing forever, the sea enveloping cities, ordinary routines proving pointless and the hospital where Felicia Gordon, Gillan's character, works being inundated with those unsurprisingly unable to face the fast-ticking clock put on everything they know. Confusion reigns, including about a particular new development that Felicia's schoolteacher ex Marty Anderson (Chiwetel Ejiofor, Bridget Jones: Mad About the Boy) also notices: TV and billboard advertisements filled with Charles Katz's image and thanking him for his "39 years of service", and radio ads as well. While there's nothing like being forced to confront your mortality to spark a reassessment of what's important in life, who matters, and how you want to spend the time that you have and direct your energy towards, that idea echoes in The Life of Chuck's following chapters, where nothing apocalyptic lingers in the narrative's timeline. And, it buzzes and hums in a movie that is anything but standard in digging into a concept that is no stranger to the screen. Spontaneously answering the call to dance, developing and embracing your passions, carving out time for life's pleasures where you can, treasuring your loved ones: in a picture also featuring Mark Hamill (The Sandman) as Chuck's grandmother and giving Ferris Bueller's Day Off great Mia Sara (Dorothy and the Witches of Oz) a rare screen part as his grandmother, these moments and realisations are essential. Everyone from Annalise Basso (Blind River), David Dastmalchian (Murderbot), Harvey Guillén (Companion) and Matthew Lillard (Five Nights at Freddy's) to experienced Flanagan cast members such as Kate Siegel, Rahul Kohli, Samantha Sloyan and Carl Lumbly (all most recently in his The Fall of the House of Usher), plus also Violet McGraw (Doctor Sleep), similarly get their time to shine in The Life of Chuck. Gillan receiving hers also added to her parts beyond Guardians of the Galaxy and MCU fare — to a filmography already overflowing with them, of course, going back to her first on-screen role in Rebus; then to The Kevin Bishop Show, The Well, playing Amy Pond on Doctor Who and more in the UK; and also the Jumanji films, NTSF:SD:SUV, Selfie, 7 Days in Hell, In a Valley of Violence, Gunpowder Milkshake, Dual, Late Bloomers, her feature directorial debut The Party's Just Beginning and other titles since. It is indeed refreshing when Gillian isn't donning the Nebula makeup for a role. "I would say that the biggest difference is that I just kind of feel like I'm at the spa every morning when I'm not in the Nebula makeup. Because the Nebula makeup is intense. And it's so cool and it's so worth it, but they've got the scalpels and stuff. It's not one of those spa-like experiences. And then any other job, it just feels so luxurious in comparison," she shares. "So I love playing Nebula, but it is really nice to just have a normal face." We also spoke with Gillian about reteaming with Flanagan, playing someone trying to look after everyone else as the world disintegrates, fleshing out a complicated relationship alongside Ejiofor in their brief screentime together and The Life of Chuck as a source of inspiration — and also being a King fan starring in a King movie, swinging from big franchises to more-intimate projects and the film's feeling of quiet urgency, among other topics. On the Unique Prospect of a Film That Celebrates Life and Its Wonders, the Multitudes That We All Contain and Treasuring the Small Moments "The script completely stood out to me. So I've worked with Mike Flanagan before, on a movie called Oculus. He's actually the whole reason that I moved from Scotland to America. And so it was one of my first roles in Hollywood. So when I got the call for this project, I was ready to sign up having not even read the script because I was so excited about working with him again. And I love all the Stephen King adaptations that I've seen. So it was a bit of a no-brainer. But when I actually read this script, it was like 'this is like nothing else I've ever read before'. It's so unique — even just the structure of it. It's told in reverse and the whole first chapter is the end of everything, and then you learn that that's all a metaphor for one man's life, Chuck. And it was just such a beautiful exploration into an ordinary man's life, and really focusing on those smaller moments that don't usually get screentime in movies — and showing the beauty of those moments." On What Excited Gillan About Stepping Into Felicia's Shoes "There were so many things about the character that I thought was really interesting. I really was intrigued by the fact that she had taken on this caretaker position in everyone's lives around her. And I kind of filled in a whole backstory as to why that would be the case — because it's not really explored so much in the short story or the film. But it was a really interesting character to dive into, because she's this real caretaker-type, and you can see that in her relationship with her ex-husband Marty. But then we throw her into the end of the universe, the end of everything, and you can just see how much she's still trying to fulfil that position and keep everybody going — and maintain optimism when everyone is just giving up around her. And I thought that was such a beautiful character trait." On Fleshing Out a Complicated Relationship Alongside Chiwetel Ejiofor in Their Brief Amount of Screentime Together "We didn't actually do so much reading the scenes with each other or anything like that. We just spoke and had conversations, and we did that both separately with Mike Flanagan to really flesh out characters and backstories, and then talked together. But the first thing that we ever shot together was the long phone call scene, and it was his side of the phone. So we made sure that we were present for each other — and so I hid in a bedroom upstairs and would just call him on the phone, and then we would film his side of the scene. So I was just in some random person's bed in the house, no one else was there in the house that we were in, just kind of talking to him on the phone. And that brought such a sense of authenticity to the whole thing. And then he did the same thing for me when I filmed my side of the conversation. What was nice about that was having not done it over and over again prior to that — like, the first time he properly heard that scene would have been through the telephone." On If a Film About Life's Quiet Wonders and Being the Centre of Your Own Universe Gets You Thinking About Those Ideas in Your Own Life "Yeah, it's so true. And this film really reminded me of that. And I found myself being really filled with gratitude for all the little things that sometimes you can take for granted. And yeah, I think honestly, it was just such an existential experience watching the film when it was all finished. I came away from it crying, but they were happy tears. And I just think that's so rare that film does that to its audience." On the Film's Tonal Balance — Proving Heartfelt and Sweet, But Also Clear-Eyed About the Truth That Life Is Fragile and We're All Only Here for a Short Amount of Time "I think you just have to trust Mike. He has it. And all I really tend to do is just try to approach each scene from the most-truthful place possible — and ask myself the question 'how would I genuinely feel if this was happening?'. And then what I do is I think of a time when I genuinely felt that emotion, and try to access it so that I don't really have to act — if that makes any sense — because I'm generally feeling something. And that's all I'm focused on. I'm not necessarily like 'how does this fit into the bigger picture?'. I think that, for me, is the director's job, and I'm just there to bring some authenticity and to genuinely feel things." On Starring in a Stephen King Adaptation When The Shining Is One of Your Favourite Films "I know — a non-horror one, which feels even more rare and unique. It was just mindbending. I'm like 'what? I'm in a Stephen King thing?'. That just seems like, to me, as big as it gets. And actually he loved the film, which was so cool — because I know that he wasn't a fan of The Shining, and he loved The Life of Chuck. And I got to meet him, and he came and supported the film, and came to the premiere at the Toronto Film Festival — and I met him and I was pregnant, and he told me to have a good one, and I'm never going to forget that." On the History Among the Cast and Crew of The Life of Chuck — and Not Just Gillan and Mike Flanagan's History Together "So I had such a good time on Oculus. Really, that's one of the best experiences I've ever had on a film. And then I found myself really wanting to have that experience again. Because I visited set, I visited Mike when he was filming The Haunting of Hill House, the series. And I was looking around and I saw all the same crew members as Oculus, and I was like 'I want to do this again'. And I was like 'put me in something'. And then he did. And it's The Life of Chuck. And it was just so great to reteam with him and see how he's evolved, and actually how he's exactly the same — which is mainly how I experienced it. He hasn't changed that much, even though his career has gone into the stratosphere. He's still the same old Mike. But he has evolved in ways as a filmmaker, and that's really cool to see. I just loved it. I had the best time." On the Ease That Comes with Repeat Director Collaborations "Definitely. It's just like any person that works with a new colleague or one that they've got a shorthand with. It's exactly that. You sort of have to feel each other, figure out each other's rhythms a little bit, get on the same frequency — and it's just so nice when you don't have to do that introductory period every single time. You can just dive back in. Some of the directors I've worked with have very distinctive ways of working, and sometimes you have to recalibrate and be like 'okay, so this director likes to give notes over a giant megaphone thing. This one is going to want me to improvise. This one's going to want me to stick to the script'. And so it's nice to just know what you're getting into again. And also they know how you work and can get the best out of you — because the best directors, in my opinion, are different directors to each actor, because each person needs something slightly different. And so it's nice when they really understand how I work as an actor." On the Impact That Working with Flanagan the First Time on Oculus Had on Gillan's Career "It really did bring me over to the States. It literally got me a visa to be able to stay in the States, which meant I was available for auditions and that's how I managed to have a career over in the States. So it just kickstarted everything for me. And it was a massive challenge for me as an actor to lead a film. I was young at the time and it was quite a demanding role. And so that made me have to level up and up my game. And so for my development as an actor, it really helped me get a lot better." [caption id="attachment_888782" align="alignnone" width="1920"] Marvel Studios. © 2022 MARVEL.[/caption] On Being Able to Swing Between Big Franchises Such as Guardians of the Galaxy and the Marvel Cinematic Universe, Plus the Jumanji Films, and More-Intimate Projects "That just feels like such a treat as an actress. I'm like 'that's so great to not be completely pigeonholed, and to get to do projects of all different sizes and genres'. I mean, that's my dream. I would hate to be bound by typecasting or anything like that. [caption id="attachment_756013" align="alignnone" width="1920"] Jumanji: The Next Level[/caption] I think I'm just looking for great characters and great stories, and it truly doesn't matter if it's a $200-million film or $200,000 film. It's like 'I don't care'. It's about making good cinema at the end of the day, and I just feel really lucky that I've had a variety of experiences." On If You Tap Into Something in Particular to Bring The Life of Chuck's Feeling of Quiet Urgency — That Life Needs to Be Lived Urgently to Be Lived Fully — to the Screen "I would say so. I was definitely asking myself questions about how I'm living my life. And I started to have these visuals — like, 'imagine if I just had an hourglass with the sand falling through it for my whole life, what level of the sand would it be at?'. And it's something so wild to think that it's constantly dwindling away. And you kind of forget that as you go about your day to day, and you think 'oh, that's not going to happen to me' and 'that's never coming' — but it is. None of us are getting out of this. And so, yeah, I think it's first of all really important to remember from time to time in your life. And I really had to think about that in terms of the character and what she would do in the moments where she knew that those were her last. Who does she want to reach out to? And I think what I learned is so much of the stuff that we focus on in our lives would just fall away in those final moments. Like, we think we focus on accolades, achievements, money — and none of that matters at the end of it all. What matters is being around the people that you love and love you. And that's definitely what I've found in the character." The Life of Chuck opened in Australia cinemas on Thursday, August 14, 2025 and in New Zealand cinemas from Thursday, July 31, 2025.
Harrison Ford fans, rejoice: first came the legendary actor's debut regular small-screen role in western drama 1923 late in 2022, then arrived his second such part in comedy Shrinking, and 2023 will also deliver his fifth big-screen stint as Indiana Jones, too. But when Indiana Jones and the Dial of Destiny arrives midyear, complete with Ford donning the famous hat once more, his new co-star will prove just as exciting: Fleabag favourite Phoebe Waller-Bridge. Hitting cinemas in late June 2023, Indiana Jones and the Dial of Destiny heads back to the 60s, and uses the Space Race between the US and the Soviet Union as a backdrop. And, as both the movie's initial trailer back in 2022 and its just-dropped new sneak peek during the Super Bowl both show, he has his goddaughter in tow — with Waller-Bridge's Helena even dropping in to rescue the hero archaeologist in the latest clip. Wondering what else is in store? As well as Ford, Dr Henry Walton 'Indiana' Jones Jr's famous headwear and that whip — two different looks at Ford, actually, including Indy in the film's present day and Indy in the past, with the movie using digital de-aging technology — there are Nazis to battle and the famous John Williams-composed theme soundtracking the action as well. The archaeologist's latest outing does bring in a few changes to the series, however. Firstly, Steven Spielberg isn't in the director's chair for the first time ever, handing over the reins to Logan and Ford v Ferrari's James Mangold. And, George Lucas doesn't have a part in the script, either with Mangold co-scripting with Ford v Ferrari's Jez Butterworth and John-Henry Butterworth. Cast-wise, expect the return of John Rhys-Davies as Sallah, too, plus Antonio Banderas (Official Competition), Mads Mikkelsen (Fantastic Beasts: The Secrets of Dumbledore), Thomas Kretschmann (Das Boot), Toby Jones (The English), Boyd Holbrook (The Sandman) joining the on-screen talent alongside Shaunette Renee Wilson (Black Panther), Oliver Richters (The King's Man) and Ethann Isidore (Mortel). When it crusades across the big screen from June, Indiana Jones and the Dial of Destiny will arrive a whopping 42 years after Raiders of the Lost Ark, 39 since Indiana Jones and the Temple of Doom and 34 since Indiana Jones and the Last Crusade (and 15 years after Indiana Jones and the Crystal Skull). And yes, if it's a big blockbuster franchise, it stars Harrison Ford, and it debuted in the 70s or 80s, then it's always coming back to the screen — as Star Wars: Episode VII — The Force Awakens and its sequels have, as well as Blade Runner 2049. Check out the latest teaser for Indiana Jones and the Dial of Destiny below: Indiana Jones and the Dial of Destiny releases in cinemas Down Under on June 29, 2023. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.
Almost three decades ago, Spiderbait made Australian music history when they won Triple J's 1996 Hottest 100 with 'Buy Me a Pony'. They were the first local act to top the countdown. Now, that catchy track has a chance to again notch up a huge feat: taking out Triple J's new Hottest 100 of Australian Songs. Aussie tunes have emerged victorious in the station's annual countdown plenty of times since, of course. So, it isn't just 'Buy Me a Pony' that's in the running to be a two-time winner. That feat mightn't be achieved at all anyway — because there's no shortage of excellent Australian tracks that haven't topped a Hottest 100 before but might just come out in the number-one spot in the Aussie-only poll. Whichever song that you're certain should be named Australia's best, voting is open as at 8am AEST on Tuesday, June 17. You've got a month to pick your favourites — until 5pm AEST on Thursday, July 17, 2025. The results will then be broadcast from 10am AEST on Saturday, July 26, 2025 on not only Triple J, but also Double J, Triple J Unearthed and its dedicated Triple J Hottest station. Although no one needs a reason to celebrate Aussie music, Triple J has one: 2025 marks its 50th birthday. That fact ties into one big caveat when you're voting, you do need to choose a track that was released before the station hit that milestone on Sunday, January 19, 2025. [caption id="attachment_854346" align="alignnone" width="1920"] M Drummond[/caption] The Triple J and Double J voices that'll be counting down your picks include Ash McGregor, Dave Woodhead, Dylan Lewis, Yumi Stynes, Abby Butler, Tyrone Pynor, Concetta Caristo, Luka Muller, Zan Rowe and Lucy Smith. And if you're curious about which other tunes, aside from 'Buy Me a Pony', could score the double win, 'No Aphrodisiac' by The Whitlams, 'These Days' and 'My Happiness' from Powderfinger, 'Amazing' by Alex Lloyd, 'Are You Gonna Be My Girl?' from Jet, 'Wish You Well' by Bernard Fanning, 'One Crowded Hour' from Augie March, and 'Big Jet Plane' by Angus and Julia Stone are also in the running, for starters. Gotye's 'Somebody That I Used to Know', Vance Joy's 'Riptide', Chet Faker's 'Talk Is Cheap', The Rubens' 'Hoops', Flume's 'Never Be Like You' and 'Say Nothing', Ocean Alley's 'Confidence' and The Wiggles' 'Elephant' have also all topped the yearly poll before. Tame Impala's 'The Less I Know the Better' won the 2010s-centric countdown, while DMA's 'Believe' did the same for the Like a Version poll. Triple J's Hottest 100 of Australian Songs will broadcast from 10am AEST on Saturday, July 26, 2025 — with voting open between 8am AEST on Tuesday, June 17–5pm AEST on Thursday, July 17, 2025. Head to the Triple J website for further details. Top image: Ocean Alley, Neegzistuoja via Wikimedia Commons.
Seeing movies get the TV treatment isn't a new trend. From Buffy the Vampire Slayer and What We Do in the Shadows to Fargo, plus everything from Irma Vep and Dead Ringers to A League of Their Own and Interview with the Vampire as well, there's no shortage of examples (and that's before getting into Marvel's and Star Wars' shows). But when Baz Luhrmann's Australia hits the small screen, it'll be doing a few things differently. Firstly, it has a new name. Secondly, it's been fashioned out of originally shot footage back when the flick was made — so it's turning the film into television quite literally. That series: Faraway Downs, a six-parter that was first announced in 2022, is closing the first-ever SXSW Sydney Screen Festival and is destined for Disney+ Down Under from Sunday, November 26. Wondering how that might turn out, even if you've seen Australia? There's now a Faraway Downs trailer. For 15 years, Australia has inspired a particular train of thought when it comes to Luhrmann's movies: they can't all be good ones, even if almost all of them are. Australia is the one outlier on his resume — the one film that doesn't live up to the spectacular Strictly Ballroom, Romeo + Juliet, Moulin Rouge!, The Great Gatsby and Elvis — so that's where the tinkering and reimagining as Faraway Downs comes in. "I was inspired to re-approach my film Australia to create Faraway Downs because of the way episodic storytelling has been reinvigorated by the streaming world," said Luhrmann. "With over two-million feet of film from the original piece, my team and I were able to revisit anew the central themes of the work." Combining two of the nation's biggest actors with one of its biggest filmmakers, Faraway Downs still stars Nicole Kidman and Hugh Jackman, of course. If you need a refresher on Australia's plot — and therefore the new episodic version's plot, too — it follows English aristocrat Lady Sarah Ashley (Kidman, The Northman) after she comes into possession of an Aussie cattle ranch. To save it from cattle barons, she enlists the help of a drover (Jackman, The Son). That's just the overall gist, however, given that the sprawling movie also spans World War II and its impact, as well as the country's historical treatment of Indigenous Australians. Fittingly given the OG name — and as usually proves the case with Luhrmann's flicks — the cast includes a who's who of homegrown talent. As well as Kidman and Jackman, plus Brandon Walters (Mystery Road) as Nullah, everyone from Essie Davis (Nitram) and Bryan Brown (Hungry Ghosts) to Ben Mendelsohn (Secret Invasion), Jack Thompson (High Ground) and David Wenham (Elvis) features, as does the now-late David Gulpilil (Storm Boy) and Bill Hunter (The Cup). Check out the trailer for Faraway Downs below: Faraway Downs streams in Australia and New Zealand via Disney+ from Sunday, November 26 — after closing the 2023 SXSW Sydney Screen Festival on Saturday, October 21.
Each year, at the turn of winter to spring, Hindus celebrate Holi, a festival exalting colour that leaves participants saturated in bright hues. Holi serves as the inspiration behind the Color Run, a unique 5k race touring 18 United States cities. Runners are invited to join the "3.1 miles of color madness" that comprise the untimed Color Run purely for the sake of a good time. The only race requirements are that all participants wear a white t-shirt and be willing to be greeted with a blast of coloured pigment upon completing every leg of the race. The pigment, made of 100% natural food-grade cornstarch, is colour-specific for each portion of the race. After the first kilometre, runners are splattered with yellow; after the second, they are doused in blue. And so it continues until the end of the 5 kilometres, when each runner is covered head-to-toe in a brilliant mish-mash of every hue imaginable. https://youtube.com/watch?v=ZWsfHC-0d6A [Via PSFK]
Lives of extravagant luxury. Globe-hopping getaways. Whiling away cocktail-soaked days in gorgeous beachy locales. Throw in the level of wealth and comfort needed to make those three things an easy, breezy everyday reality, and the world's sweetest dreams are supposedly made of this. On TV since 2021, HBO's hit dramedy The White Lotus has been, too. Indeed, in its Emmy-winning first season, the series was a phenomenon of a biting satire, scorching the one percent, colonialism and class divides in a twisty, astute, savage and hilarious fashion. It struck such a chord, in fact, that what was meant to be a one-and-done limited season was renewed for a second go-around, sparking an anthology. That Sicily-set second effort arrives Down Under on Monday, October 31, airing week to week — via Binge in Australia and Neon in New Zealand — and the several suitcase loads of scathing chaos it brings with it are well worth unpacking again. Sex, status, staring head-on at mortality and accepting the unshakeable fact that life is short for everyone but truly sweet for oh-so-few, regardless of bank balance: they're The White Lotus season two's concerns. All three played key parts in season one as well, but this sunnily shot seven-episode second run emphatically stresses that the bliss money is meant to bring is truly a mirage, as is the carefree air of a vacation. Accordingly, another group of well-off holidaymakers slip into another splashy, flashy White Lotus property — this time in Taormina in Italy, sat atop jagged cliffs and beneath the looming Mount Etna — and work through their jumbled existences over drinks by the pool, dinners at the bar, hefty room-service bills and sightseeing trips around town. Another death lingers over their trip, with The White Lotus again starting with an unnamed body — bodies, actually — then jumping back seven days to tell its tale from the beginning. Running the Sicilian outpost of the high-end resort chain, White Lotus manager Valentina (Sabrina Impacciatore, Across the River and Into the Trees) is barely surprised by the corpse that kicks off season two. Non-plussed about the hotel's demanding guests, her staff and men in particular, she's barely surprised at much beforehand, either. Initially, viewers will share her lack of astonishment, with writer/director/creator Mike White (Brad's Status) setting up this return visit with similar elements as season one. New location, new hotel employees, a mostly new cohort of travellers, same malaise and mayhem: that's The White Lotus' second season at the outset and on the surface. As it proved the first time around with such potency, however, this series is exceptional at letting the supposedly straightforward and idyllic blister like a sunbather catching some rays — and at peeling away layer upon layer of ostensible ecstasy in a seeming utopia. Now married to Greg (Jon Gries, Dream Corp LLC), who she met in Hawaii in season one, Tanya McQuoid-Hunt (Jennifer Coolidge, The Watcher) is among the resort's fresh arrivals — and, with her husband, the show's familiar faces. Everyone else around Sicily skips through the series for the first time, some with a heartier spring in their step than others. Tanya's assistant Portia (Haley Lu Richardson, After Yang) is hardly thrilled when she's dispatched to her room, for instance, after Greg gets furious that she's on their vacation with them. She wants this jaunt away to be an experience after spending years alone in her room doomscrolling through the pandemic, but her boss just wants an emotional lap dog. Actually, Portia wants her trip to become a lusty Italian sex comedy, which White gleefully plays up across his slate of season-two characters; when in the country, clearly. Also having a conflicted time are three generations of Di Grasso men: Bert (F Murray Abraham, Guillermo del Toro's Cabinet of Curiosities), who wants to visit his mother's village and flirts with every woman he sees; Dominic (Michael Imperioli, The Many Saints of Newark), a Hollywood hotshot navigating a marital breakdown due to his philandering; and the Stanford-educated Albie (Adam DiMarco, The Order), who's determined for his relationships with women to be everything his grandad's and dad's aren't. And, there's another far-from-content group in the Spillers and the Babcocks, with tech whiz Ethan (Will Sharpe, Defending the Guilty) and his employment-lawyer spouse Harper (Aubrey Plaza, Best Sellers) newly flush with cash after the former sold his company, but begrudgingly accepting a getaway invite from his finance-bro college roommate Cameron (Theo James, The Time Traveller's Wife) and his stay-at-home wife Daphne (Meghann Fahy, The Bold Type). In the superbly written first five episodes of season two, White examines an array of familiar and relatable dynamics among Sicily's tourists, spanning new and long-standing couples, bosses and employees, and fathers and sons. When Portia and Albie cross paths early, it adds strangers potentially tumbling into a vacation romance to the itinerary a well. Delightfully, devilishly detailed characters are one of this show's strengths again, though, as aided by pitch-perfect performances all-round — especially from Coolidge once more, the endlessly cynical and expressive Plaza, and the tumultuous-and-loving-it Abraham. Another of The White Lotus' key drawcards, as paralleled in the new opening credits which play with Renaissance-style paintings: exposing how much emptiness, unhappiness and uncertainty sits behind such privileged lives, even in picturesque surroundings where opulence and relaxation are touted as the only aims. Eating the rich — and why they're eating themselves — is one of film and TV's favourite topics of late, whether Succession is spinning it into a similarly stellar satire across streaming queues, or Parasite and then Triangle of Sadness are winning the Cannes Film Festival's Palme d'Or. The White Lotus has always found extra bite in surveying the high-end holiday industry that relies upon well-to-do tourism, catering to such guests' every whim no matter how demanding or outlandish, too, by contrasting the vast difference between such vacationers and the staff at their beck and call, and acknowledging that true euphoria is never the end result. In season two, the remit broadens to Sicily locals who don't work at the titular resort — not officially, anyway. Sex worker Lucia (Simona Tabasco, The Ties) and aspiring singer Mia (Beatrice Grannò, Security) hang around the hotel to meet and chase both clients and dreams, and to covet the excess around them. All that glitters isn't gold for them, either. All similarly isn't quite what it seems for Palermo-dwelling Brit Quentin (Tom Hollander, The King's Man), who decamped to Sicily decades back and, with his nephew Jack (Leo Woodall, Cherry), rounds out season two's key character list. Through them, The White Lotus' widened scope also encompasses the expat community, as well as the reality behind turning a holiday into your daily life. There's new shades to the show this time around, but its overall insights aren't surprising, of course. Still, White keeps pushing further, cutting both sharply and deep as he takes down and tears apart the fallacy of wealth and lavishness. What's always made The White Lotus so delicious — and such a potent, perceptive, snaky and amusing must-see — isn't just its moneyed misery and messiness, after all, but smartly stripping bare the idea that stacks of cash and scenic settings can buy perfection and satisfaction, even fleetingly, for anyone. Check out the trailer for The White Lotus season two below: The second season of The White Lotus starts streaming Down Under from Monday, October 31 via Binge in Australia and Neon in New Zealand. Read our review of season one. Images: HBO.
If you've always had a fondness for the creepy, kooky, mysterious and spooky, the idea of spending an evening stepping into anything Addams Family-related probably sounds like a dream. Whether you first discovered pop culture's eeriest family via the 90s films, through old episodes of the 60s TV show, in various animated guises over the years — including on the big screen — or thanks to Netflix's Wednesday, that fantasy can now become an IRL reality if you score admission to Wednesday Island. When the streaming platform dropped the full trailer for Wednesday's second season on Thursday, July 10, 2025 Down Under (it was still Wednesday in the US, fittingly), it announced that it was creating a Wednesday experience in Australia. So, on Saturday, August 16, the platform is transforming Cockatoo Island / Wareamah in Sydney Harbour into a fan festival-hosting haven to the show. Now, just a day later, applications are now open to attend — and to be part of a setup that'll make you feel like you're at Nevermore Academy, complete with other activations, performances and more The details remain vague even now that the timer on the pop-up's website has ended its countdown — it was whiling away the seconds until 12am on Friday, July 11, 2025 — but Cockatoo Island will celebrate all things Wednesday for a macabre winter evening. You need to be over 16 to head along. You'll also have to dress the part, too, so you'd best dust off your black-hued and gothic-looking outfits. At present, applications are open for VIP double passes until Sunday, July 20, 2025. Thirty competition winners will score attendance, a merchandise pack, access to an exclusive viewing area, food and drink vouchers to use while they're there, and transport to and from Wednesday Island — via boat from Sydney, and also return economy flights to the Harbour City, and/or one night's accomodation, if you're located outside of metropolitan Sydney. You'll also be able to head along to a pre-festival event. To enter for VIP tickets, you're asked to record a video of up to 30 seconds showing why you need to be hitting up Wednesday Island — and why, like Wednesday, you're an outcast. After that, Wednesday fans will be able to go in the running for general admission tickets between Wednesday, July 23–Sunday, August 3, 2025. What that entails hasn't yet been revealed, but boat transport to and from the island, plus one food and one beverage token, will be included if you're selected. Netflix is also bringing the Wednesday cast to Australia as part of a worldwide promotional tour, but how that will factor into Wednesday Island also hasn't been announced as yet. As for watching the Jenna Ortega (Death of a Unicorn)-led and Tim Burton (Beetlejuice Beetlejuice)-executive produced series when it returns for its second season, you'll be doing that in two batches. Part one arrives on Wednesday, August 6, then part two on Wednesday, September 3. Check out the full trailer for Wednesday season two below: Wednesday Island is taking over Cockatoo Island in Sydney on Saturday, August 16. Head to the pop-up's website to apply for VIP double passes until Sunday, July 20, 2025, or to go in the running for general admission between Wednesday, July 23–Sunday, August 3, 2025 — or just for further information. Wednesday season two arrives in two parts, with part one dropping on Wednesday, August 6, 2025 and part two on Wednesday, September 3, 2025, both via Netflix. Read our full review of Wednesday season one. Images: Bernard Walsh, Helen Sloan and Jonathan Hession/Netflix © 2025.
UPDATE, January 25, 2022: The Nightingale is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. With The Nightingale, Jennifer Kent proves that she has a niche, although it's not what fans of The Babadook will initially expect. Following an Irish convict and an Indigenous tracker as they trek across colonial-era Tasmania on a quest for vengeance, the writer-director's sophomore film couldn't seem further removed from the pop-up book spooks of her first movie — and yet the two couldn't make a better pair. Once more, Kent has crafted a work filled with immense horrors. The details have changed drastically, as has her style, however the unnerving effect remains the same. Carving a firm cinematic groove across just two releases, the Australian filmmaker has established herself as an artist unafraid to look pain, suffering and terror in the eye, and just as unwilling to let her audience avert their gaze. There's nothing more harrowing to watch than someone in the throes of torment, anguish and sorrow, a fact that we all innately know in our hearts and souls. As long as narrative cinema has existed, it has reminded viewers of this, a tradition that Kent carries on masterfully. Her films unsettle and disturb with a purpose. It's unpleasant to see The Babadook's single mother fray in front of our eyes as a boogeyman leaps into her and her young son's life, and it's downright tough to realise that she has been disintegrating through grief and sole parenting responsibilities long before her new nemesis arrived. But staring at this difficult reality and grappling with its full force is the entire point. Applying the same principle, it's wholeheartedly, nerve-rattlingly distressing to witness the plight of The Nightingale's Clare (Aisling Franciosi) as she's subjected to a torrent of vicious treatment that begins with rape and only worsens. But, without truly beholding her agony, how else can we feel it — and the centuries of oppression, subjugation and cruelty across Australian history that it taps into — deep in our bones? Banished to Australia as a teenager, Clare's sentence should be reaching its end when The Nightingale opens. The now-21-year-old has been incarcerated for seven years, including as an indentured servant, but abusive British Lieutenant Hawkins (Sam Claflin) won't grant her freedom. Instead of letting Clare start anew with her husband and baby, Hawkins keeps her as a maid, source of entertainment, and someone to thrust his will upon whenever he's drunk and in the mood. And, when she refuses to comply meekly, he imposes his might in the most atrocious fashion. Stripped of everything that she holds dear, Clare commits to tracking Hawkins across Van Diemen's Land to get revenge, enlisting the reluctant Billy (Baykali Ganambarr) as her guide through the inhospitable wilderness. From Clare's horrific treatment by Hawkins and his cronies (Damon Herriman and Harry Greenwood), to the despairing sights she sees on her journey with Billy, Kent delves into Clare's trauma in excruciating detail. You could call her bold for glaring straight in the face of continued violence. Indeed, she is. But she's also doing exactly what the story and subject matter call for. Treading through Australia's complicated past can never be a jaunty walk. Coming to terms with how our nation has cast aside the country's original inhabitants, how the world at large regards women, and how such racially and gender-motivated ghastliness still echoes today should never be easy. Rather, it must feel relentless and merciless, because that's what being subjected to such awfulness feels like. As well as employing an Aboriginal consultant during the film's production, Kent and Franciosi also investigated the real-life impact of post-traumatic stress disorder on abused and attacked women, and it shows. As a result, The Nightingale takes its task literally. Using the academy aspect ratio to confine the movie's imagery to a 4:3 box, it puts desolate, decimated faces front and centre. The film doesn't provide any space to turn away, even as its characters endure the near-unimaginable. When Clare and Billy traverse terrain that's as gnarled and thorny as their inner turmoil, it doesn't gaze slowly at the landscape either. At every turn, Kent finds the most effective way to splash her protagonists' pain across the screen, with the expert assistance of her returning cinematographer Radek Ladczuk. In their hands, The Nightingale proves not only an emotional onslaught, but a technical showcase, as the astonishingly precise and effective staging, blocking and framing of its most challenging moments demonstrates again and again. As powerful as it is brutal, The Nightingale never overlooks one crucial thing: that its savagery is waged on flesh and blood. When the movie peers intently and empathetically at Clare and Billy, it sees them as people, never victims. It catalogues their suffering without ever sweeping away their flaws, robbing them of their idiosyncrasies, or stripping their ability to grow, adapt, display their resilience and even scratch out a sliver of hope. That's a complex juggling act, but one that Kent perfects. Taking her lead, so do her exceptional actors. Balancing rage and determination, Franciosi's performance reaches haunting levels, ranking among the best of this and most other years. An Indigenous dancer turned first-time actor, Ganambarr imparts as much soul and depth as his co-star, a feat that's perhaps more remarkable given the more limited scope he's tasked with working within. Claflin, too, deserves ample recognition — he's playing the villain, but his is never a straightforward role. You could make a comparable comment about The Nightingale as well. This is an overt film from start to finish, and yet it's never simplistic — and that commonality with its characters is obviously by design. Diving into the depths of darkness may seem clear-cut, but it never is, which this searing, stunning excavation of Australia's past horrors never dares forget. https://www.youtube.com/watch?v=nfPxmnMAyZw
If your favourite Nutella recipe is to take a household tablespoon and dig straight in, then we don't blame you. The delicious hazelnut spread makes eating chocolate for breakfast an entirely acceptable concept. In fact, Nutella is so fondly-held across the globe that it's prompted its own dedicated festival, a toaster-shaped food truck and an honourary burger from the golden arches. Melbourne's obsession with the stuff even caused a country-wide shortage a few years ago. Nutella lovers now have 185 new ways to enjoy the spread as the brand launches its very own recipe book. The hardback, titled 'Delicious Creations with Nutella', showcases a selection of recipes for every occasion, covering everyday breakfast and afternoon options to celebratory moments like Christmas and Valentine's Day. The recipes inside were inspired by the creations of Aussie and Kiwi home cooks who have been making and sharing their ideas over the past 12 months. Within the book's 185 pages you can find simple no-frills recipes slathering the chocolatey spread on white bread through to more elaborate creations like three-layer cheesecakes, mille-feuille with chantilly mousse and choux pastries. So how do you get your hands on one? Just 2000 copies of 'Delicious Creations with Nutella' are up for grabs between Australian and New Zealand. Until June 28, those who buy a specially-marked jar of Nutella and then enter online will be in the running to score their own copy. Nutella is also bringing the recipes to life in a series of cooking classes around Australia. Cooking schools hosting classes in May and June include Sydney's VIVE Cooking School, Brisbane's Lumiere, Perth's The Little Italian School and Adelaide Chocolate School. For more information about 'Delicious Creations with Nutella' and the brand's series of cooking classes, visit, nutella.com.
After spooking participants in Federation Square last November, then in Sydney in December, the unnerving Séance installation is returning to Melbourne. The big, white container — with dark curtains and black letters splashed across its side — is popping up at the Queen Victoria Market this July. If you're not familiar with the installation, and didn't have the chance to visit last year, a word of warning: its aim is to mess with your senses. Participants take a seat inside the tiny space, put on a headset and are told to place both hands on the table. The lights go out leaving the container in absolute darkness and, for 15 uneasy minutes, participants are taken on an immersive journey led only by touch and sounds. Expect to feel confused, repulsed and struck with temporary claustrophobia. According to organisers, numerous participants bailed halfway through sittings during the recent Melbourne sessions. You're probably thinking that there's something dark or supernatural about the whole thing — and going by the name, we don't blame you. But the installation's organiser assures us that 'séance' is simply a French word meaning 'session' or 'sitting'. Did we mention that the velvet seats date back to 1913 and were pulled from an abandoned theatre? And so Séance is a sensory experience that looks at the psychology of both sensory deprivation and the dynamics of a group sitting together. It's a scary indicator of how easy it is for confusion, disorientation and information overload to affect our judgment. Artists David Rosenberg and Glen Neath of Darkfield (who have collaborated in other sensory deprivation projects before) are the creative masterminds behind the project, which has been described as 'disorienting' and 'deeply unsettling'. We're serious when we say it's not recommended for the claustrophobic, the easily frightened or those afraid of the dark. Séance is open at Queen Victoria Market on Wednesday July 11, 18 and 25 (as part of the Winter Night Market) and Saturday July 14, 21 and 28. Tickets cost $20 each and you can purchase them through the website.
Each year for 17 years now, Australian beer lovers have voted on their top craft brews. Only twice has the same tipple won not just for two years in a row, but in three consecutive polls. The first to manage the feat was Feral Brewing Co's Hop Hog from 2012–14. Now, Mountain Culture's Status Quo Pale Ale has also notched up the same achievement, winning from 2022–24. Emerging victorious in the GABS Hottest 100 Aussie Craft Beers poll for 2024, this Mountain Culture sip just keeps living up to its name, clearly. The brew from the New South Wales outfit in the Blue Mountains was anointed 2022's top drop and dubbed 2023's best tipple as well. So, yes, there is indeed a status quo among Australian beer drinkers of late — and it keeps being maintained. This yeasty poll does for beer what Triple J's huge annual music countdown for bangers — and while there's only been two threepeats in the GABS list's history so far, it sure does love repeat winners. In both 2020 and 2021, Canberra's Bentspoke Brewing Co did the honours with its Crankshaft American IPA. In 2022 and 2023, that brew came in third instead, then picked up fourth place in 2024. In second spot this time: Coopers Brewery's Original Pale Ale, taking over from 2017 and 2018 winner Balter Brewing Company, with its Balter XPA notching up third place — slipping down from second in 2022 and 2023. Gage Roads Brewing Co's Single Fin Summer Ale took out fifth spot, followed by Range Brewing's Disco in sixth, Your Mates Brewing Co's Larry in seventh place, Philter Brewing's XPA in eighth, 4 Pines Brewing Company's Japanese Lager in ninth and One Drop Brewing Co's We Jammin' to round out the top ten. Mountain Culture, which is run by husband-and-wife team DJ and Harriet McCready — and has boasted Australian cricketer Pat Cummins as its first investor since November 2024 — also placed 31st with its Cult IPA, 60th with its Be Kind Rewind NEIPA and 87th with its Scenic Route brew. And yes, it had more than a little company. 2024's hottest 100 was whittled down from almost 400 vote-receiving breweries, with 70 different outfits making the list. State by state, Mountain Culture was the best New South Wales brewery, of course, while Coopers was South Australia's top spot, Balter is the highest-ranked Queensland name and Bentspoke flies the flag for the Australian Capital Territory. Bridge Road is Victoria's top representative, while Gage Road and Fox Friday earn that label for Western Australia and Tasmania, respectively. Held by GABS — or the annual festival also known as the Great Australian Beer SpecTAPular, which returns for 2025 this autumn — the countdown is a people's-choice poll decided by booze lovers around the country. If you're thinking "less background, more beer", here's what you've been waiting for: the rundown of the best beverages from the past year that just keep tempting tastebuds. Working your way through the whole 100 isn't just a great way to show your appreciation for locally made brews, either — consider it research for the 2025 countdown. GABS Hottest 100 Aussie Craft Beers of 2024 1. Mountain Culture Beer Co Status Quo 2. Coopers Brewery Original Pale Ale 3. Balter Brewing XPA 4. BentSpoke Brewing Co Crankshaft 5. Gage Roads Brewing Co Single Fin Summer Ale 6. Range Brewing Disco 7. Your Mates Brewing Co Larry 8. Philter Brewing XPA 9. 4 Pines Brewing Company Japanese Lager 10. One Drop Brewing Co We Jammin' 11. Bridge Road Brewers Beechworth Pale Ale 12. Young Henrys Newtowner 13. Stone & Wood Brewing Co Pacific Ale 14. Blackflag Brewing Rage Juicy Pale Ale 15. Pirate Life Brewing South Coast Pale Ale 16. Rocky Ridge Brewing Co Jindong Juicy 17. Capital Brewing Co Coast Ale 18. Bright Brewery Alpine Lager 19. Seeker Brewing Mystic NEIPA 20. Hawkers Beer West Coast IPA 21. Akasha Brewing Co Freshwater Pale Ale 22. Beerfarm Royal Haze 23. The Grifter Brewing Co Pale 24. Burleigh Brewing Co Burleigh Bighead 25. Black Hops Brewing G.O.A.T. 26. Hop Nation Brewing Co J-Juice 27. Blackman's Brewery Juicy Banger IPL 28. KAIJU! Beer KRUSH! Tropical Pale Ale 29. Reckless Brewing Co BX Lager 30. Fox Friday Craft Brewery Hazy IPA 31. Mountain Culture Beer Co Cult IPA 32. Little Creatures Pale Ale 33. Balter Brewing Eazy Hazy 34. Coopers Brewery Sparkling Ale 35. Mountain Goat Beer GOAT Very Enjoyable Beer 36. 10 Toes Brewery Pipeline 37. Better Beer Zero Carb 38. Hiker Brewing Co Horizon 39. Bodriggy Brewing Company Speccy Juice 40. Little Bang Brewing Co Sun Bear 41. Helios Brewing Co Dionysus Oat Cream DIPA 42. Range Brewing Lights + Music 43. CBCo Brewing CBCo Pale Ale 44. Banks Brewing Cake Eater 45. Moon Dog Craft Brewery Old Mate 46. Shout Brewing Co Mullet Pale Ale 47. Capital Brewing Co Capital XPA 48. Bad Shepherd Brewing Co Peanut Butter Porter 49. BentSpoke Brewing Co Barley Griffin 50. Matso's Mango Beer 51. James Squire One Fifty Lashes 52. Heaps Normal Quiet XPA 53. Margaret River Beer Co In The Pines 54. Moffat Beach Brewing Co Passenger Pale Ale 55. Heads of Noosa Brewing Co Japanese Style Lager 56. Green Beacon Brewing Co Wayfarer Tropical Pale Ale 57. Feral Brewing Co Biggie Juice 58. Wolf of the Willows Brewing Wolf PUP Hazy Pale Ale 59. Hawke's Brewing Hawke's Patio Pale 60. Mountain Culture Beer Co Be Kind Rewind 61. Lightning Minds Pale Ale 62. Balter Brewing Hazy IPA 63. Bridge Road Brewers Bling IPA 64. Sunday Road Brewing Cryotherapy 65. Brewmanity Mouth of Melbourne 66. Big Shed Brewing Concern Boozy Fruit 67. Coopers Brewery Australian Lager 68. Balter Brewing Cerveza 69. Capital Brewing Co Hang Loose Juice Hazy IPA 70. Coopers Brewery XPA 71. 4 Pines Brewing Company Pacific Ale 72. Black Hops Brewing East Coast Haze 73. Stomping Ground Brewing Co Gipps St Pale Ale 74. Byron Bay Brewery Premium Lager 75. Range Brewing Dreams 76. The Grifter Brewing Co Serpents Kiss 77. Wayward Brewing Co Hazy Mid 78. Curly Lewis Brewing Co Bondi Hazy Ale 79. Yulli's Brews Amanda Mandarin IPA 80. Hop Nation Brewing Co Rattenhund 81. Gage Roads Brewing Co Hazy As 82. Blackflag Brewing Affinity Tropical Pale 83. Hawke's Brewing Hawke's Lager 84. Future Magic Brewing Co Hazy Shade of Pale 85. Feral Brewing Co Hop Hog 86. Dangerous Ales Crispy Boi Lager 87. Mountain Culture Beer Co Scenic Route 88. 4 Pines Hazy Brewing Company Pale Ale 89. Gage Roads Brewing Co Side Track All Day XPA 90. Pirate Life Brewing Hazy XPA 91. Fox Friday Craft Brewery Pale Ale 92. Lord Nelson Brewery Hotel Three Sheets Pale Ale 93. BentSpoke Brewing Co Sprocket 94. Burleigh Brewing Co Twisted Palm 95. Mountain Goat Beer Tasty Pale Ale 96. Shelter Brewing Co Hazy IPA 97. White Rabbit Dark Ale 98. Jetty Road Pale Ale 99. Dainton Beer Blood Orange NEIPA 100. Bojak Brewing Calypso For more information about the GABS Hottest 100 Aussie Craft Beers of 2024, head to the GABS website.
If there's one recycling exercise that's always fun to do, it's finding a new use for an old bottle. We've seen Jack Daniels flasks transformed into soap dispensers, bottle caps turned into garden sculptures and crates of beer metamorphose into Christmas trees. If summer holiday excesses have left your place overflowing with empty receptacles that once bore much seasonal cheer, here's one simple, ingenious way to take care of them: Bottle Lights. Supplied by quirky gifts company SUCK UK, they transform any bottle into a magical lantern. Priced at just £10 ($18), LED corks are a convenient alternative to candles, which might look enchanting but don't survive the outdoors should any gust of wind come their way. Plus, a host of clever features means particularly slick operation. These include an on/off twist mechanism and rechargeability via USB. One hour's worth of charges provides two-and-half-hours of illumination. So, not only are they pretty, they're also eco-friendly. SUCK recommends brightening up a series of vintage bottles for an unusual lighting effect or selecting a favourite empty and transforming it into a central table-piece. Via Gizmodo.
Coffin Flop fans, rejoice — we don't yet know if world's wildest supremely fictional TV series will make a new appearance when I Think You Should Leave with Tim Robinson returns for season three, but something else just as absurd and wonderful will either way. Will Corncob TV earn another mention? How awkward will this Netflix sketch comedy's namesake get? Which examples of the absolute worst behaviour will it satirise? Do you need to slop up some steaks while watching? How slicked-back is your hair right now? Expect to answer all of this and more on Tuesday, May 30. Baby, baby, baby, that's when one of the best comedies currently being made will return with six new episodes, as led by Detroiters star Tim Robinson. His surreal comic stylings have already gifted viewers hot dog suits, Garfield houses, tense plane encounters and babies who know you used to be a piece shit, and he has plenty more in store as the just-dropped trailer for the third season teases. I Think You Should Leave with Tim Robinson first arrived in 2019 when, on one otherwise normal day, folks sat down on the couch, switched on their televisions, started scrolling through Netflix and came across an instant cult-hit comedy. The best sketch comedy of that year, and one of the best TV shows in general, too, the series' first season was ridiculously easily to binge — and flat-out ridiculous. You don't even need two hours to get through all six episodes but, once you're done, you'll wish that it went for at least twice as long. When season two arrived in 2021, it was just as phenomenal. OTT, hilarious, finding gags about a secret excuse to help men explain away pee stains on their pants, plus quite the loud and lurid shirt, and then a daggy hat — that's this series. Absolutely no one excavates, explores and satirises social discomfort with the gusto, commitment and left-of-centre viewpoint of Robinson, with his skits diving headfirst into excruciating situations, dwelling there and letting them fester. It's no wonder that the former Saturday Night Live comic has a hit on his hands. Just try looking away from his flexible facial expressions alone. That proves the case in the sneak peek, which is filled with multiple fake game shows, adult babies, fedoras, crying and Robinson at his silliest, and will already get you cringing as it's 100-percent designed to do. In season three, Robinson will again be joined by Will Forte (Weird: The Al Yankovic Story), plus everyone from Jason Schwartzman (I Love That for You) and Fred Armisen (Barry) to Ayo Edebiri (The Bear) and Tim Meadows (Poker Face). Sam Richardson (The Afterparty) is also back, once again giving Detroiters devotees a glorious reunion. The series also boasts some big names off-screen, with The Lonely Island (aka Brooklyn Nine-Nine's Andy Samberg and his regular comedy partners Akiva Schaffer and Jorma Taccone) its executive producers. Check out the trailer for I Think You Should Leave with Tim Robinson season three below: I Think You Should Leave with Tim Robinson's third season will be available to stream via Netflix from Tuesday, May 30. Images: Terence Patrick, Netflix.
From the minds behind Terror Twilight and Tinker comes this homage to great coffee, food and tunes. A new arrival from Kieran Spiteri and Ben Argentino, Hi Fi is a modern riff on the neighbourhood deli, delivering a winning combination of crafty sandwiches and old-school vinyl. Bread-based goodies headline the menu at the takeaway-only lunch destination, with a concise yet curated lineup starring a panko-crumbed fish burger on a steamed potato roll ($15) and a wickedly stretchy mushroom and taleggio toastie ($16). A toasted milk bun comes stuffed with folded eggs, American cheese and green pepper ($12) and sides include the likes of curly fries ($6) and slaw ($4.50). Plus, you can throw back to your childhood with one of the next-level shakes: think choc sea salt, ginger malt or salted caramel, with a shot of espresso if you're feeling a bit grown-up. Hi Fi's own contract-roasted coffee heads the list of caffeinated options, with a batch brew and cold brew offered alongside a milk blend and a single origin. As for the tunes, they speak to the owners' shared love of great music, running to an eclectic, oft-changing rotation of vinyl. As Argentino says: "Music is a big part of our hospitality group's tapestry. We're all about good tunes. Our intention was always to make Hi Fi a real muso hang out".
Great renewal news for fans of Mabel Mora (Selena Gomez, The Dead Don't Die), Oliver Putnam (Martin Short, Schmigadoon!) and Charles-Haden Savage (Steve Martin, It's Complicated) usually means bad news for the folks that the trio know on-screen. Only Murders in the Building viewers get more episodes, but that means more deaths within the hit murder-mystery comedy's narrative. That's exactly the case right now, with the series just wrapping up its Paul Rudd (Ant-Man and the Wasp: Quantumania)- and Meryl Streep (Don't Look Up)-guest starring third season, then revealing that there's more in store — with the show locked in for season four. More instalments, more killings and more amusing antics are all on the way, then, for the series that first got Gomez, Short and Martin sleuthing in 2021's season one (aka one of the best new shows of that year), then followed it up with 2022's season two (aka one of the best returning shows of that year, too) before arriving for its third go-around in 2023. Details of when the series will return, who else will pop up and the like haven't yet been announced, but expect to spend more time in Only Murders in the Building's world. The show started with three residents of the same New York apartment building crossing paths after a murder in their building — hence the title — then bonding over true-crime podcasts. Next, they did what everyone that's jumped on that bandwagon knows they would if they were ever in the same situation, starting their own audio series that's also called Only Murders in the Building. That's how season one kicked off — and continued, proving a warm, funny, smart and savvy series at every step along the way. In the show's second season, another death needed investigating. That time, it was someone the main trio were all known not to be that fond of, so suspicions kept pointing in their direction. Indeed, every season, another death has given aspiring artist Mabel, Broadway producer Oliver and actor Charles-Haden another case to dive into. In season three, that involved looking into who caused Ben Glenroy (Rudd) to shuffle off this mortal coil at the opening night of Oliver's latest show. "Is this really happening again?" asked the theatre figure in the first teaser trailer for season three. "Yes, yes it is" was the answer from Only Murders in the Building's audience then — and still now. "The trio's journey is far from over," US streaming platform Hulu, which produces the show, announced on social media. There's no sneak peek at season four as yet, but you can check out the full trailer for Only Murders in the Building season three below: Only Murders in the Building's streams Down Under via Star on Disney+. Read our full reviews of season one, season two and season three. Images: Hulu.
Jurassic Park and Jurassic World films typically have a moment — more than one, sometimes — where an ominous sound gets the franchise's characters looking upwards. The source of that noise tends to be a towering dinosaur, which also becomes everyone's next sight, the movie-watching audience included. In those seconds, folks on- and off-screen tend to share a look. Viewers of 1993's OG picture in the saga, and of 1997's The Lost World: Jurassic Park, 2001's Jurassic Park III, 2015's Jurassic World, 2018's Jurassic World: Fallen Kingdom, 2022's Jurassic World Dominion and now 2025's Jurassic World Rebirth, have all spied it. Awe, wonder, surprise, shock, amazement, reverence, a touch of fear: that's the Jurassic expression when the kind of critter that lived more than 66-million years ago looms large over modern-day humans. Audiences do indeed sport the same reaction. Jurassic World Rebirth star Rupert Friend (The Phoenician Scheme) has witnessed it. At the film's premiere, "occasionally we turned around in our seats to look at the faces watching it," he tells Concrete Playground, "and you saw a thousand people with that look on their face". If you're thinking that perhaps that is just the innate, instinctual response to dinosaurs, then, you're not alone. "So maybe it's just a natural thing when you're experiencing this stuff, to have that — somewhere between awe, wonder and terror, maybe — I would say," Friend continues. Friend's character is the entire reason that the new narrative, which is set five years post-Jurassic World Dominion, kicks into gear. In the seventh instalment in the big-screen series, and in a movie directed by Gareth Edwards (The Creator) — adding a Jurassic Park franchise film to a resume that's already seen him tackle sizeable creatures in 2010's Monsters and 2014's Godzilla, and jump into huge sagas courtesy of the latter and Rogue One: A Star Wars Story — Martin Krebs is the man with the plan. Working for pharmaceutical company ParkerGenix, he recruits ex-special forces operative Zora Bennett (Friend's The Phoenician Scheme co-star Scarlett Johansson), her seasoned associate Duncan Kincaid (Mahershala Ali, Leave the World Behind) and palaeontologist Dr Henry Loomis (Jonathan Bailey, Wicked) on a mission to collect dino DNA. The idea is to use the specimens in medical research to create new treatments. Making money is as much of a goal. Venturing to an island that's one of the last places on the planet with a climate and ecology still suitable for ancient beasts — and to a location that's forbidden to people as a result — Zora, Duncan and Henry are Jurassic World Rebirth's core trio. Fans know that the saga has enjoyed putting that dynamic front and centre since Sam Neill (The Twelve), Laura Dern (Lonely Planet) and Jeff Goldblum (Wicked) were at the heart of 1993's franchise-starter. Unsurprisingly given his employers, and befitting the series' fondness for a human villain, too, Krebs and the latest film's three leads don't always agree. Experiencing the wonders of living dinosaurs right now equally harks back to the original flick. That's where Manuel Garcia-Rulfo (The Lincoln Lawyer) comes in as Reuben Delgado, a father holidaying at sea with his daughters, 11-year-old Isabella (Audrina Miranda, Criminal Minds) and 18-year-old Teresa (Luna Blaise, Manifest), plus Teresa's boyfriend Xavier (David Iacono, Fear Street: Prom Queen). Their sailing getaway crosses paths with giant prehistoric critters of the deep, and with Zora and her crew's clandestine trip. Garcia-Rulfo partly credits Jurassic Park for him even being an actor. "The first one, the Spielberg one, it was such a big part of me. For me, films are like my second mother, my second school. I thought since I was a kid, I was a terrible student, and all I did was watch movies — and a big one was Jurassic Park. So now to be part of that, it's just very, very big for me." Also filled with affection, his Rebirth director admits that many of his features before now have all been secret attempts to make a Jurassic entry. "Well, it's just not so secret anymore, I think," Edwards advises. [caption id="attachment_1012234" align="alignnone" width="1920"] Roy Rochlin/Getty Images for Universal Pictures and Amblin Entertainment[/caption] Those throwback-style leanings to Jurassic World Rebirth's story aren't just a case of a filmmaker getting a chance to pay tribute to something that he's long loved within its own realm, and doing so entertainingly, however. After respectively directing and adapting Jurassic Park and The Lost World, Steven Spielberg (The Fabelmans) and David Koepp (Black Bag) are back among the movie's team — one as an executive producer, the other penning the script. Accordingly, Edwards is working with the two figures who initially made movie magic from Michael Crichton's novel. Koepp's script delivers him the job of not only crafting a dinosaur action-adventure, though, but also a heist film with Krebs' mission, an anti-big pharma movie there as well, a family drama with Reuben and his children, an ocean creature feature at times, and a leap into sci-fi horror territory with a Frankenstein angle thanks to its new to genetically engineered dinosaurs, such as the Mutadon and the Distortus rex. With Edwards, Garcia-Rulfo and Friend, we chatted more about what it means to be part of this now 32-year-old franchise, working with Spielberg and Koepp, dreaming up new dinos, always grounding the tale in humans first and other topics — including its multiple-movies-in-one narrative, plus how nature's persistence remains pivotal. Yes, life keeps finding a way, just as it does in bringing all things Jurassic Park and Jurassic World back to cinemas. On Edwards Taking the Helm on a Franchise That He Grew Up with — and Has Said He's Been Trying to Secretly Make in All of His Other Films So Far Gareth: "I think it's like a coming out party where I can finally declare that Jurassic Park, it was just such an inspiration as a kid. I ended up buying a computer and learning how to do computer animation, and doing dinosaurs in my bedroom-type stuff — thinking 'oh, this is going to be the way you make films and if you learn how to do this, you'll be able to make a movie from home' kind of thing. Cut to 15 years later, I'm still doing visual effects, thinking I've wasted my life, I made a terrible mistake — but it actually turned out okay in the end, I think. I don't really understand how it led to this, but I feel like I'm in a simulation or something. I don't really know how it happened is the honest truth." On What Being Part of the Jurassic Park Franchise Means to Its Cast Manuel: "It's huge. For me, it's so big. So honestly, it's kind of overwhelming. I don't know if that's the word, but Jurassic Park really changed me — and, I guess, marked a generation — but it really changed me as a person. Meaning, when I saw it, I really wanted to be part of the films, of this industry, of that world. So now to be part of that franchise, which is one of the biggest franchises in cinema, I'm just really, really happy and grateful — and very happy with the result. I've seen it two times, the film, and it's so good — it's such a fun film." Rupert: "Yeah, likewise. Of any of the sort of super blockbuster franchises, I was always my favourite. I think the idea of exotic foreign locales plus that weird thing which is not science fiction, but it's not totally known to us — the world of dinosaurs. If you think about things that are set in space, that's sort of complete science fiction, and this always felt like the most-perfect hybrid. Aside from being made by Spielberg, who I've loved all my life, and Crichton, who I read when I was a child and continue to adore his writing. So to do it as a kind of brand-new venture within a familiar universe with this incredible new cast, new dinosaurs, Gareth Edwards at the helm, it was just the perfect melting pot." On How Working with Steven Spielberg and David Koepp, Who Started the Film Franchise Three Decades Ago, Assists When You're Directing the Saga's Sixth Sequel Gareth: "It was the key to everything. Essentially, Steven had kind of come up with the whole premise with David Koepp, figured out the storyline. And then David, I think, wrote a first draft and that got greenlit. It was a really fast process. I think it existed in December and by March I was going to meetings at Universal. And then we did this movie in a year and a quarter. Normally on a giant film like this, you have two-and-a-half years — and this is half the amount of time. My editor, he put a sign up on the edit suite, a quote — I think it's from Leonard Bernstein — and it said something like "art is when you have a plan and not quite enough time". It's like having a gun at your head. It's really interesting, because it makes — you can't second guess yourself. Everyone who worked on the movie had to just go with their first instincts first time. And there was no messing around. If anyone got in the way of anything, the film wouldn't make the release date. And weirdly, looking back now, I kind of feel like 'okay, my next contract, if I ever make another film, I'm going to tell them to take the schedule and halve it' — because I think it leads to a more interesting result. It's like you just have to go with your gut." On the Importance of Jurassic World Rebirth Grounding Its Dinosaur Adventure in Its Human Characters Manuel: "I think that's the most important for me. That's what really drew me to the story. And I really believe that Gareth was the perfect one. I recently, before being cast, I watched his latest film, which was The Creator, and it really made me want to see all his films. And he's a perfect director that works with science fiction, even though this is different. But he never loses the element of humanity in his stories. And I think this is for me, it's just the heart of the film. Otherwise you don't care for the characters. And again, I think this movie has not just very scary moments, but a lot of heart because of the characters." On Whether It's a Dream Come True Getting to Create New Dinosaurs — Creatures Literally Whipped Up in a Lab — for a Jurassic Movie Gareth: "I love monsters. And I love, obviously, when you get given the task of designing a monster for some reason — it's also one of the hardest things you can do, because there's so many great monsters that have already been done. There was a concept artist I worked with who did the Joker's mask in The Dark Knight and stuff like that, and he said it's like trying to find the last carpark space in the Disney World carpark or something — where you're going around, you know it's there somewhere, there is a new monster that's not been done, but everywhere you go, you go 'well, that's been done, that's been done, that's been done'. And so what you end up in a situation is, sometimes, like real animals, like breeding things. So it was a bit like the rancor monster from Star Wars had a sexual relationship with the HR Giger's alien, and had a little kid that was like a T. rex. And then what's interesting is, then the animators have to animate that stuff, and one of the questions they ask you is 'if this was a real character from a real film, who would it be?' — so we just get the personality across. And it was a tricky question. For the D. rex, the big, massive dinosaur you see on the posters, it was like 'well, go rewatch The Elephant Man'. Because I felt like that was kind of where I was imagining it in my head — is that something where you had a little bit of empathy for them as well. It wasn't just a monster. And it makes the audience feel a little bit more uncomfortable because they can't just want to kill this thing." On the Idea of Nature's Persistence Being So Pivotal to the Film Rupert: "Life finds a way. Certainly all the characters in this film have a temerity and a tenacity to survive — and in the case of the family, to survive as a team; and in the case of the more bounty-hunter gang, to complete the mission as well as survive. And in terms of the dinosaurs as well, we see the laboratory now ruined from which they escaped, and that's a perfect visual metaphor for life finding a way. Even if it's locked up in some laboratory on a remote island, eventually evolution will have its day." On What Excites Edwards About Getting the Chance to Add His Voice and Vision to Big Beloved Franchises, Including Godzilla and Rogue One: A Star Wars Story in the Past Gareth: "It's funny because it does feel a bit like — when I grew up, the films that were being made were all very original movies. Every single one of them. What we call a franchise now was at one point original. And so there's half of me that's like 'what's the matter? What's going on? Why is it all franchises and IPs?'. And then you start to realise that what's probably going on is it's a little bit like a mythical story. Like, for hundreds of thousands of years, you'd be a little kid around the campfire, and some elder would tell you this tale about how they went off over the hill and fought some animal and came back with all the things for the village. And you would hear that story and go 'oh wow, that's amazing'. And then one day as you got older, you would then want to tell that story to the little kids around the campfire. I feel like that's what a franchise is, a good one — it's like a modern myth. And what you're doing is you're getting the chance to retell that thematic mythology. I'm basically being allowed to take one of these things that I grew up around the campfire loving and made me want to tell stories, and now I get to tell it, but put your own spin on it and add a few things and all that sort of stuff. And so I just think it's a modern version of that. For instance, when we were shooting or editing the film, Jonathan Bailey was in Richard II, the Shakespeare play in London. And I was sitting in the audience, because I went to see it with him, and thinking 'this is like a franchise, really'. Like Shakespeare, everyone comes along and they do their version of it, and retell it and make a new film or make a new play, and no one thinks twice about it. Everyone's very happy. And they're really like franchises or IPs. And when you get the right idea and the right ingredients and everyone's excited about it like Jurassic Park, then it sort of catches fire, and then it's something that — it's like there's this thing, and you can remake it and retell it, and there's offshoot ideas and storylines or different takes on it. And dinosaurs, I think, are very embedded genetically in being human. To have that reaction to an animal that might come and kill someone we love at any moment, I think it's very hardwired in us. And so it's not going anywhere. I think dinosaur stories and films are so primal, they'll keep happening as long as there are people in the world." On What Interested Garcia-Rulfo About His Character's Ocean Survival Thriller-Meets-Family Drama Journey Manuel: "Personally, everything. I mean, being part of the franchise, knowing that Gareth was going to direct, knowing that all these amazing actors — Scarlett, Rupert and Mahershala — were going to be in it, knowing that David wrote the script again. So it was all those elements. But also, I really, when I read it, it really fell in love with the story of the family — because, for me, it's like the heart of the film, especially because there's a little kid. So that becomes very vulnerable. It's like the most-vulnerable character of the film. So everybody's going to want to care for her or want her to be okay. And so I fell in love with it. I fell in love with this guy, with this father, knowing nothing about survival or dinosaurs and all this, and having just to protect the loved ones and being this journey. And I think that was fascinating, and I loved it." On Friend's Task Playing a Big Pharma Representative Chasing Something That'll Both Change Human Existence and Bring in a Huge Profit Rupert: "I think it's a balancing act for Krebs, and the film is definitely interested in exploring that. At the head of the film, Scarlett's character, Mahershala's character and my character are all in it for pretty much the same reason — it's just that there is an overarching validation of that reason. It's not just 'get money to sock it away under your bed'. It's to do something that is altruistic. And I think that that motivation evolves and changes for the characters as it goes along. But yeah, it's a fascinating dichotomy, for sure." On Jurassic World Rebirth Playing Like a Few Different Movies in One, From Creature Feature and Frankenstein-Esque Sci-Fi Horror to Family Drama, Heist Flick and Anti-Big Pharma Film Gareth: "It was like having a bunch of kids, in that one kid grows up really well and becomes really strong and you go 'oh, this is really working, this section of the film' — and so then it was my job to then look at another section and go 'okay, let's make this better, let's help this one and refine it and try to add ideas' until that was now competing with the other one. And so you're basically moving around the whole movie, trying to take each sequence and elevate it, and just make it as strong as the others. And so yeah, that was my job mainly on the film, because there were some really strong ideas in there. Like visually, when I read the script, the section where there's a T. rex chasing a family in a raft, I was like 'well, that's worth directing the movie just for this sequence'. It's a kind of killer visual that's going to definitely work. And so then it's like 'okay, well, my job is now to make sure all these other sequences around it are as good as that'. And so it was really tricky, because it's the highest of high bars to compete with Jurassic Park. It's a masterpiece of filmmaking. And ultimately, you can't compete with it. It's a moment in cinema that you're never going to get again, where the world got to see dinosaurs for the very first time. But so what we did do is go 'well, let's imagine that we made this movie back then' — like we shot this in the early 90s. It has all that flavour of the original. And for whatever reason, Universal went 'okay, well, we've got this big dinosaur [movie] this summer, this Jurassic Park film, so we're going to put this in the vault, on the shelf, for a second', and then they forgot they'd done that. And then suddenly, in like 2025, they go 'oh my god, we completely forgot we made this movie' and they decided to release it. We wanted it to feel like a throwback to something of that kind of movie we grew up loving as kids." Jurassic World Rebirth released in cinemas Down Under on Thursday, July 3, 2025.
Every year during our wintertime, so many lucky folks jet off to Europe and other parts of the northern hemisphere seeking sin-filled holidays, but there are still stacks of Aussie destinations that are warm and summery throughout the year. If you're seeking a coastal vacay, there's no need to get on a long-haul flight — especially with the likes of Byron Bay being a short trip away. In northern NSW, this dream destination boasts sun, sand and rainforest in abundance. Plus, it's full of romantic studio spaces and quaint coastal bungalows, ideal for unwinding with your significant other or favourite travel buddy. We've done the hard work for you and rounded up 20 of Byron Bay's greatest couples' escapes. Book a favourite, pack your bags and prepare for that well-deserved beach retreat. Recommended reads: The Best NSW Glamping Spots The Best Hotels in Sydney The Best Beach Camping Sites in NSW The Best Luxury Stays Near Sydney WOLF BEACH RETREAT, BYRON BAY A sleek, modern take on the classic beach shack, complete with open-plan living and secluded backyard. Cocktails on the deck are a must. How much? From $295 a night, sleeps two. THE STUDIO, BYRON BAY Decked out in soothing whites and natural finishes, this serene hideaway is primed for maximum relaxation. Check in and recharge in style. How much? From $263 a night, sleeps two. THE BUNGALOW, BYRON BAY It's hard not to embrace the Byron lifestyle at this relaxed coastal retreat, featuring modern boho styling throughout and a tropical garden out back. How much? From $427 a night, sleeps four. BEST LOCATION IN BYRON, BYRON BAY This stylishly minimalist studio space is the epitome of a calming getaway. It's filled with natural light and located just a quick stroll from the beach. How much? From $271 a night, sleeps two. LUXURY LOFT, BYRON BAY New York loft meets tropical bungalow for this breezy Byron hideaway. Get set for daily soaks in the outdoor tub, surrounded by nature. How much? From $395 a night, sleeps three. HILLSCAPES STUDIO, BYRON BAY Escape the hustle at this serene studio space, among the trees. A fireplace promises cosy nights and the deck boasts panoramic views. How much? From $242 a night, sleeps two. CACTUS ROSE VILLA, BYRON BAY With chic white interiors, a palm-fringed pool and a romantic loft-style bedroom, this private villa will have you living the holiday dream. How much? From $548 a night, sleeps two. PACIFIC EDGE, BYRON BAY Want to wake to the sound of the waves? This self-contained couples' escape is newly built and perched just minutes from the beach. How much? From $220 a night, sleeps two. BYRON BAY STUDIO, BYRON BAY A designer retreat for two, complete with glass-walled bathroom, secluded terrace and roomy outdoor tub. All just a quick hop from the beach. How much? From $379 a night, sleeps two. BAM STUDIO, BYRON BAY The luxurious self-contained hideaway you'll never want to check out of. Destress with the help of a private leafy garden and sun-dappled deck. How much? From $292 a night, sleeps two. EAST COAST ESCAPES STUDIO 105, BYRON BAY A contemporary coastal abode boasting a sun-drenched deck and beachy white colour palette, this one's handily located between the shops and the sand. How much? From $262 a night, sleeps two. JADE STUDIO, BYRON BAY Swap city life for some time spent recharging at this bright, breezy studio. It's got a sunny courtyard, outdoor shower and cracking location close to the shoreline. How much? From $297 a night, sleeps two. THE LOFT, BYRON BAY This beautifully restored cottage has cruisy coastal vibes on tap, just a ten-minute walk from Byron's Main Beach. The ultimate couples' hideout. How much? From $633 a night, sleeps two. THE APOLLO STUDIO, BYRON BAY Your own Mediterranean-inspired paradise, in the heart of town. With luxe fixtures and a leafy courtyard, this self-contained bungalow is a true holiday gem. How much? From $252 a night, sleeps two. THE TREEHOUSE, BYRON BAY A light-filled hilltop escape, with sweeping views across the trees. This designer space boasts a leafy terrace and ten acres of lush green backyard. How much? From $283 a night, sleeps two. SCANDINAVIAN SIMPLICITY, BYRON BAY Filled with luxe touches and boasting its own sunny green courtyard, this Scandi-inspired studio has holiday charms aplenty. An ideal escape for two. How much? From $180 a night, sleeps two. BASK & STOW SEA, BYRON BAY A cheery splash of Palm Springs style, by the beaches of Byron. This whitewashed villa features resort-worthy interiors and a sparkling plunge pool. How much? From $448 a night, sleeps two. PARADISO PROPERTY, BYRON BAY Embrace beachside living with a stay at this quaint bungalow for two. It's a breezy, open-plan situation, flanked by two grassy, sun-drenched courtyards. How much? From $339 a night, sleeps two. BOUTIQUE RETREAT, BYRON BAY A cheery self-contained apartment that's sure to win you over with its plush linens, palm-filled courtyard and pink stone outdoor tub. How much? From $275 a night, sleeps two.. ARTFUL WAREHOUSE CONVERSION, BYRON BAY Swap the beach shacks and bungalows for a stay at this lofty converted warehouse, featuring mod-industrial styling and some primo mountain views. How much? From $344 a night, sleeps two. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Since 1987, if you've wanted to hit up South by Southwest, then you've needed to visit Austin in Texas. In October 2023, however, that'll no longer be the case. In what was perhaps Australia's biggest cultural news of 2022, the acclaimed tech, innovation, music, gaming, screen and culture festival and conference announced that it'll stage its first-ever non-US event in Sydney this year — and now it's starting to drop impressive lineup details. SXSW Sydney will run for a week from Sunday, October 15–Sunday, October 22 around the Harbour City, hosting 1000-plus sessions — and it also has its first-ever keynote speaker, too. American futurist, The Genesis Machine author, and Future Today Institute founder and CEO Amy Webb will do the honours. A favourite on lists of powerful and influential women — she was named "one of the five women changing the world" by Forbes in 2022, and one of the BBC's 100 Women of 2020 — Webb is renowned for her focus on data-driven, technology-led foresight methodology to ponder how the future might eventuate. And, ticking plenty of SXSW boxes, she's also a frequent collaborator with film and TV producers about science, tech and what's to come. [caption id="attachment_888438" align="alignnone" width="1920"] Amy Webb[/caption] More keynote speakers are set to be unveiled in the coming months, but SXSW has also revealed an initial list of featured speakers. Among those getting chatting are Ben Lamm and Andrew Pask, who'll discuss their work on the de-extinction of the woolly mammoth and the Tasmanian tiger; Guy Kawasaki, Chief Evangelist of Canva and former Apple Chief Evangelist, who'll talk evolving tech; lawyer, writer and filmmaker Larissa Behrendt, fresh from helming Richard Bell-focused documentary You Can Go Now; and Saudi women's rights activist Manal al-Sharif. The roster of talent goes on, also featuring Jack Reis of First Nations cyber-security business Baidam Solutions; Per Sundin, the Swedish CEO of Pophouse Entertainment who has worked with Avicii, ABBA, Tove Lo and Swedish House Mafia, and had a part in the rise of Spotify; and BAFTA Games Award-winning game designer Sam Barlow. Plus, Twitch's Chief Product Officer Tom Verrilli, 88rising's Sean Miyashiro and Yoomin Yang, a producer on the Korean adaptation of Netflix's Money Heist, are all also on the bill. [caption id="attachment_888439" align="alignnone" width="1920"] Manal al-Sharif[/caption] If you're more interested in who'll be playing tunes during the SXSW Sydney Music Festival, a few names are starting to trickle in there as well. Nigerian British indie-pop songwriter Connie Constance will head Down Under for the first time, as will Canada's Ekkstacy, London-based quartet Los Bitchos, Japanese punk rockers Otoboke Beaver and teenage American rapper Redveil. Obviously, all of the above names — plus others listed below — are just the beginning of what's promising to be SXSW's massive Sydney debut. The fest has dropped a few more details about how it'll work, too, including the fact that it'll all take place within a walkable precinct within the Sydney CBD, Haymarket, Darling Harbour, Ultimo, Chippendale and more. Think of the fest's footprint as a huge hub, with festivals within the bigger fest, exhibitions, talks, networking opportunities and streetside activations popping up everywhere. So far, venues named include Powerhouse Museum, ICC Sydney, UTS, Central Park Mall, the Goods Line Walk, The Abercrombie and Lansdowne Hotel. [caption id="attachment_888440" align="alignnone" width="1920"] Otoboke Beaver by Mayumi Hirata[/caption] So, attendees can hit up the SXSW Sydney Conference, which is where those keynotes, presentations, panels, workshops and mentor sessions come in — more than 400 of them. And, there's the SXSW Sydney Technology & Innovation Exhibitions, which is all about innovative and emerging tech and entertainment companies from across the Asia-Pacific region. Plus, at the Startup Village, up-and-comers from all industries and sectors will have space to meet, present and chat. SXSW's arts fests will span the SXSW Sydney 2023 Music Festival, which will be focused on live music venues in central Sydney — and the SXSW Sydney Gaming Festival, complete with more than 100 local and international independent games to play at venues (alongside demonstrations, launches performances, exhibitions and social gatherings). Movie and TV lovers, get excited — because the SXSW Sydney Screen Festival isn't just a film fest. There'll be flicks to see, including at red-carpet premieres; episodic content; and digital, XR and social content. Expect Q&As and panel discussions with the folks behind them as well. Can't wait, whether you're a Sydney local or planning to head along from elsewhere in Australia — or New Zealand? Platinum and industry badges are already available at early-bird prices, with more ticketing to come. [caption id="attachment_888443" align="alignnone" width="1920"] EKKSTACY by Gilbert Trejo[/caption] SXSW SYDNEY 2023 — FIRST LINEUP ANNOUNCEMENT: KEYNOTES: Amy Webb FEATURED SPEAKERS: Andrew Pask Ben Lamm Guy Kawasaki Jack Reis Kyas Hepworth Larissa Behrendt Manal Al-Sharif Michael J Biercuk Per Sundin Que Minh Luu Robyn Denholm Rohit Bhargava Sam Barlow Sean Miyashiro Sheila Nguyen Sung-Eun Youn Tom Verrilli Yiying Lu Yoomin Yang SXSW SYDNEY MUSIC FESTIVAL: Connie Constance Ekkstacy Los Bitchos Otoboke Beaver Redveil SXSW Sydney will run from Sunday, October 15–Sunday, October 22 at various Sydney venues — head to the festival's website for further details. If you're keen to make the most of Australia's first SXSW, take advantage of our special reader offer. Purchase your SXSW Sydney 2023 Official Badge via Concrete Playground Trips and you'll score a $150 credit to use on your choice of Sydney accommodation. Book now via the website.
Being a Barbie girl in a Barbie world wasn't just a 2023 trend, back when Greta Gerwig's (Little Women) Margot Robbie (Asteroid City)-starring — and Oscar-nominated — film became one of the biggest and pinkest movies to ever hit cinemas. The 2025 way to get your Barbiecore fix Down Under from Friday, June 27, 2025 through till summer 2026: by enjoying ice cream floats served in a pink Barbie convertible car at the Malibu Barbie Cafe, plus sipping fairy floss-topped cocktails at the Ken Kabana bar, all at The Social Quarter at Chadstone Shopping Centre in Melbourne. The Malibu Barbie Cafe has been popping up across the US, with New York, Chicago, Minneapolis, Miami, Austin and Houston all welcoming the venue — and the Victorian capital is hosting its debut stop beyond America. Pink hues? Beachy decor? Kicking it back to the 1970s, when Malibu Barbie initially debuted, at the onsite watering hole? A rollerskating rink lined by artwork of palm trees? A life-sized Barbie box? An installation that celebrates how Barbie as a brand has changed over the years? That's all on offer at the Malibu Barbie Cafe. So is merchandise that you won't find anywhere else, if you need a memento from your visit — although, with that in mind, we're sure that you'll fill your phone with plenty of photos. Ken's job isn't just beach here, given that his name adorns the cocktail-slinging upstairs bar in the two-storey site. On the drinks menu: that gin and lemonade concoction with spun sugar on top; themed takes on mojitos, margaritas, cosmopolitans, espresso martinis and old fashioneds; and more. If you're keen on a booze-free version, some of the tipples are available as mocktails. There's also a snack range, including fries with pink mayo, prawn cocktails, sushi and baked brie. Does putting your skates on appeal? You'll find that on the second level, too. Downstairs, Malibu Barbie Cafe's menu is an all-ages-friendly affair, with that ice cream float just one option. Sticking with sweets means choosing from doughnuts, pink cookies, cupcakes, ice cream sundaes, fruit and marshmallows. If you can't decide, the dessert sampler dishes up a mix of picks on a Barbie boat for between four and eight people. Savoury dishes span the same small bites as at the Ken Kabana, plus burgers, poke, garlic prawn linguine, beer-battered fish tacos, club sandwiches, grilled cheese, mac 'n' cheese and salads. Or, tuck into avocado toast, açai bowls, bacon and eggs, parfait or pancakes from the all-day brunch selection. Then, to drink, milkshakes, pink lemonade and pink lattes are among the options. If you're thinking "come on Barbie, let's go party", party packages are indeed a feature — including three-hour adults-only private-dining experiences from 6.30pm Thursday–Sunday.
UPDATE MARCH 30, 2017: Suey Sins owner Eli West has responded by posting a statement on Facebook. Over the past week Suey Sins has been subject to criticism regarding its concept and theme. I acknowledge all of the raised concerns and feedback surrounding Suey Sins theming, as well as those who have voiced their opinions. I apologise unreservedly for any offence caused. I would also like to emphasise that it was never our intention to upset or offend. The theme and character Suey Sin is fictitious, however I understand that offence has been taken to image references made of Anna May Wong. Further, whilst I acknowledge there has been offence taken in regards to images of staff members wearing the traditional Qipao dress these were for our annual Chinese New Year party and opening week of trade. Circulating images portray only a small portion of our multicultural team. As a young female leading a predominantly female team the glorification and exploitation of women of any culture is not something I condone or intended in Suey Sins theming. The voices of those offended have been heard and as a team we will be taking action to remove image references of Anna May Wong. Due to the nature of the comments on the said original image of Suey Sins staff members, we did out of a duty of care for our staff remove the image from Facebook shortly after the comments no longer remained constructive In an increasingly globalised world, and multicultural society like Australia it is important we continue to share, embrace and exchange other cultures with one another, which is what Suey Sins sought out to do and will continue to do. Again, I sincerely apologise for any offence that has occurred. Should you wish to provide any further feedback of a constructive nature please continue to inbox these through. Thank you for your understanding. In the time elapsed between launching earlier this month and opening their doors this morning, Sydney cocktail bar Suey Sins has placed itself firmly at the centre of public debates surrounding cultural appropriation, deeply rooted racism, and media ethics. While the venue's owner, 25-year-old entrepreneur Eli West, has said that she was aiming for an "old world charm" theme, members of the public have struck out on social media, saying that the apparent "sexy, pre-war Shanghai" theme is nothing more than wanton cultural appropriation, and nothing less than subtle racism that ignores the dark reality of Chinese culture during the British colonial era. While West initially stated in one of the bar's press releases that she wanted to open a bar that "doesn't take it-self [sic] too seriously," public reaction has suggested that perhaps it would have been more prudent to take cultural appropriation at least a little bit seriously. While the Chinese mainland was never colonised by the British, the effects of imperialism shaped China's culture, especially in the wake of the Opium Wars, and the Boxer Rebellion. With particular reference to the bar's staff uniform (traditional qipaos/cheongsams), activity on social media, and the thematic styling of the venue, Suey Sins has been accused of "continuing negative colonial ideologies", and "racist fetishisation of a marginalised women [sic] for a dollar" on their Facebook page. Suey Sins' initial press release stated that the the name for the venue comes from a "famous Shanghai call-girl ... a quintessential icon of the 'Shanghai Naughties'." "I have spent most of my life travelling in Indonesia, and have some Chinese heritage and I like to think I may be related to a character very similar to Suey Sin," explained West in the same press release. "I love the idea of this seductive, alluring woman who had old world charm and poise but also knew exactly what she wanted and how to get it. I see a bit of that in myself and the young women who will drink here." Unfortunately, as Pedestrian reported yesterday, the search for the existence of a "famous Shanghai call-girl" called Suey Sin has been somewhat fruitless. Routledge Handbook of the Chinese Diaspora, edited by Chee-Beng Tan, suggests Suey Sin was a Chinese woman working in the film industry in Los Angeles in the 1920s. So, not pre-war Shanghai, or a 'call girl', but the timing is right. On the walls of the venue, there is also a collage of Chinese-American actress Anna May Wong who, during her illustrious career, was passed over for a role playing a Chinese woman by MGM in 1935 in favour of German actress, Luise Rainer. Compounding the backlash the venue has faced, management has taken to deleting negative comments and reviews from their Facebook page (a significantly problematic no-no), and offering a pallid ghost of an apology that focuses on their mission to "create a venue that focuses on delicious Asian fusion inspired street style food and creative beverages for all to enjoy". The apology doesn't touch on the issues with the thematics and styling of the venue from whence the backlash originated. From the mural (and bar logo) featuring a naked woman, to the implication that rampant prostitution that catered for increased global trade (and traders) in China at the time was "seductive" and "alluring", public opinion has been that the bar ignores the fact that portraying Chinese women as nothing more than sex objects is damaging to both Chinese culture, and to the cultural status of women. Here are the staff in their Suey Sins uniform: And, for the record, this is how the bar is marketing their menu on Instagram (and quietly, mie goreng is Indonesian. Mee goreng is the Malaysian spelling of an Indonesian dish, although the dish is, granted, derived from Chinese chow mein): MEE-please, MEE-so hungry, MEE-Goreng Spring Rolls! Another Suey Signature dish #sueysins A post shared by Suey Sins (@sueysins) on Mar 16, 2017 at 1:27am PDT Chinese history during the 1920s is not best characterised as "sexy" or "old world", but is instead more appropriately viewed through the lens of the warring political ideologies that shaped the country. In 1923, civil war started brewing as Chinese nationalists clashed with the growing Communist party. The civil war, in part, came about as a result of the power vacuum left by the abdication of the last emperor, Puyi, in 1912. The last Qing emperor's abdication led to decades of warlord factionalism and a civil war that technically still hasn't ended. It would be unfair and incorrect to suggest that West intended for her bar to offend, as it's always a bad business to open a venue that people won't like. However, considering the reaction the public has had, current debates surrounding the alteration of Section 18C of the Racial Discrimination Act, Hollywood 'whitewashing' in films such as Ghost in the Shell, and the misrepresentation of women in both media and society, offence has been caused and documented, despite the dubious strategy of removing negative comments on social media. At the time of writing, The Social Group, who runs the publicity for Suey Sins, informed us that the venue did not wish to comment at this stage. UPDATE MARCH 25, 2017: Routledge Handbook of the Chinese Diaspora, edited by Chee-Beng Tan, suggests Suey Sin was a Chinese woman working in the film industry in Los Angeles in the 1920s. So, not pre-war Shanghai, or a 'call girl', but the timing is right. This article has been updated to reflect this.
Intelligent machines that interact with humans have long been a sci-fi staple in books, cartoons and film. Whether the future will hold the doe-eyed Haley Joel Osment of Artificial Intelligence or the all-destroying Terminator is still the stuff of fiction, but the fact is thinking machines are already among us, watching us, and telling us what to drink. Japanese beverage company JR East Water Business Co. have created the ultimate in customer service with the Acure vending machine. This oversized box can be found on train platforms in Shinagawa and Tokyo. It boasts a 47-inch touch screen and a camera that uses inbuilt technology to detect sensory data, including the age and sex of the individual standing before it. When the hi-tech device is idle it engages in its 'intelligent marketing system' whereby advertisements relevant to the season, weather and time of day are displayed. If it’s a cold winter’s eve you can expect a nice warm cup of cocoa tempting you on its LCD. While it offers demographically targeted drink selections it also collects marketing data, which is stored and then collated by the company. Launching their first Acure vending machine in August 2010, they already know the most frequent users of the device are men in their 30s and that an inordinate number of juices are bought by them at night. [Via Hypebeast]
With its frames filled with teenagers and 20-somethings driving across America in search of a different life, watching American Honey feels like tagging along on a road trip. Many movies have charted characters coming of age as they traverse streets and highways and varying landscapes, but, with this film, Fish Tank and Wuthering Heights writer-director Andrea Arnold wants audiences to feel — rather than simply observe — the journey that results. "It's like an experience, rather than like a film," offers actor Riley Keough. After rocking out in The Runaways, racing through the desert in Mad Max: Fury Road, and starring in the television remake of The Girlfriend Experience, Keough plays the tough-talking, no-nonsense, money-focused Krystal, the leader of a crew that ventures from town to town and door to door selling magazine subscriptions. Jake (Shia LaBeouf) is the closest she has to a second-in-charge — and he's the reason that 18-year-old Star (Sasha Lane) decides to join the group, lured in by his charm, epic rat-tail and Rihanna-inspired dance moves. Theirs is a careening trek, with Star's entry into this brave new world the focal point. Mile by mile, they encounter privilege and poverty, kind and cruel passers-by, and new revelations about themselves and others, all set to an eclectic rock, pop and hip hop soundtrack. Populated by a mostly non-professional cast (who largely improvise dialogue), Arnold's film was shot on the road and in sequence — meaning that it replicates reality as much as possible. With American Honey now screening in Australian cinemas, we spoke with Keough about living rather than acting her part, seeking out complicated roles and making a movie that touches people. ON WANTING TO BE A PART OF AMERICAN HONEY "Well, I heard that Andrea [Arnold] was making a film, and I was a really huge fan of her. And I went and met the casting person, and it was a bit of a different casting experience. I was just kind of, I was very persistent on wanting to do everything I could to be able to be in this film, I guess. I knew that she liked to work with non-actors. I knew it was going to be wild. I knew it was going to be like, you know, a once in a lifetime kind of experience. So I was just kind of like, 'I'll do anything I can to come with you.'" ON MAKING A MOVIE IN SEQUENCE ON THE ROAD "She [Arnold] gave us a situation where we were allowed to just exist as these people, and it wasn't like something that a movie normally is. You kind of just had to take it day by day, and see what happens. It was like she was writing our lives for us, sort of, day by day. It was in sequence, and we wouldn't know what was happening until the day of. I don't think any day was the same. You get picked up, you go do your thing, you go back to your motel. There was no line or boundary between anything really. It was all just kind of what you see in the film. Everything she captured was real. I don't think people really knew either when she was rolling and when she wasn't." ON ACTING WITHOUT FEELING LIKE ACTING "There weren't really any acting choices. The thing is, when you're acting with non-actors or children, you can't really have an acting choice. You can't really act. You're forced to really open up to the scenario, which is what I think everyone's looking for, which is non-acting. You know what I mean? If I could do it on every film, I would, because it's what you're looking for when you're working with actors on every film. Because for us to be fully present and spontaneous and not have to have any attention on anything going on around us — it's a really magical thing to me. I prefer it that way, because there's not a lot of thought, there's not a lot of heavy intellectualising about every single thing that's happening. It just kind of really allowed us to exist in the moment and not feel like you're making a movie, which is kind of what you're always trying to not feel like, you know." ON SEEKING OUT STRONG, INTERESTING DEPICTIONS OF WOMEN "I definitely try to avoid a cookie cutter woman at all costs, just because I don't find that interesting. The normal characters that are written for women that are a bit two-dimensional — I definitely want to avoid that because I don't like doing that. I don't think any woman likes that. It's just like, a lot of the types of roles that are written for women are supporting the narrative in some way, and writers don't really want to go in deep on who these people are. And Andrea's amazing at that, in all of her films. Every little person, you know, they're so complicated. I think that's what makes her films so full of life. I look for something that I've never done before, whether it's the tone of the film, or the style or the character, or all of it. Just things I haven't done before, you know. But also, I like strong women." ON REACTIONS TO THE FILM "I have a lot of people walk up to me on the street or in the store and be like 'American Honey!'. I can see it in their eyes, how much they enjoyed watching the film. And I've never had that as an actress before. I have a couple of times, with Fury Road and GFE [The Girlfriend Experience], but with American Honey it was in a different way. I could tell it really touched people in the way that films touched me when I was teenager. I think it really touches people's sort of core. And that, to me, we've done something to the audience, which is kind of what you're always trying to achieve. So, I don't know how to really describe it, but it's kind of like what we always want to be doing with art. I think it happens a lot with singers, where they see sort of a more clear version of it. They listen to your song, and people are like 'oh this song got me through this thing.' It's very like clear version of art touching someone in a way, and I think American Honey is really getting to that sort of place in people's souls. It's just been a really cool thing to watch." American Honey is now screening in Australian cinemas. You can read our review here.
Thanks to Serial, Making a Murderer, Dirty John and Zac Efron's recent role as serial killer Ted Bundy, true crime might feel like a relatively new trend. With all manner of podcasts, shows and movies devoted to the topic these days, the genre is certainly enjoying an extended moment in the spotlight — but grim real-life tales didn't just begin with the case of Adnan Syed. Around the same time that everyone was obsessing over Serial's first season, Aussie television was turning one of the country's most notorious cases into a two-part drama, with Catching Milat the end result. Dramatising the NSW backpacker murders of 1989–1993, as well as the hunt of now-convicted killer Ivan Milat, it aired on Channel Seven back in May 2015. If you missed it, or you're a new true crime obsessive, it's now on Stan. You can revisit the mini-series — with Malcom Kennard as Milat, Sacha Horler as his ex-wife Karen, Leeanna Walsman as his sister Shirley, and Richard Cawthorne, Geoff Morrell, David Field and Craig Hall as the cops on the case. It's worth noting that Catching Milat is a work of drama — and while it's not as fictionalised as Wolf Creek, which writer/director Greg McLean noted was partly inspired by Milat, it's definitely not a documentary either. Check out the trailer below: https://www.youtube.com/watch?v=S_g7cHhCBCs You can watch Catching Milat on Stan here. Updated: May 9, 2019.
What do perusing the inaugural SXSW Sydney conference program and scrolling through Netflix have in common? Artificial intelligence, cybernetics, tech-enhanced dating, social media's ups and downs, science fiction-esque healthcare applications, digital afterlives and interactive gaming all feature in both — and the list goes on. On the streaming platform, you'll find the above in Charlie Brooker's Black Mirror. Since starting with a squeal in 2011, the British anthology series has become pop culture's go-to place for futuristic visions dripping with unease. It ponders what might come, often with prophetic insight, and imagines how humanity's use of any given gadget or advancement will bring out our worst impulses. No one is going home from SXSW Sydney with nightmares, of course. Still, it couldn't be a better place for the creator of Black Mirror to dive into the latest in tech and future innovations. He's one of the keynote speakers at the first-ever SXSW outside of Austin, Texas since it was founded in 1987, getting chatting in an interview-style discussion about his hit series, its ideas and what fascinates him about technology. "Luckily I don't have to deliver a speech," he tells Concrete Playground after freshly arriving in Sydney. "When you say 'keynote speaker', I always get a stab of fear like an anxiety dream where you haven't done your homework, because I have not prepared a speech. So I'm just going to answer questions as off the cuff as I can." [caption id="attachment_922397" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] From the moment that Brooker was added to the SXSW Sydney lineup, joining a bill that also features Chance The Rapper celebrating 50 years of hip hop and Future Today Institute CEO Amy Webb musing on tomorrow's possibilities — plus literally hundreds of other speakers and sessions — the two seemed a dream pairing. Somehow, this is the first time that Brooker and SXSW have connected at all. "I've not been to South by Southwest in the States. I've not been there, and I've never been to Sydney before, either," he explains. "So these are two firsts for me happening concurrently, so that's very exciting, and I'm intrigued to see what it's all about." As well as Brooker's in-conversation session on Wednesday, October 18, SXSW Sydney is about everything from streaming algorithms to simulations. True crime features on the SXSW Sydney Screen Festival lineup, too — but no, even with the two clearly sharing plenty of fields of interest, the event isn't happening inside the latest and sixth season of Black Mirror that arrived this past June. [caption id="attachment_917938" align="alignnone" width="1920"] Netflix[/caption] What should get fans of Brooker's work particularly buzzing is his SXSW Sydney plans beyond regaling an audience. On the list for the former video gaming journalist, satirist, Wipe franchise host, creator of both Big Brother-but-zombies gem Dead Set and the Cunk mockumentaries, and the reason that Netflix also has choose-your-own-adventure-style interactive short Cat Burglar in its catalogue: "digging into obviously the screen side of things, and also the video games and technology side of things". Will the next season of Black Mirror find its basis in SXSW Sydney's talks upon talks? Will Sydney inspire a new Philomena Cunk instalment after this year's Cunk on Earth? And how does someone navigate a tech, innovation, ideas, music, screen and gaming conference when they gave the world a series that's become synonymous with tech anxiety? As Brooker soaked in the Harbour City's weather — "it seems like there's about ten times the amount of light here, whereas in Britain it always feels a bit like it's on eco-saving mode" — he told us about all of the above, plus marvelling at getting to talk to anyone about Black Mirror, being mistaken for being anti-technology and his dream to make a Black Mirror game. [caption id="attachment_922398" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] ON DISCUSSING BLACK MIRROR AT SXSW — AND STILL MARVELLING AT THE SHOW'S IMPACT Ask Brooker if he ever imagined that Black Mirror would bring him to SXSW's stage and he's emphatic that it didn't even cross his mind. "I didn't conceive that I would be talking to anyone about it other than myself, so I'm amazed and delighted that I can talk to anyone about the show. I wouldn't have foreseen it at all," he advises. "Our first episode, the story of that is quite divisive. Certainly way back yonder when doing the very first episodes of the very first series, at that point I thought 'wow, this is never going to…'. I just, in my head, assumed it would only ever be of interest colloquially in Britain." "It's been astonishing that the show has travelled, as they say, or it's got legs or whatever you want — global reach, whatever you call it. That is constantly startling to me." "I've come here to Sydney, so I'm on the other side of the world from where I normally am. I don't often go out of London, basically. I'm a writer, so I spend most of my time sitting typing in in West London. And so I have to occasionally check myself. I think it's weird I've flown all the way to Sydney, Australia, and I can talk to people who've heard of the show. That's quite odd — that does my head in." ON BLACK MIRROR BECOMING SHORTHAND FOR TECH ANXIETIES, DYSTOPIA AND NIGHTMARES It's inspired by The Twilight Zone. It surveys the tech landscape. It's famed for predicting everything from Prime Minister pig scandals to social currency systems. And it features a spectacular cast, with Daniel Kaluuya (Nope), Gugu Mbatha-Raw (Loki), Jon Hamm (Mad Men), Sarah Snook (Succession), Andrew Scott (Fleabag), Annie Murphy (Schitt's Creek), Salma Hayek (Magic Mike's Last Dance), Zazie Beetz (Atlanta), Breaking Bad co-stars Aaron Paul and Jesse Plemons, and Miley Cyrus are just some of its stars. Black Mirror isn't just a series that the entire world knows about, though. It has become a term itself. That too isn't something that Brooker ever anticipated. "It is weird. It's an odd thing to have done. I remember the first time I really thought 'ohh okay, this has entered common vernacular in ways beyond the reach of the show itself'. I think it was in 2016 that somebody said, 'hey, did you see Hillary Clinton just referred to something as being a bit Black Mirror?'. And I thought 'oh my god, that's a bit Black Mirror in itself'." "So it's weird. Actually, the only aspect of that I find frustrating is when people assume I'm going to be anti-tech or that I'm some Luddite who thinks we should smash all computers up with his shoe, because I'm actually quite pro-technology. It would be the worst job if you hated technology, doing Black Mirror, because a lot of it involves thinking about product design of some gizmo or other that someone's going to use to wreck their own life. What it's showing is that it's human foibles that are the problem, not the amazing tool that is technology in and of itself." "So that's the only aspect I find frightening. That said, I love it if people are going say, 'oh, that's a bit Black Mirror' about some new Samsung fridge that comes out that sings to you every time you pour milk from it. That's all free publicity for me." ON POTENTIALLY FINDING NEW BLACK MIRROR OR PHILOMENA CUNK IDEAS AT SXSW SYDNEY Anyone who's ever watched Black Mirror is always wondering what's coming next, whether the series is dropping an interactive film such as 2019's Bandersnatch or years have passed between seasons (four from 2019's fifth season to 2023's sixth, for instance). If you've seen Cunk on Earth and its predecessors Cunk on Shakespeare, Cunk on Christmas and Cunk on Britain, the same train of thought applies. Perhaps SXSW Sydney might inspire the next chapter in both Brooker-created shows. "I was thinking we should send Cunk here, because we're always looking for nice filming locations, apart from anything else. And I know Diane [Morgan, who has played Philomena Cunk since 2013–15's Charlie Brooker's Weekly Wipe] hates it when it's cold. That's her main complaint — she doesn't like being anywhere cold." "Hopefully I'll go home with a head full of all sorts of things. It's interesting because, like I say, it's a new experience for me being here — and then we're also we're going to travel a bit over the next week." "I'm looking forward to digging into the video games and VR side of things that are going on the South by Southwest, partly because I used to be a video games journalist — so I'm also very interested in all of that as well." ON EXPLORING INTERACTIVE AND GAMIFIED STORYTELLING WITH BLACK MIRROR: BANDERSNATCH — AND THE DREAM OF MAKING A BLACK MIRROR GAME A series about technological possibilities, Black Mirror fills its frames with new gadgets and inventions — and new evolutions of today's tech as well. As Black Mirror: Bandersnatch showed when it had audiences pushing buttons to guide a gaming programmer through his decisions, Brooker's hit also likes tinkering with its own technology. He'd like to do more. "I'd love to do a sort of full-bore video game, as it were. With Bandersnatch, actually the original design was even more explicitly game-y than the finished thing ended up being. There were going to be achievements you could unlock, and stuff like this. And it was structured a bit more like an escape room puzzle that you had to solve," he explains. [caption id="attachment_922399" align="alignnone" width="1920"] Kevin Lake[/caption] "It feels like it's a very different skill set. I think the most-impressive video games that I encounter tend to be, when they tell a story, they tell it in a way that you couldn't do in any other medium. So I'm thinking of games like Lucas Pope — he did a game called Papers, Please and a game called Return of the Obra Dinn." "Those are both fascinating and very different, but really interesting forms of storytelling. I think all scriptwriters should sit down with those games and see how they tell a story in a very deceptive way — they're puzzles, but they tell quite complex stories." "I'm in awe of that sort of thing. I don't think I probably have the skillset to be able to think that way. But I'd love to see a full a full-blown Black Mirror video game. That'd be great." Charlie Brooker in Conversation takes place at SXSW Sydney at 1pm on Wednesday, October 18 in the Pyrmont Theatre at ICC Sydney, 14 Darling Drive, Sydney. SXSW Sydney runs from Sunday, October 15–Sunday, October 22, and SXSW Sydney Screen Festival from Sunday, October 15–Saturday, October 21. Head to the SXSW Sydney website for further details. Black Mirror streams via Netflix. Read our review of season six. Cunk on Earth also streams via Netflix. Read our review. Top image: Netflix.
If you like music and skiing, Snow Machine has served up a winning combination of the two since 2020. It takes place in chilly climes. It enlists a heap of top-notch talent to provide the tunes. And, as it soundtracks a snow-filled week, it plays out like a massive frosty party. For Australians, it also boasts another huge drawcard: getting you to take an overseas alpine holiday. When Snow Machine first debuted its savvy mix, it did so in Japan. Then came an expansion to Queenstown in New Zealand in 2022, where it's still going strong and will return come September 2024. Thinking ahead to the colder weather in the northern hemisphere in 2025, the fest has not only locked in its plans for Hakuba, its OG home, but is expanding to Niseko as well. Snow Machine has also unveiled the lineup for its two next Japanese dates, with Hakuba first up from Tuesday, March 4–Sunday, March 9, then Niseko from Monday, March 10–Saturday, March 15. Chase & Status leads the bill in both locations, with Action Bronson, Hot Chip doing a DJ set, Melanie C, A-Trak and Ken Ishii among the other names. Attendees will catch a club set from Bob Moses as well, plus DJ sets from each of Jungle and Sbtrkt. The roster of talent keeps going from there with Claptone, Cyril, Dillon Francis, DJ Kentaro, DJ Nobu & Wata Igarashi, Horse Meat Disco, Jimi the Kween, Monorochrome and Riton — plus Vintage Culture in Niseko only. Snow Machine Japan might next return when autumn will be kicking off Down Under, but it's one helluva excuse for a getaway during Japan's snow season. No matter where it's taking place, this is the hottest festival for the colder months, treating festivalgoers to action-packed days on the slopes, après ski events and its hefty lineup of international acts against an idyllic backdrop. And, because this is Japan, onsen trips, sake aplenty and yakitori bites are usually also on offer. Other than the wintry setting, one of the things that sets Snow Machine apart from other music fests is being able to book your entire getaway with your ticket. Packages span five or seven nights of accommodation, and include a festival ticket across the entire event, plus a four-day lift pass for Goryu & Hakuba 47, Tsugaike, Iwatake, Happo, Norikura and Cortina in Hakuba — and Niseko United in Niseko. A word of warning: unsurprisingly, the packages are popular. Although the Snow Machine Japan 2025 lineup has only just been announced, packages are already 70-percent sold out. If you're keen to take care of your own place to slumber and just nab a festival ticket, that's an option as well — via both day and four-day passes. Snow Machine Japan 2025 Locations and Dates: Tuesday, March 4–Sunday, March 9 — Hakuba Monday, March 10–Saturday, March 15 — Niseko Snow Machine Japan 2025 Lineup: Chase & Status A-Trak Action Bronson Bob Moses (club set) Claptone Cyril Dillon Francis DJ Kentaro DJ Nobu & Wata Igarashi Horse Meat Disco Hot Chip (DJ set) Jimi the Kween Jungle (DJ set) Ken Ishii Melanie C Monorochrome Riton Sbtrkt (DJ set) Vintage Culture (Niseko only) Snow Machine Japan 2025 will be held across Tuesday, March 4–Sunday, March 9 in Hakuba and Monday, March 10–Saturday, March 15 in Niseko. For more information and tickets, visit the festival's website. Images: Pat Stevenson. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
For over a decade, Blackbird has been a go-to spot in Brisbane for a top-quality steak, stylish cocktail and excellent river views. Now, the family-owned Ghanem Group is bringing this award-winning concept to Melbourne, with an attention-grabbing three-level site in the heart of the CBD. Coming soon to the Collins Place precinct, this second Blackbird location will maintain the essence of the original while adopting a distinctive Melburnian edge. It'll be the hospo group's third venue in Melbourne — it already counts Collingwood's American barbecue spot Le Bon Ton and the sleek riverside Lebanese venue Byblos as part of its southern stable. "We believe this is the right time and place for our Melbourne expansion," says Ghanem Group CEO, Vianna Joseph. "Blackbird Brisbane has just celebrated its tenth anniversary and has more than proved its credentials, gaining loyal corporate and leisure clientele, including many Victorian visitors. Bringing Blackbird to their own city makes perfect sense." With a June opening on the cards, a full-scale renovation of the space is being led by Gold Coast-based Space Cubed Design Studio, which has also designed a number of Ghanem Group's stylish Queensland venues including Donna Chang and Boom Boom Room. Encompassing a sophisticated restaurant, bar and event space, the refined offer is expected to slot effortlessly into the 'Paris end' of Collins Street. Blackbird Melbourne will feature an interior aesthetic rich in dark, moody tones and contrasting textures set against murals contemporary artwork. At street level, an intimate cocktail bar invites guests to find a comfy spot on a sunken lounge, plush banquette or an upholstered armchair, creating an intimate escape from the bustling Flinders Lane. Rising through the levels via a central staircase, you'll find eye-catching chandeliers, mirrored ceilings and an expansive, split-level dining space awash with tonal charcoal hues. This striking setting is the perfect backdrop for executive chef Jake Nicolson's menu. A Victorian native, Nicolson — whose impressive resume includes stints at Daylesford's Lake House and the now-closed St Kilda fine-diner Circa — will highlight premium ingredients such as Josper-grilled and dry-aged meats, fresh seafood, and seasonal vegetables, showcasing the best of Victorian produce. Plus, select ingredients sourced from Queensland will pay homage to the restaurant's origins. "I am very much looking forward to rekindling and building upon the great relationships with growers and producers I had formed during my early years in Victoria," says Nicolson (pictured below). "Showcasing the best of each season's bounty, and combining the very best produce from Victoria and Queensland for all to celebrate through the menus at Blackbird Melbourne is very exciting." Blackbird Melbourne is scheduled for a June opening at Collins Place, 66 Flinders Lane, Melbourne. Check back for updates or head to the venue's website for more information. Images: Markus Ravik.
Feeling hemmed into the daily grind without much respite? It's time to break free from our own four walls in favour of spectacular scenery. If you have your sights set on a New South Wales getaway, we've found eight other-worldly spots that'll leave you spellbound — from extraterrestrial-esque terrains to luminous caves, jewel-coloured oceans and prehistoric forests. Here are some must-visit sites for your next NSW holiday that'll have you falling back in love with your own backyard. Due to extreme weather events, some places mentioned may be closed or operating differently. Check websites before making plans to visit. [caption id="attachment_802265" align="alignnone" width="1920"] Destination NSW[/caption] DISCOVER THE MARS-LIKE LANDSCAPES OF MUNGO NATIONAL PARK You'll feel like you're on a space expedition wandering around the wind-sculpted sand dunes and millenia-old rock formations of this World Heritage-listed site. It's home to the 40,000-to-42,000-year-old Mungo Lady and Mungo Man, some of the oldest modern human remains discovered outside of Africa. Dive into the park's history at the Mungo Visitor Centre and learn about the cultural heritage of the area, which is shared by the region's Indigenous landowners, the Paakantji, Ngiyampaa and Mutthi Mutthi people. Choose a walking, biking or driving route to explore the blazing red earth landscapes and vast, dry lakebed. Visitors can stay in the park's two campgrounds or the historic Mungo Shearers' Quarters, but numbers are limited. Or, find more accommodation in the nearby towns of Mildura and Balranald. It's quite the drive from Sydney — a solid ten or so hours — so, if you'd rather cut the highway drive, consider flying to Mildura or Griffith. [caption id="attachment_802263" align="alignnone" width="1920"] Destination NSW[/caption] SWIM IN THE SAPPHIRE SEAS OF MIMOSA ROCKS NATIONAL PARK Pack your camp gear, fishing rods and multiple sets of swimmers and visit this Sapphire Coast gem. You'll find idyllic inlets like Nelson Beach or Moon Bay, perfect for swimming, surfing and fishing. Picnickers and those prepared to paddle with a canoe or kayak should head to Nelson Lagoon. Or, if it's sea life you seek, stroll along the walking track to Wajurda Point lookout and spy whales and dolphins among the endless blue. Park your pack at the campgrounds at Gillards, Picnic Point or Middle Beach for a canvas room with an ocean view. Or, you can book the historic Myer House by Lake Wapengo for up to 12 people. The nearby towns of Bermagui and Merimbula are good spots to stay for the less intrepid, too — and you can even fly straight into the latter if you're short on time. [caption id="attachment_802357" align="alignnone" width="1920"] Destination NSW[/caption] CHECK OUT A JAW-DROPPING CANYON AT CAPERTEE VALLEY Regular Blue Mountains visitors and new explorers alike will be awestruck by the Capertee Valley, the second-largest canyon in the world. The mighty sandstone escarpment drops into a deep chasm of bush and grasslands that's a hiker's haven. If you're not so keen on climbing, easily accessible vantage points such as Pearsons Lookout let you gaze upon magnificent formations like Pantoneys Crown – a flat-topped monolith structure — without all the work. Campers can set up at the main grounds by the Capertee River, or you can find charming private accommodation around the valley, including three bubble tents with 360-degree views and outdoor woodfired baths. [caption id="attachment_802277" align="alignnone" width="1920"] Destination NSW[/caption] SNORKEL WITH SEALS AT WILDLIFE HAVEN BARUNGUBA (MONTAGUE ISLAND) Another jewel in the Sapphire Coast's crown is Barunguba, aka Montague Island, nine kilometres off the coast of Narooma. The nature reserve is home to a colony of fur seals, thousands of little penguins, more than 90 bird species and regular whale and dolphin visitors. This tiny island offers plenty of activities, from snorkelling and scuba diving to touring the lighthouse, fishing for tuna and marlin or wildlife spotting on the island walking track. The island can only be reached on a guided tour or if you book accommodation on the island, and all visitors must be over the age of five. The Montague Island Lighthouse Keeper's Cottage sleeps up to twelve people while the Lighthouse Assistant Keeper's Cottage sleeps seven. Either way, you'll more or less have the island to yourself. [caption id="attachment_802275" align="alignnone" width="1920"] Destination NSW[/caption] WANDER THROUGH ENCHANTED GARDENS AT DISTILLERY BOTANICA Get to know the botanicals that make a G&T really pop at this distillery hidden within three acres of lush gardens on the Central Coast. Take a turn around the leafy grounds where owner and herbalist Philip Moore grows ingredients for Distillery Botanica's range of gins, liqueurs and vodkas. Then, settle in for a tasting session at the distillery door, followed by a garden-inspired meal at the on-site eatery, Bar Botanica. Once you're done, bottle up the day and take it with you by purchasing your favourite spirits. Sure, you could just visit on a day trip but, with the Central Coast offering up pristine beaches, national parks and next-level food and drink options, it'd be remiss not to extend your stay. [caption id="attachment_802543" align="alignnone" width="1920"] Destination NSW[/caption] TIME TRAVEL WITH SERIOUS GONDWANA VIBES AT DORRIGO NATIONAL PARK The climbing vines and giant rainforest ferns of Dorrigo National Park are Jurassic Park-level. Drive an hour inland from Coffs Harbour and you'll feel like you're walking with dinosaurs as you hike past 600-year-old trees or brave the suspension bridge to feel the spray at Crystal Shower Falls. Well-kept boardwalks lead to uninterrupted views across the rainforest canopy and provide perfect birdwatching platforms. If a cool-down dip is in order, head to Dangar Falls where a crater within undulating farmland has produced a 30-metre waterfall cascading into a pristine swimming hole. If you're coming from the city, it's about a six-hour car ride, or you can fly into Coffs Harbour. Where to stay? The quaint, colourful town of Bellingen is just 30 minutes from the park and has plenty of accommodation — from campgrounds to luxe farmstays. [caption id="attachment_790432" align="alignnone" width="1920"] Daniel Tran via Department of Planning, Industry and Environment[/caption] HEAD ON LUMINOUS ADVENTURES THROUGH GLOW WORM TUNNEL The creeping ferns shrouding the entrance to the Blue Mountains' Glow Worm Tunnel provide a mystical air to this historic site reclaimed by nature. Speak in whispers and keep the lights low once you enter, and an army of glow worms will create a constellation of blue light along the surface of the 400-metre tunnel. This dreamy experience in Wollemi National Park is an easy one-kilometre walk from the car park at the end of Glow Worm Tunnel Road. If you'd prefer a guided tour, Blue Mountains Glow Worm Tours offers one-hour expeditions for $65. Beyond the transformed railway tunnel, you can explore the park's lush rainforests and stunning rock formations, all within an hour's drive from Lithgow. [caption id="attachment_802550" align="alignnone" width="1920"] Wollongong Botanic Garden[/caption] TRAIPSE THE TRANQUIL GROUNDS OF WOLLONGONG BOTANIC GARDEN Just over an hour's drive south of Sydney, Wollongong thrums with an element of city bustle. But all that drains away once you enter the grounds of the Wollongong Botanic Garden. The peaceful rainforest-like oasis has semi-arid succulents and delicate rose gardens that have been carefully cultivated for 50 years. Horticultural enthusiasts can spend hours exploring the flora — some local to the Illawarra and many more from as far as Japan, Africa and North America. It all sits at the foot of the escarpment under the watchful gaze of Mount Keira. You can head to the summit lookout for views across the city and Wollongong's glistening coastline, too. If you are looking for more places to feel free in New South Wales, head to visitnsw.com. Top image: Dorrigo National Park, Destination NSW
You can put a beloved animated series into cryogenic stasis, but someone is going to thaw it out one day. In Futurama's case, US streaming platform Hulu has announced plans to defrost the Matt Groening-created show about life in the 31st century, marking the second time that it has been brought back. Originally airing from 1999–2003, the futuristic animated series then returned from 2008–2013 — and now it'll be revived again in 2023. Obviously, in the words of Professor Hubert J Farnsworth: good news, everyone! Hulu has announced a new 20-episode run for Futurama, as well as the return of most of the original voice cast. That means that you'll be spending more time with Philip J Fry (voiced by Billy West), the 20th-century pizza delivery guy who managed to get accidentally cryogenically frozen on New Year's Eve 1999, only to defrost a thousand years later — and then get a job delivering packages with Planet Express, the cargo company run by Farnsworth, his distant nephew. It also means more antics with one-eyed Planet Express captain Turanga Leela (Katey Sagal); fellow company employees Hermes Conrad (Phil LaMarr), Amy Wong (Lauren Tom) and Zoidberg (also West); and everyone from self-obsessed starship captain Zapp Brannigan (West again) and his amphibious 4th Lieutenant Kif Kroker (Maurice LaMarche) through to scheming corporation owner Mom (Tress MacNeille). One key cast member who hasn't yet been confirmed for the Futurama revival: John DiMaggio, aka the voice of constantly sauced robot Bender Bending Rodríguez. Variety reports that it's still hoped that DiMaggio will return for this trip back to the animated future, but if that doesn't happen, Bender will be recast. Whoever will be exclaiming "bite my shiny metal ass!", Futurama will keep doing what it did hilariously well over its past seven seasons and four direct-to-DVD movies: peering at life in the year at 3000 and beyond in its offbeat way. "I'm thrilled to have another chance to think about the future... or really anything other than the present," said David X Cohen, Futurama's head writer and executive producer, in Hulu's announcement. "It's a true honour to announce the triumphant return of Futurama one more time before we get canceled abruptly again," added The Simpsons great Matt Groening. Viewers Down Under can likely expect to watch the new Futurama via Disney+, given that the Mouse House owns Hulu and airs Hulu shows in Australia and New Zealand via its Star expansion — but expect further specifics to be confirmed, alongside a premiere date, as 2023 approaches. New episodes of Futurama are set to air in 2023 — we'll update you with further details, including where you'll be able to watch Down Under, when they're announced.
When it was announced back in 2016 that Moulin Rouge! was being turned into a stage musical, fans around the world thought the same thing in unison: the show must go on. Since then, the lavish production premiered in the US in 2018, then hit Broadway in 2019, and also announced that it'd head Down Under in 2021 — and if you're an Aussie worried about whether the latter would actually happen after 2020's chaos, the same mantra thankfully applies to its planned Melbourne season. After the Australian production put out a casting call for auditions late in 2020 — and, in the process, revealed that it was working towards June rehearsals and August previews as part of its timeline — it has been confirmed that Moulin Rouge! The Musical will indeed hit Melbourne's stage in the second half of this year. So, from Friday, August 13, you'll be able to watch the spectacular show at Melbourne's revamped Regent Theatre. Based on Baz Luhrmann's award-winning movie, the stage musical brings to life the famed Belle Époque tale of young composer Christian and his heady romance with Satine, actress and star of the legendary Moulin Rouge cabaret. Set in the Montmartre Quarter of Paris, the film is known for its soundtrack, celebrating iconic tunes from across the past five decades. The stage version carries on the legacy, backing those favourites with even more hit songs that have been released in the two decades since the movie premiered. Indeed, when Moulin Rouge! The Musical makes its Aussie debut this year, it'll help mark the movie's 20th anniversary year. https://www.youtube.com/watch?v=p68Q1G1A_k4&feature=emb_logo The musical is heading to Melbourne in the hands of production company Global Creatures, along with the Victorian Government. The Government is also a big player behind the Regent's upgrade works, having dropped a cool $14.5 million towards the $19.4 million project. It co-owns the site, along with the City of Melbourne. At present Moulin Rouge! The Musical's season will run through until at least December, with general public tickets going on sale from 9am AEDT on Friday, February 19 for performances up until Sunday, December 5. You might want to get in quickly if you're keen on heading along, though — when pre-sale tickets were put up for grabs on Monday, February 15, they broke the Regent Theatre's record for the most pre-sale tickets sold in a single day. Moulin Rouge! The Musical will hit The Regent Theatre, at 191 Collins Street, Melbourne from Friday, August 13. General public tickets go on sale via Ticketmaster from 9am AEDT on Friday, February 19 — and for further details, head to the production's website. Moulin Rouge! The Musical image: Matthew Murphy.
Afloat is dropping anchor in the Yarra River this month — and for its milestone tenth edition, it's all about the rhythms, flavours and flair of Rio de Janeiro. From Friday, August 29, the ever-changing floating bar and restaurant will reopen with a brand-new look, feel and menu, all inspired by the colour and energy of the Brazilian seaside city. Afloat has built its reputation on full-scale annual reinventions, with each season channelling a different international escape, from the Amalfi Coast to Palm Springs. For Afloat's 2025–6 edition, HQ Group (also behind permanent riverside hangout Arbory and multi-venue Lonsdale Street precinct HER) is drawing inspiration from Carioca spirit, with Carnival colour, a stacked events lineup and a menu brimming with bold, tropical flavours. [caption id="attachment_1015765" align="alignnone" width="1920"] Arianna Leggiero[/caption] The venue has undergone a complete design overhaul — interior designer Emily Jamieson has drawn from what she calls the "alluring paradox" of Rio's "old-world glamour and super-chill beach vibes". Expect expansive umbrellas in lush rainforest greens, ocean-hued awnings and bars built from natural materials like wood, rope and rattan, as well as plenty of tropical plants and palms, hand-painted murals and pops of sunset pink and orange throughout. The drinks program is similarly colourful. Curated by HQ Group's Head of Cocktails, Tom Younger, and the team at the group's RTD offer Straight Up Cocktails, the menu features fun, flirty and fruit-forward sips like a passionfruit pisco sour, coconut water and vodka highball and a reaimgined long island iced tea. There'll also be a rotating selection of three frozen cocktails that might include the likes of mango batidas, piña coladas and strawberry and açai daiquiris. The food menu takes its cues from Brazil's rich multicultural culinary traditions, showcasing Portuguese, African and Japanese influences. There'll also be classic Brazilian fare, from snacky beachside faves like arepas and pastels to larger-format proteins cooked on the grill. Of course, it wouldn't be Afloat — or a trip to Rio — without a party or two. This season, Afloat will channel the energy of Rio Carnival with samba nights and full-venue parties going into the small hours. [caption id="attachment_1015764" align="alignnone" width="1920"] Griffin Simm[/caption] Afloat opens for walk-ins on Friday, August 29, with reservations available from Friday, September 5, onwards. For more information and to book, visit the venue's website. Top image: Arianna Leggiero.
Mercedes-Benz drivers will soon be able to send text messages, listen to music, change radio channels and update their status on social networks right from the front seat of their car. The company recently announced that they will be integrating Apple’s Siri interface into the electronics systems in their vehicles, allowing drivers to access their iPhone apps using voice commands alone. Mercedes-Benz is the first carmaker to use Apple’s Siri voice command technology in their vehicles. The program, to be known as Drive Kit Plus, will translate the iPhone’s screen onto the in-car system screen, and will come with popular apps such as Twitter, Facebook and Aupeo Personal Radio pre-installed. The new in-car feature will launch next month at the 2012 Geneva auto show. [via PSFK]
Listen up and mark your calendars: Melbourne Food & Wine Festival has announced a stellar lineup of over 200 events and experiences for the 2026 program, which will run from Friday, March 20 to Sunday, March 29. The ten-day program includes events across regional Victoria, features famous international chefs through a Global Dining Series, and, as always, showcases Victorian restaurants, chefs, growers and makers. One of the big-ticket items announced for this year is the CAKE PICNIC, a global sensation hailing from San Francisco, which makes its southern hemisphere debut as part of the 2026 program. The proposition is simple: bring a cake, and eat a lot of cake. Fouder, Elisa Sunga, says, "I am so excited to bring CAKE PICNIC to Melbourne. I am looking forward to seeing what flavours and styles Australia's bakers bring to the table. I've heard only great things about Melbourne's food scene, so my excitement is at a high." The CAKE PICNIC will be held at Kings Domain on Saturday, March 21, however, you'll need to get in quick. The last San Francisco event sold out its 2000 tickets in under a minute. Another headline event, which has been running since 1993, is the annual World's Longest Lunch, set to capitalise on the wave of reinvigorated Greek dining that has swept across Melbourne over the last few years. The three-course meal, offered to 1600 guests, will be served by author Ella Mittas, Alex Xinis from Yarraville sensation Tzaki, and the crew from CBD hotspot Kafeneion. The Greek-themed lunch will be held at Kings Domain on Friday, March 20. "Here, try this. A Greek-themed World's Longest Lunch! The global sensation that is CAKE PICNIC! And everyone's favourite author and baker Helen Goh. There is so much to be excited by in the 2026 Melbourne Food & Wine Festival," says Anthea Loucas Bosha, CEO of Food + Drink Victoria. "I'm thrilled that the…program features an incredible Special Events program with 170 events across Melbourne, alongside our Regional Special Events program…bringing 26 events to towns and regions across Victoria. [The] Global Dining Series, presented by Polestar, is back, with chefs from all corners of the globe heading to Melbourne to collaborate with our best restaurants. And our final weekend has us back at Fed Square, where Melbourne's best bakers and patissiers will be on show at our fourth and supersized Baker's Dozen, presented by McKenzie's. For 10 days in March, there will be nowhere better to eat and drink in the world. I'm looking forward to sharing a slice of cake with you in March". The Global Dining Series will showcase an incredible array of international talent, including a collaboration between Bridges, one of New York's most renowned restaurants, and Melbourne's beloved Cutler, an Italian social media star serving street fare at Sunhands, and the chef behind the viral Dubai chocolate popping up at Fable. "We've got guests making their way to Melbourne from Mexico City, Manila, Chiang Rai, Valetta, London, New York City, Singapore, Paris and beyond cooking food from Bundjalung, Shenyang, Larrakia, Abruzzese, Samoan, Maltese, Māori, Filipino, Malaysian and Finnish traditions, to name just a few," says Melbourne Food & Wine Creative Director Pat Nourse. "They're cooking in fine-dining restaurants and in pubs, serving food on china plates on damask cloths, and straight out of restaurant windows, doing it savoury, sweet, spicy and everywhere in between — if you're looking for flavour, it's right here in Victoria this March, and there's plenty of it." Of course, the festival would not be complete without the beloved Baker's Dozen that will feature guests from interstate and overseas, including Ottolenghi sweets boss Helen Goh. It's been a big year for bakeries in Melbourne, and your favourites from across town will make an appearance, including Amann Patisserie, Butter Days, Iris, Monforte Viennoiserie, Raya, Sebby's Scrolls, To Be Frank, and so many more. "The Melbourne Food & Wine Festival once again shows why we are the nation's food and wine capital and the 2026 program is sure to attract visitors from near and far — boosting local businesses and jobs," said Minister for Tourism, Sport and Major Events Steve Dimopoulos. Images: Supplied. Tickets for the 2026 Melbourne Food & Wine Festival go on sale at 10am on Thursday, November 27, with pre-sale tickets available from 10am Monday, November 24, for subscribers. If you miss out on tickets to the Greek Longest Lunch, you can still try the best Greek restaurants in town using our handy guide.
Australia's most prestigious portrait award, the Archibald Prize is one of the country's most anticipated annual arts events, making a huge splash across the Aussie creative scene each year. For the past few years, the event has announced its finalists in early May, then revealed its winner around a week later — and unveiled its exhibition at the Art Galley of NSW at the same time. In 2020, however, the Archibald has been postponed, with new dates yet to be revealed. It's the latest event affected by the growing spread of COVID-19, as well as Australia's various efforts to stop the illness — including banning outdoor gatherings with more than 500 people, banning indoor gatherings with more than 100 people, and implementing a limit of one person per four square metres in inside spaces and venues. In a statement on the Art Gallery of NSW website, the venue announced that "due to COVID-19, the gallery intends to hold the 2020 exhibition later this year". That applies not just to the Archibald, but to the Wynne and Sulman Prizes — which recognise the best landscape painting of Australian scenery, or figure sculpture and the best subject painting, genre painting or mural project, respectively. At present, entries have been suspended for all three prizes, with dates for submission and delivery of entries to the prizes postponed. [caption id="attachment_721079" align="aligncenter" width="1920"] Lindy Lee by Tony Costa.[/caption] In 2019, Sydney painter Tony Costa took out the Archibald with his oil painting of fellow artist Lindy Lee — marking the first time in the award's 98-year history that a portrait of an Asian Australian has taken out the coveted prize. The Archibald, Wynne and Sulman Prize exhibitions will no longer open on May 9 at the Art Gallery of NSW. For further details, visit the gallery's website. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your text trip. In this instalment, we take you to Hanging Gardens of Bali where guests stay in luxury villas overlooking some of Indonesia's untamed jungle. WHAT'S SO SPECIAL? This Balinese resort sits far away from the crowds, up in the lush rainforest surrounded by local wildlife and charming rice terraces. Hanging Gardens of Bali has also won so many international accommodation awards thanks to the breathtaking views, super luxurious villas and gracious service. THE ROOMS This high-end resort is made up of 44 private villas, each perched high atop wooden pillars overlooking the valley below. Wake up and enjoy this view from your extra-large canopy bed before rolling out into your own private plunge pool — it's paradise on stilts. And each villa is full of character. The villas combine contemporary and Balinese décor with signature hand-crafted furniture, exotic fabrics, open-air dining areas and epic master bathrooms. We see no reason why you'd ever need to leave your villa. FOOD AND DRINK Keeping with the 'never leave your villa' life, these guys will make and deliver an enormous breakfast to your room, made to be eaten in your private pool. It's all served in a bespoke wooden boat that sits out in the water with you. A dining experience that, due to your location, is quite literally next-level. But, if you do want to get out of your villa for dining, they have stacks of other options available. Either head to the main pool area for cocktails and snacks or dine in their Three Elements Restaurant. The restaurant has won separate awards for their cuisine and dining experience so shouldn't be missed. And that's just the start. Hanging Gardens of Bali also offers a wide range of other dining experiences. Spread throughout the valley are a series of cosy private dining spaces. Have a gourmet picnic on their riverside Bale, be served a romantic dinner within an ancient temple and eat some traditional afternoon tea around the rice fields. [caption id="attachment_872752" align="aligncenter" width="1920"] Niklas Weiss (Unsplash)[/caption] THE LOCAL AREA This luxury resort is located near Payangan, a small village north of Ubud. Zip around the winding roads of the area on a quad bike (or just get a taxi if you dare not undertake this feat) to explore the nearby temples, holistic centres, yoga studios, rice fields and stacks of local markets. Explore this area to see why Bali is still on the top of so many people's travel bucket list destinations. You can also visit Canggu and Uluwatu to find the best surf or temporarily leave the serenity and hit Kuta and Seminyak for those famous Bali party vibes. Choose your own Bali adventure — it's all pretty easy to do from this location. THE EXTRAS Now we've already mentioned all of the extra dining options available at Hanging Gardens of Bali, but these guys don't stop there. The team here has created an impressive smorgasbord of additional pampering activities. First off, there is the spa — yes, this has won a handful of awards too. It's truly luxurious treatments combine natural, local ingredients and ancient techniques, to create beauty therapies and treatments that soothe the mind, rejuvenate the body and energise that poor old soul of yours. Of course, these treatments also come with a view of the Balinese jungle so you'll feel surrounded by nature even when you're technically inside. We are also big fans of their guided morning walks. Take off on a journey through the local villages, led by their resort guide before reaching one of the local rice fields. Here, the guide will serve a few refreshing drinks while talking a little bit about rural life in this part of Indonesia. It's a really delightful way to start the day. Get 30% off your stay at The Hanging Gardens of Bali here (with daily breakfast, sunset yoga and a couple's massage included). You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Your tweets might be entertaining sometimes, but are they a narrative? A virtual page-turner? A form-bending flight of fancy? They could be, if you flex your fingers and join in the 2014 Twitter Fiction Festival. Friends, strangers and your favourite authors are using Twitter for their latest literary endeavours, right now until March 16. The best part is that, as with the recent Digital Writers' Festival, no travelling is required to get to it; it is entirely virtual and takes place on the platform it embraces, Twitter. While there are a select group of official participants — famous authors plus 25 contest winners — all Twitter users are encouraged to participate. Festival organisers (a grouping of American publishers) encourage everyone to use the hashtag #twitterfiction and make their stories easy to find for other users. The short stories call on many of the distinct features of Twitter. Users can collaborate, create multiple different character accounts, and incorporate pictures and videos into their fiction. Teju Cole recently wrote a story entirely through retweets. Ranging from romance stories to crime stories to the inner erotic thoughts of Mr. Bates from Downton Abbey, the 2014 Twitter Fiction Festival has something to offer everyone, particularly because these stories are so easily digestible. One fictional account is tweeting a new book of the Bible entitled #TheBookOfBieb. It recounts the rise and fall of the younger brother of Jesus, Justin Bieber. Alternatively, author Alma Katsu will be exploring what happens when a dead man's Twitter account seemingly comes back to life. Whether you're in the mood for a story about a tense hostage stand-off or need someone to relate to while you're stuck at the airport, finding fiction can be done by perusing the #twitterfiction hashtag or by checking the official Twitter Fiction Festival account to see what they're retweeting. Inspired to write your own Twitter fiction story? Get started on your own story with the Twitter Fiction tweet generator. If you just want to read, check out the program for more information. Via The Millions.
