If you're planning to spend 12 days in the Harbour City's cinemas this winter, Sydney Film Festival's full 2025 slate of movies won't be revealed until early May, ahead of the annual big-screen celebration's Wednesday, June 4–Sunday, June 15 dates. A handful of flicks from the lineup will be named in April first, but Vivid Sydney's 2025 program announcement comes bearing gifts even earlier: a few SFF events that fall within the citywide arts, light, music, food and ideas celebration as well. A celebration of Warren Ellis was always going to be huge news. There's two parts to it: a screening of Justin Kurzel (Nitram)-directed documentary Ellis Park, about the iconic musician establishing an animal sanctuary to protect endangered species in Sumatra, then An Evening with Warren Ellis at City Recital Hall. At the first, at the State Theatre, audiences will obviously see the film. Afterwards, its subject — a Nick Cave & The Bad Seeds collaborator and Dirty Three founder, as well as a pivotal force in movie scores, including on The Proposition, The Road, Far From Men, Mustang, Hell or High Water, The Velvet Queen, The New Boy, Back to Black, Kid Snow and newly minted Oscar-winner I'm Still Here — will chat about the doco, and also put on a short musical performance. SFF and Vivid are teaming up on a second event, too: Planet City: Live. Courtesy of designer and director Liam Young, the speculative fiction experience takes attendees to a different future — one where humanity has responded to the environmental destruction of the planet in a decisive fashion. Young's film is set at a time where there's just one city, which is where everyone on earth resides, with the rest of the globe left to rewild. At SFF, Young will provide live narration for the film, while Forest Swords will play its score live as Planet City screens. "Sydney Film Festival has always been a place for bold and innovative storytelling, and we are delighted to join forces with Vivid Sydney to present these two unique cinematic experiences. These events push the limits of film, sound and imagination, offering audiences something truly unforgettable," said SFF Festival Director Nashen Moodley, announcing the fest's collaboration with Vivid 2025. "The partnership between Vivid Sydney and Sydney Film Festival represents a powerful fusion of artistic vision that embodies the spirit of creative innovation we champion and allows us to connect with audiences in meaningful new ways. These immersive film events perfectly amplify our 2025 theme of 'dream' by inviting audiences to explore alternative realities through the intersection of cinema, music and live performance," added Vivid Sydney Festival Director Gill Minervini. Sydney Film Festival x Vivid Sydney 2025 Events Sunday, June 8 — Ellis Park screening at the State Theatre and Ellis Park: An Evening with Warren Ellis at City Recital Hall Tuesday, June 10 — Planet City: Live at City Recital Hall Sydney Film Festival 2025 runs from Wednesday, June 4–Sunday, June 15 at cinemas across Sydney. Hit up the festival website for further information and tickets — and check back in with Concrete Playground in April for more films from the program, and on Wednesday, May 7 for the full lineup. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
Keen for an escape? The Kittawa Lodge strikes the ideal combination of rugged, remote bliss and immense luxury. Set on 96 pristine acres amid King Island – perched in the choppy waters between Tasmania and the Victorian mainland – this dramatic retreat offers a premium stay amongst the windswept dunes, perfect for when you need to add some more tranquility to your life. This lavish off-grid accommodation is stepping things up throughout winter with the return of its acclaimed Guest Chef Series. Making the trip to King Island are renowned culinary talents, Rosheen Kaul (Etta) and Stephen Nairn (Omnia, Yugen Dining, Yugen Tea Bar). Expect a three-night foodie retreat, as these experiences blend luxury, adventure and world-class dining in the heart of Tasmania's wild beauty. With a maximum of eight guests taking part at a time, this is your chance to indulge in ultra-exclusive dining in absolute peace. Featuring a menu designed by Kaul and Nairn, breakfasts, gourmet picnics and intimate dinners will spotlight local produce alongside Tasmanian wine pairings, signature snacks and curated cocktails. As the former Head Chef of Etta, not to mention an award-winning writer and food personality, Kaul has long been an influential name on the Australian culinary scene. Celebrating her Asian heritage through Australia's seasonal produce, her first cookbook, Chinese-ish, took home a prestigious James Beard Media Award. Meanwhile, Scottish-born Nairn is the current CEO and Culinary Director of LK Hospitality, where he plies his experience gathered in respected European kitchens and New York City's three Michelin-starred Eleven Madison Park. The return of the Guest Chef Series arrives on the back of a new launch – the Kittawa Retreat – representing a significant expansion to the Lodge's accommodation offering. Designed for shared trips without compromising privacy, this new two-bedroom stay is ideal for families, friend groups or even couples that want a little more space to spread out. Luxe inside and out, amenities include an open-air hot tub with panoramic ocean views and a private cellar stocked with top-quality tipples. Guests can also book bespoke experiences, from guided yoga to private four-course dinners. "Our vision for Kittawa Retreat was to create an experience that feels both deeply personal and uniquely Tasmanian. Every detail, from the curated artwork to the plush, layered interiors, has been designed to immerse guests in comfort, beauty, and the raw natural splendour of King Island," says Kittawa Lodge owners Aaron Suine and Nick Stead. If you decide to make the trip to King Island, there's no shortage of optional extras, like 60-minute in-lodge treatments and guided meditation sessions. If it's more adventure you seek, you can book in for a guided expedition to the south of the island or even rent an AWD vehicle to curate your own remote escape. The Kittawa Lodge Guest Chef Series runs across various dates from Wednesday, May 28–Tuesday, August 5. Head to the website for more information. Images: Oscar Sloane / Gareth Sobey.
With almost every new Kristen Stewart-starring movie that has reached screens since her Twilight days, a distinctive feeling radiates. It was true with Clouds of Sils Maria, Certain Women and Personal Shopper, and then with Happiest Season, her Oscar-nominated role in Spencer and also Crimes of the Future as well: each of these films are exactly the types of flicks that one of the most-fascinating actors working today should be making. Then arrived Love Lies Bleeding, which partly sprang from that very idea and couldn't perfect it better. This revenge-driven, blood-splattered, 80s-set romantic thriller about a gym manager and a bodybuilder who fall in love, then into a whirlwind of sex, vengeance and violence, was written with Stewart in mind. As Saint Maud writer/director Rose Glass must've imagined while putting pen to paper, she's stunning in it. Love Lies Bleeding casts KStew as Lou, whose days overseeing the local iron-pumping haven — well, unclogging its toilets and scowling at meathead customers from beneath her shaggy mullet — are shaken up when female bodybuilder Jackie (Katy O'Brian, Ant-Man and the Wasp: Quantumania) enters her remote New Mexico hometown. This is a girl-meets-girl tale, but it's also about the chaos of finding the person who best understands you, dealing with a lifetime's worth of baggage and trying to start anew. Here, amid neon hues and synth tunes, that means navigating Lou's gun-running dad (Ed Harris, Top Gun: Maverick) and abusive brother-in-law (Dave Franco, Day Shift), trying to protect her sister Beth (Jena Malone, Rebel Moon — Part One: A Child of Fire), chasing Jackie's competitive dreams and attempting to leave complicated pasts in the rearview mirror. Co-writing with Weronika Tofilska (a director on His Dark Materials and Hanna), Glass didn't just conjure up Lou with Stewart as her ideal lead; she also leapt into a helluva sophomore project that follows quite the experience with Saint Maud. The 2019 movie, Glass' feature directorial debut, marked her as one of the next exciting filmmakers out of Britain. But little about getting the psychological thriller to audiences, and to adoring acclaim, was straightforward. Premiering at the Toronto International Film Festival as all very well and good. So was A24 coming onboard afterwards. The timing of Saint Maud's original April 2020 US release date says everything, though. The early days of the pandemic might've derailed getting the picture to viewers, but it didn't stop it becoming one of the standouts of the past five years. "The release was very odd, because we went down well at festivals, and then 24 picked us up," Glass tells Concrete Playground. "And they'd been planning on doing this whole wide cinematic release in America, and everyone kept saying to me 'oh my god, this never happens with a debut, this is incredible'. And I said, 'oh wow, okay, amazing'. It didn't quite feel real anyway, and then we're literally days away from getting on a plane to come out to America to do a whole fancy press tour, which felt so surreal in and of itself, and then lockdown. Obviously, we all know what happened next." "I'd been nervous about bringing the film out into the world, and people's reactions, but I think a global pandemic certainly helps put things in perspective. It certainly helped to not take it too seriously, I think," Glass continues. Before that, writing Saint Maud was "very stressful and got very unpleasant, because you're plagued by so much uncertainty about whether it's actually going to happen," she shares. Then, "making it was wonderful and just very collaborative — it was just a massive relief that it was actually happening". Consider Glass' Saint Maud journey fuel for Love Lies Bleeding; the filmmaker herself does. The latter veers in an array of vastly different directions from its predecessor; compare Saint Maud's claustrophobic focus on a highly religious carer who becomes obsessed with saving her latest patient's soul versus Love Lies Bleeding's frantic lovers-on-the-run antics. And yet, as much as Love Lies Bleeding can play like a heel-turn response to Saint Maud, they also boast more than a few things in common, such as a fascination with transformation, a deep willingness to push boundaries and, of course, an uncompromising vision. We chatted with Glass about being motivated to make Love Lies Bleeding after her Saint Maud experience, how the idea for her second feature came about, the difference between writing a part for KStew and getting her to actually play it, finding IRL bodybuilder and former cop-turned- The Mandalorian and Westworld actor O'Brian as Jackie, the film's wild ride and more. [caption id="attachment_804112" align="alignnone" width="1920"] Saint Maud[/caption] On Glass' Approach to Love Lies Bleeding After the Response to (and Chaotic Release for) Saint Maud "I'm sure it lights a fire under the arse, or whatever the expression is. I mean, it's wonderful. It definitely exceeded anything any of us were expecting or hoping to happen on the film, so that was very cool. And I think maybe because also it happened during lockdown, so I was getting a sense that people were responding to it well, and it was going down well, but because it was all basically just through [online] — I wasn't used to doing everything over Zoom at that point — it all felt very removed. I was just in my house with my flatmates in lockdown like everyone else, so it sort of felt like it wasn't happening. [caption id="attachment_804111" align="alignnone" width="1920"] Saint Maud[/caption] But, in a way, because we didn't get to do the proper release then with the film, it did mean there was a pent-up frustration, which probably spilled over into making this next one, I think. It definitely gives you a confidence and a fearlessness, which I hadn't really felt before. And definitely there's this feeling of 'oh, wow, I get to make another one — I don't know if I'll get to do another one again after that', so you treat it as if it's the last one. I think maybe also Saint Maud's kind of uptight, obviously, and quite insular and claustrophobic — so I think maybe that combined with lockdown, probably this when I was like 'let's do something bombastic and a bit more extroverted, and try something risky and irresponsible and see what we can get away with'." On Coming Up with the Idea and Story for Love Lies Bleeding "Initially, it was just wanting to do something about a a female bodybuilder. That seemed psychologically and visually exciting territory. And I guess I feel like I'm probably the polar opposite of a bodybuilder — and the obsessive level of discipline is something I can only be fascinated by and aspire to myself, but never quite achieve. So maybe, maybe that's how it became a two-hander between a bodybuilder and a woman who's basically just 'oh, my god, you're amazing'. But I decided that I wanted to try co-writing. I had this initial germ of an idea about a bodybuilder who kind of loses her mind while she's training for a competition. And then I teamed up with my co-writer Weronika Tofilska, who I've been friends with for years. Then, so the rest of the story, all the twisty-turny rest of it, we basically came up with together just bouncing back and forth." On Having Kristen Stewart in Mind While Writing "She's just, I think, a very natural fit for the character. I guess it was just a quite instinctual thing. I like the idea of her playing a moody heartthrob in loose, boyish way — like she's playing someone who's kind of an asshole but you kind of really like her as well. Kristen, she's actually, in person, she's very twinkly and energetic and stuff, but there's I think a more famous version of her which is much more held back and a bit aloof, all this kind of thing, which I think is really what the character needs. She's kind of an enigma, like a mystery — she keeps a lot held back, and then hopefully throughout the film you pick her apart a bit. I just thought she'd be a really hot, moody heartthrob." On Getting Kristen Stewart Onboard as Lou "I couldn't believe it. I met her for the first time — we had an awkward blind date kind of thing, and it was the morning after they'd released Spencer in the UK, I think, so she'd had a late night. I was basically suddenly very starstruck and quite nervous, and just as far as I saw it, I just waffled at her incoherently for an hour, and she went 'mmmm'. But then, luckily, afterwards she sent me a really lovely message, and then I sent her the script. It's weird and awkward having a meeting where you don't actually have something specific — because I hadn't shared the script with her then, it was this awkward thing where I was told that I wasn't actually allowed to, even though I wanted to offer the her the role outright. It was more of like a temperature check. So it's much nicer to have a conversation when you're actually talking about a specific script, and she's agreed, and there's none of this weird awkwardness. Anyways, she basically said she really likes Saint Maud. She's said in interviews since then that she was up for doing whatever I wanted to do next — which is very obviously a very lovely feeling and takes the pressure off a little bit, because I thought I did a really bad job of pitching it to her. But anyway, she was all in." On Finding Katy O'Brian to Play Love Lies Bleeding's Pivotal Female Bodybuilder "Katy's just — I think both her and Kristen, just on a basic level, they're just incredibly charismatic and incredible to look at. They're two people that I'm like 'I would love to watch these two people falling in love with each other'. A lot of the film just has to play on you being like 'oh, these people are amazing'. But with Katy specifically, it's the duality. On the surface, she's obviously got this incredible physicality and a very imposing physical presence, or can be. And so this more steely action-hero stuff comes very easily to her. But actually naturally, in terms of how she is and as a person, you scratch just underneath that and she's incredibly warm and soft. She's described herself as like a snuggle bear. And also, her character goes on a pretty tumultuous up and down, and does some pretty terrible things, but ultimately is still the innocent of the film. There's a naivety to her. Katy is just so incredibly empathetic, I think, which the character needs — because otherwise she'd just lose her and it'd just be 'oh, it's just this crazy woman doing crazy things'. But Katy just makes you so care for her so much. Given it was her first big lead dramatic performance — she's acted before, but more as supporting roles, normally previously in roles which have mostly been requiring her just to do the physical kind of stuff — she jumped into this. We cast like two weeks before we started shooting, and then a few weeks later she's doing all these quite tricky scenes with Kristen. I immediately would just completely forget that it's the first time she's doing a role like this." On Making a Film That Feels Like It Can Go Anywhere and Everywhere, Even While Building in Familiar Elements "In terms of the surrealism, and some of the weird combinations of things, I think it's what comes naturally. Me and Weronika, when we were writing it, we were playing with a lot narrative and character tropes. There's quite a few formulaic elements in the story, which probably are quite familiar to people, which hopefully we then take off course into somewhere a bit more surprising. There's definitely a framework in this. I think there's a lot of elements in the film which are very recognisable and which will probably feel familiar in some way. So hopefully it's setting up an expectation of something to happen — and then, because you know what the expectation is, it's easy to go 'let's go the other way'." On Taking Love Lies Bleeding in the Opposite Direction to Saint Maud in So Many Ways, But Still Finding Connections Between Them "It's kind of intentional. I mean, I think there are quite a lot of things which do connect the films. But each film, you spend a few years of your life just obsessively thinking about that — so I think after several years of just thinking about one particular tone and style of story, it's definitely, I think, a natural instinct to want to mix things up a bit. So yeah, the idea of wanting to do something which was more extroverted and bombastic than Saint Maud was definitely a deliberate, instinctual kind of thing. And I guess also Saint Maud was kind of about loneliness, so in a way this one was like 'oh, if you think being lonely is hard, try being in a relationship'." Love Lies Bleeding released in Australian cinemas on Thursday, March 14, 2024, and opens in New Zealand cinemas on Thursday, April 4, 2024. Read our review. Images: Anna Kooris.
Ivan Pavlov was a Nobel Prize winning Russian physiologist who studied the digestion of dogs in the 1800s. The name Pavlov's Duck, however, is completely random — Pavlov never owned a duck. Randomness aside, the name is intriguing enough to attract customers inside this Smith Street cafe. And Pavlov's Duck is set to put casual Sri Lankan fusion meals on the Melbourne map. From the moment you walk through the monster glass door, the establishment's eclecticism is thrust upon you. Exposed brick walls surround sporadically placed wooden ducks. The cafe has tossed out boring sugar caddies and serves sugar out of wooden coconuts — another subtle way of paying homage to Sri Lanka. Its coffee however is not from Sri Lanka, as the beans come from Padre Coffee (Daddy's Girl blend). What separates Pavlov's Duck from other brunch spots is its impressive integration of South-Asian ingredients and spices. But be prepared — the food is hefty. Chillies and poached plums give a rich twist to what would be ordinary dishes. The cafe has managed to twist a regular croissant into what is called the 'Lankan Frenchy': a croissant filled with coconut, chilli, parsley and a boiled egg ($11). For those who go out for breakfast but secretly feel like lunch, the 'Pol' roti ($16) is perfect, with homemade coconut roti, spiced red lentils, onion relish and a boiled egg. Nothing screams innovation louder than the specials. The blueberry French toast with bacon crumb mascarpone, lychees and chocolate three ways ($17) gives a new name to the timeworn classic. And yes, it works. If it's diversity you're after, the pumpkin and chia seed pancakes with lentil salad, coconut sambol (a relish made of desiccated coconut and chillies), chorizo and pickled chilli ($18) may be the one for you. After a year of trading, the cafe have extended their hours into the evening; on Thursday, Friday, Saturday and Sunday nights, they're serving up a tight menu of Sri Lankan snacks and meal. Head in after 4pm and you'll find traditional thosai (dosa) with sambar and green sambol ($15.50), roti and hoppers, which are bowl-shaped crepes filled with egg and dahl and other delicious things ($15.50). Pavlov's Duck also has desserts lined up for post-meal sugar craving. Raw white chocolate and raspberry cheesecake ($7) and a salted caramel slice ($6.50) are two sweethearts on the menu. Parents, the chocolate crackles ($3.80) made with buckinis (activated buckwheat) are a healthy dessert option for the kids. The best part? All of these are gluten-free, sugar-free and organic. So you can be cheeky at Pavlov's — but not too cheeky.
Everyone's favourite Fitzroy plant-based pub, Green Man's Arms, is embracing winter by celebrating one of the season's finest offerings — truffles. On Saturday, July 12, the pub will serve up a one-off, five-course lunch packed with truffle decadence, alongside other moreish, plant-based ingredients. Whether you're vegan, vegetarian or none of the above, the food here hits the spot, and you can expect nothing less from Chef Johnny Ly for the truffle lunch. Ly will dish up new and old creations, each with a truffle twist. Guests can expect faux gras canapés; seared king oysters with cauliflower white truffle emulsion and caviar; lion's mane short rib with truffle butter; and even a white truffle semifreddo complete with poached pear and puff pastry. To drink, there's an option to add beer or wine pairings — it is a pub, after all. If you can't make the lunch, the good news is that Green Man's Arms will also be serving truffle specials in addition to the regular à la carte menu throughout July and August. With limited spots, bookings for the Truffle Lunch at Green Man's Arms are expected to go fast. Head to the venue's website to book a spot. Images: Supplied.
After tackling South American fare with Greville Street's White Oaks Saloon and recreating the Southern Cali taphouse experience with Silverlake Social, the 2 Sons Group then started up its own mezcaleria in Prahran: Casa N.O.M. Bar y Restaurante. Sitting just across the road from its oldest sibling, this mezcaleria and restaurant is dishing up an authentic taste of Central and South America, with a focus on fine booze offerings from all across the regions. Here, a diverse lineup of mezcal reigns supreme, while strong collections of tequila, rum, pisco, aguardiente and cachaça showcase Latin America's broad-ranging spirits offering. You'll also spy an impressive rotation of imported craft beers and lots of unique in-house cocktails, like the El Resucitador — a blend of zesty citrus and sweet smoky flavours. The food menu is also replete with traditional Latin American flavours, kicking off with punchy snacks like loaded corn chilaquiles, and Spanish-style croquettes stuffed with pimento cheese, pulled pork and jalapenos. You've also got a stack of tacos, quesadillas, empanadas and arepas — made for mixing and matching to create your own Latin American feast. A playful frozen margarita pie and guava doughnuts round out the food offerings at Casa N.O.M. Bar y Restaurante, best paired with a sipping mezcal or pisco sour. Images: Griffin Simm.
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. Further events have been announced for this year's massive program. As part of the Global Dining Series and Special Events, diners can expect limited-edition menus, once-in-a-lifetime experiences, exciting collaborations, and rare pairings. "We're thrilled to welcome some of the world's most exciting hospitality talent to Melbourne for 2026," said Anthea Loucas Bosha, CEO of Food + Drink Victoria. "From Phil Khoury's plant-based croissants at Lune to Nat Thaipun's bold collaboration with Andy Hearnden and James Lowe's take on pizza, these events highlight the creativity, skill and diversity that make this Festival so special. There's truly something for every diner to discover." If you want a fiery festive evening, head to Smoke, Skewers and Som Tum: Grilling with Nat Thaipun and Andy Hearnden, which celebrates the universality of cooking over fire. "Andy and I both learned to cook over fire from our families," says Thaipun. "Getting to do this together, outside, with smoke in the air and a crowd with us, feels like it's going to be a good time. Come on down." For the first time ever, Lune goes vegan in collaboration with acclaimed pastry chef Phil Khoury, showcasing an olive oil-powdered croissant in a ticketed Lune Lab-style evening at the new Lonsdale Street mega store. These are just a few of the more than 200 events across Melbourne and regional Victoria scheduled for the Melbourne Food & Wine Festival this year, so get your tickets now. The final ticketed event of the MFWF is shaping up to be one of the most exciting on this year's schedule. On Sunday, March 29, two culinary stars collide for the Wine Terrace Fiesta. Pt. Leo Estate's Culinary Director Josep Espuga, and Chin Chin's Executive Chef Benjamin Cooper are joining forces to present a high-energy, vineyard celebration of food, art and wine. Think Paella cooked over open flame, estate wines, and a DJ set, all set amongst breathtaking views of the sculpture park and vines. The Wine Terrace Fiesta is the final chance to experience the collab, with two other events already sold out. The Defining Peninsula Collaboration between Pt. Leo Restaurant and Chin Chin, as well as the Refined Four Hands Experience, which will see the two culinary giants produce an intimate, refined degustation experience, are both fully booked, but if you get in quick, you might still be lucky to score a spot at the Fiesta. 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.
Located on the corner of bustling Bay and St Andrews Streets is Brighton's 'heart of fine wine and craft beer'. Brighton Bay Cellars is a small bottle shop with a big heart. Offering a great selection of craft beers, local spirits and unusual wines, Brighton Bay Cellars is well known as one of the best in the area. Indecisive shoppers can have a chat to the friendly staff — their expert knowledge means they'll find the perfect bottle for you in no time. Whether it's for a special occasion, a quiet night in or you simply want to check out the selection, Brighton Bay Cellars has you sorted.
Northeastern suburbs retail hub Westfield Doncaster has just unveiled its newest addition: a $30-million rooftop food and entertainment precinct. The extensive revamp has seen the centre's second level transformed into an 5000-square-metre indoor-outdoor setting, complete with a sun-drenched internal laneways. And its home to 14 retailers, including a multicultural mix of both familiar names and newer players, promising something for all appetites. In exciting news for fans of Japanese fare, the centre is home to the second Aussie outpost of Dohtonbori, following the launch of its debut in The District Docklands. The eatery is known for its teppanyaki menu, as well as a DIY okonomiyaki offering where you can cook your own custom savoury pancakes at an in-table grill. Plus, there are three all-you-can-eat options (starting from $39.90 a head). Meanwhile, Betty's Burgers has come to the party with its range of signature buns and frozen custard desserts and Perth's all-pink pretzel store Pretzel continues its Melbourne expansion with another playful venue. Also on the lineup, Asian fusion tapas spot and beer garden Pocha Pocha, a sushi train from Sushi Jiro and Thai street food at Little Bangkok Thai. Noodle bar Lanzhou Beef Noodles, bubble tea spot Teaser Tea and Yeosin Korean BBQ round out the slew of newcomers, while existing venues TGI Fridays and yum cha restaurant Secret Kitchen have both reopened, each sporting a new look and revamped offering. Two more eateries are set to join in the coming weeks, too: Woodstock Pizzicheria — a third-generation Sicilian restaurant group with 35 years under its belt — and The Sporting Globe, which sees big screens paired with American-style eats. Find Westfield Doncaster's new-look level 2 food and entertainment at 619 Doncaster Road, Doncaster. For individual restaurant opening hours, head to the shopping centre website.
While we'll always have a soft spot for the lo-fi classics of youth, sometimes your booze radar is after something more high end than a longneck of Melbourne Bitter. Thankfully, Melbourne is home to a growing collection of independent bottle shops that have made it their mission to seek out the best beers, wines and spirits being crafted around Australia and the world. From neighbourhood wine stores slinging an expert curation of new-world drops, to craft beer shops crammed with the freshest tinnies, the city's got boozy retail offerings for all palates. Organic, fermented, hoppy, or just a certain je ne sais quoi — whatever you're after, these Melbourne boutique wine and beer bottle shops will fit your next park session or dinner dalliance with the right drop for a kind price. Recommended reads: The Best Sandwiches in Melbourne The Best Delis in Melbourne The Best Bakeries in Melbourne The Best Cafes in Melbourne MR WEST BAR & BOTTLE SHOP, FOOTSCRAY This fab Melbourne bottle shop and bar offers magnums of pet-nat and more beers than your gramps could squirrel away for winter. Here at Mr West, there are shelves and shelves of beers, totalling more than 500 options, along with a great selection of natural wine and some 200 rare spirits. Basically, if it's crafty, artisanal or obscure, you're likely to locate it on Mr West's roster at some point. Fresh, seasonal picks are dropping all the time, and there are regular guided tastings happening in-store. Hop upstairs and you'll find the adjoining bar celebrating the same approach to sourcing and serving top-notch booze as its sibling. BEERMASH, COLLINGWOOD Beermash is not your standard Melbourne beer shop. The industrial-style space boasts exposed brick walls, retail fridges heaving with specialty brews and an impressive 20 taps built into the wall behind the front counter. Although owner Kieran Hennessy and partner Shayne Dixon built the shop around take-home 'growlers' and 'squealers', there's never a shortage of people taking advantage of the venue's stools for a sit-in tipple. It's a go-to for hyped local releases and hard-to-find international drops alike, making it a superstar of the local craft beer scene. Not a beer connoisseur? Fear not — there's also plenty of craft wine, cider and even kombucha. SAMUEL PEPYS, NORTHCOTE Longtime Bomba business partners Jesse Gerner, Andrew Fisk and Kelly O'Loghlan laid the golden vino egg when they opened their boutique wine store a throw away from Terra Madre. Named after a fellow wine-lover, Samuel Pepys focuses on producers who practise sustainable, organic and biodynamic winemaking principals, making it an ideal swing-by while grocery shopping. The store stocks hundreds of wines on rotation (some handpicked international varieties included) and an extensive spirit list, staffed by wine-lovers who truly know their stuff. Nab the latest from local favourite Patrick Sullivan, a bottle from the Mornington Peninsula's Polperro Estate or a picnic-friendly magnum to share [caption id="attachment_810376" align="alignnone" width="1920"] Kim Jane[/caption] CARWYN CELLARS, THORNBURY A veritable candy shop for anyone who digs beer. Carwyn Cellars boasts around 10 fridges full of it, along with hundreds of wines arranged from lighter to bolder, a golden selection of American whiskey and lots of other boozy delights. Carwyn doesn't dabble in big breweries, so its shelves are reserved for top-notch local crafties, hot releases and international gems. Try a tropical sour from Bridge Road Brewers, nab the latest limited-batch creation from Hop Nation, or jet your tastebuds overseas with a big bottle of Westmalle's famed Tripel. And if you're not in a hurry, venture through the shop's rear door to spend some time in one of the north's best-loved craft beer bars. THE MOON, COLLINGWOOD A northside venture from Lyndon Kubis and Mark Nelson (Toorak Cellars, Milton Wine Shop), The Moon is a touch moodier and a little more refined than its siblings; though still slinging a wide-ranging pick of booze with minimal pretentiousness. At this beloved Melbourne bottle shop, small producers are the focus of a 300-strong bottle curation that reflects places and regions, rather than processes and technique. A solid crop of craft beers and boutique spirits is also on offer. Meanwhile, the onsite bar invites you to sit in and sample selections, either from the rotation of twenty wines by the glass or the beer taps. BLACKHEARTS & SPARROWS, MULTIPLE LOCATIONS With bottle shops scattered all over the city (the OG being in Windsor) this sibling-owned purveyor of unique wine, beer and cider has been at it since 2006. Blackhearts & Sparrows' staff spring from winemaking and hospitality backgrounds, and there's never any shame in dropping less than a twenty since their aim is to always be accessible. Try a minimal-intervention wine that lets the grapes and terroir speak for themselves, or go for some old-world European iteration steeped in tradition. You'll find a bunch of fridges dedicated to local and international craft beers, too, along with a covetable selection of spirits. SEDDON WINE STORE, SEDDON Seddon Wine Store is a treasure trove of good booze, whether your drink of choice is a Yarra Valley chardonnay, a big French Burgundy or crisp local pilsner. Doubling as an intimate wine bar, it's a comfy, laidback Melbourne bottle shop where you can settle in to sample a few wares — and maybe some freshly-shucked oysters — before deciding on which vino to take home for dinner. A weekly tasting panel ensures only top-quality fresh drops land on the shelves each week and friendly staff are always happy to share notes on their latest top picks. ATLAS VINIFERA, RICHMOND Its name is a tribute to the parent vine from which all of the world's wine grapes originated, and its shopfront is stocked with a sprawling curation of interesting bottles from across the globe. It's safe to say Richmond's Atlas Vinifera is wine obsessed — which is excellent news for anyone hunting a great drop. Here, you can pull up a seat in the bar space to enjoy a cheeseboard and a glass from the rotating pouring list, or browse and shop the ever-changing selection of goodies lining the shelves. And if you're after something extra special, raid the Pool Room collection to find a range of super rare and collectible wines. MILTON WINE SHOP, MALVERN Nestled in the heart of the city's southeast, Milton Wine Shop is this cosy Melbourne bottle shop and wine bar that slings rare drops by the glass. Here, old and new-world wines are celebrated in equal measure, with the selectors focused on showcasing quality winemaking and plenty of hard-to-find pours. Discover red, pink, white and orange wines from every corner of the globe, along with a tidy curation of boutique beers and spirits. If you need help deciding, nab a seat at the communal table and get acquainted with the bar's pouring list, which rotates through the latest and greatest selections. [caption id="attachment_752648" align="alignnone" width="1920"] Parker Blain[/caption] BOTTLE HOUSE, MULTIPLE LOCATIONS When it comes to top-notch beer, wine and spirits, not many southside spots have a more rounded offering than the OG Bottle House. Conveniently positioned just steps from South Yarra train station, it was opened in 2011 by a group of friends who decided that they could put their knowledge of a good brew to better use. You'll find fridges full of craft beer sourced from across Australia and the globe, backed by an array of vino that'll put even the worldliest of drinkers' knowledge to the test. Whether you're seeking a funky low-intervention drop, an old-world style out of Europe, or a limited-release hazy IPA, there's a very good chance you'll find it at this excellent Melbourne bottle shop. Top Image: Mr West
Summer in Melbourne pretty much screams for a crisp, gin-infused tipple, enjoyed in the sunshine, overlooking some water. And once again, local gin festival Juniperlooza is setting you up for success, taking over South Wharf's Boatbuilders Yard on Saturday, February 9, for its 2019 edition. The gin-soaked revelry will be in full swing, with 21 boutique producers from both overseas and Australia gathering to show off their wares. Locals Cedar Fox, Ink Gin, 4 Pillars, Patient Wolf and Archie Rose have already been announced, as well as the UK's Chase Distillery. The folks at Strangelove will be heading up the party's tonic situation. Gin-thusiasts will have the chance to meet the producers, sip G&Ts accented with carefully matched garnishes, and sample specialty gin cocktails from each brand. A series of Talk & Taste sessions will also be available to pre-book before the event. Meanwhile, the Boatbuilders Yard kitchen will be supplying a parade of bites designed to be downed with a gin in hand, roving performance artists will be doing the rounds and the DJ tunes will be spinning right through the afternoon. Early bird tickets ($39) to Juniperlooza are on sale from 10am, November 15 until November 30 or sold out. Then, $49 tickets will be available from December 1.
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".
With its hot-ticket pairing of bubbles and crustacean-stuffed rolls, Pinchy's has spawned a few popular pop-ups over the of years. But, thankfully, its latest venue is sticking around for a bit longer than usual. Pinchy's has just opened the doors to its new, very permanent digs — a snappy first-floor eatery and sun-drenched terrace perched above Bourke Street. The newly hatched Pinchy's Champagne and Lobster Bar comes decked out in a rainbow of candy pinks and loud neon, with 75 seats inside and room for another 60 out on the balcony. It's fun and playful, with pops of greenery and splashes of terrazzo, and a very suitable set-up for those balmy evenings to come. Executive Chef Pierre Khodja (Camus, Canvas, Terminus) is whipping up a menu where seafood reigns supreme. But it's not all about the signature lobster rolls, loaded with buttery lobster sourced from over in Alaska and Maine. You'll also find a tapas-style lineup of fat scallops served in the shell atop black risotto, crab tacos, salt cod sangas, prawn head rolls with sea urchin aioli and creamy snapper croquettes. Mussels are done in a rich chowder-style sauce, too, and stuffed calamari comes teamed with a tarragon dressing. There's also a handful of plant-based options, but if you're craving red meat, best venture elsewhere. Here, seafood's perfect match is a bubbly one — so you'll find plenty of fizz on the drinks list. A hefty champagne selection sits alongside brews from Colonial Brewing Co, Stomping Ground sours, three Adelaide Hills ciders and a spread of classic and champagne-based cocktails, such as the citrusy Thorny Bitch and a slightly salty twist on a negroni. Find Pinchy's Champagne and Lobster Bar at Level 1, 200 Bourke Street, Melbourne. It's open 11.30am till 10pm Wednesday to Sunday.
The folks over at Gelato Messina know how to whip lovers of all things sweet and frozen into a frenzy, and they've done it again, announcing that their Sydney degustation bar will be venturing south to Melbourne. The Messina Creative Department will be setting up shop in a secret room at their Windsor store for five nights only, from August 23-27. An offshoot of the famed gelato parlour, the Messina Creative Department offers an epic seven-course degustation, complete with non-alcoholic drink pairing. Since opening next door to their OG Darlinghurst venue in April to rapturous response, the tiny eight-seater space has proved to be immensely popular, with places booking out almost as soon as they're released. So it's no surprise that the announcement that Messina would be bringing their Creative Department to Melbourne has already seen a massive response. With three sittings per night (at 5.30pm, 7.30pm and 9.30pm) and just eight seats available per sitting, Melburnians booked out those $130-per-head spots at the ice cream sorcery table in record time. And judging by their previous creations, it's not hard to see why. Their Sydney dessert dinners have seen the likes of garlic gelato, a sugar egg filled with delights and an amazing matcha and pistachio cake concoction. Their latest offering included a lemon-like globe filled with liquorice gelato, yuzu curd and olive oil pastry accompanied by a muscatel grape, dill and black pepper oil cold pressed juice. It's dessert meets art meets one helluva tastebud adventure. If you didn't manage to get your sticky gelato fingers on a ticket, be sure to keep your eyes on the Messina Creative Department page and hope like hell they release some more sittings. But, either way, you can leave your details on the waiting list.
If your resolutions for 2023 involve being your best self in the kitchen, this year keeps bringing folks Australia's way who can definitely help. First, Israeli chef Yotam Ottolenghi made his way around the country on a speaking tour. In May, Britain's Marco Pierre White will do the same. And, that month as well, the one and only Nigella Lawson will enjoy her latest visit Down Under. Dubbed An Evening with Nigella Lawson, this two-stop tour will see the television and cookbook favourite spend two nights chatting through her culinary secrets — and food in general, her life and career, and more. 2023 is proving an impressive year for famous names hitting Aussie stages to dive into their expertise and experience, in fact, given that everyone from Barack Obama to Mary Trump is also doing it. If you're the kind of person who starts plotting your next meal before you've even finished the last, or loves eating more than anything else, Lawson's visit will help get right to the guts of your food obsession. And, the two events — one in Melbourne, one in Sydney — will also feature a Q&A component so that you can ask Lawson whatever you've always wanted to yourself. Even when she isn't answering audience questions, Lawson will have plenty to cover — she has a hefty pile of cookbooks to her name, starting with 1998's How to Eat: Pleasures and Principles of Good Food and including 2020's Nigella's Cook, Eat, Repeat. When she hasn't been filling our bookshelves with recipes, she's been whipping through them on TV, too, on everything from Nigella Bites, Nigella Feasts, Nigella Kitchen and Nigellissima through to Simply Nigella and Nigella: At My Table. And, she's been popping up on Top Chef, MasterChef Australia and My Kitchen Rules as well. AN EVENING WITH NIGELLA LAWSON 2023: Friday, May 19 — Hamer Hall, Arts Centre Melbourne Sunday, May 21 — State Theatre, Sydney Catch An Evening with Nigella Lawson in May 2023, with ticket pre-sales from Tuesday, March 7 and general sales from 12pm AEDT on Thursday, March 9 via the tour website.
Before social media, the local milk bar was usually where youngsters went to socialise. Though there's still a few of them about (including 2223 in Sydney and Rowena Corner Store in Richmond), they're fast becoming a thing of the past. That's why Melbourne-based artist Callum Preston has gone to painstaking lengths to recreate one, detail by detail. You'll find his incredibly realistic, immersive artwork Milk Bar in Hamilton Gallery, from Wednesday, August 15 though Sunday, September 16. Walking in, it'll be easy to imagine you're in a bona fide corner shop. But take a closer peek and you'll notice the chocolate bars, magazines and soft drink cans aren't what they seem. They're pretend versions of themselves — more than 500 of them — that Preston has created by hand. "For most of us, these simpler times might have passed," Preston said. "Sure, the memories may be a little blurry now, but it's my hope that when all the elements are recreated you can be transported right back to 'when going down the shop' was an experience of pure joy." To meet Preston, head along to the exhibition's opening party at 2pm on Wednesday, August 15, where he'll be hosting a talk and a free workshop. This isn't Preston's first venture into nostalgia. In 2015, he revisited Back to the Future via his artwork Bootleg to the Future, which featured a life-sized replica of a DeLorean. And late last year his Milk Bar exhibited at the RVCA Corner Gallery in Collingwood.
Not only is Lunar New Year one of the biggest celebrations in the Asia Pacific region, it's easily also one of the most delicious. If you're not celebrating it already, your palate is missing out. Cue family feasts — friends are also more than welcome — and a table stacked with all the greatest hits. The biggest at-home celebration of LNY typically happens on Lunar New Year's Eve and usually takes the form of a dinner that's not unlike Christmas lunch. The best part about the celebration is that the dishes you'll typically find are surprisingly simple to prepare and come together in no time at all. Whether the celebrations are taking place in Hanoi or Hong Kong, Singapore or Sydney, everyday dishes tend to land on Lunar New Year's Eve dinner tables. There are regional differences when it comes to must-have Lunar New Year dishes, but dumplings and fish or seafood are mainstays in most places where Lunar New Year is celebrated. You'll find them at LNY dinners and enjoyed as ordinary meals throughout the year. The enduring appeal of these dishes is just how easily they can be dressed up or down depending on the occasion. And that's before we even factor in how delicious they are. [caption id="attachment_987199" align="alignnone" width="1920"] Josh Mullins[/caption] After some inspo for an authentic festive spread that's easy enough for everyday meals but seriously impressive for a celebratory gathering? Look no further. In partnership with Oriental Merchant, we've called in chef Jason Chan, owner of newly opened pan-Asian restaurant Rice Kid, for two recipes he turns to when it's time to ring in Lunar New Year at home. XO Pipis [caption id="attachment_987205" align="alignnone" width="1920"] Josh Mullins[/caption] Seafood is a staple ingredient in many quintessential Lunar New Year dishes. The festivities are a reason to shell out on premium seafood to celebrate the special occasion. For Chan, Lunar New Year is the time to "have all those special dishes that you don't really get to eat every week." And it doesn't get more impressive or mouth-watering than XO pipis, which — despite being known as a restaurant special — is a surprisingly straightforward dish that can be replicated at home. In Chan's recipe, half a kilo of fresh pipis transform into a delectable showstopper that packs an umami punch thanks to the sauce trifecta of XO, soy and oyster. Ingredients: 500g fresh pipis (if you can't find live pipis, you can substitute with prawns or any other seafood to your liking) 100g Lee Kum Kee XO Sauce 50ml Lee Kum Kee Premium Dark Soy Sauce 50g Lee Kum Kee Panda Brand Oyster Sauce 100ml Shao Xing cooking wine 1 tsp sugar ½ tsp salt 1 tsp chicken powder 1L water 50g shallot rondelle Coriander for garnish Slurry: 50g corn starch or potato starch 100ml water Method: Use a wok or pan on high heat and add Lee Kum Kee XO Sauce and cook for 5–10 secs, deglaze with Shao Xing cooking wine, add water and bring it to the boil. Once boiling, add pipis and cook until they are completely open. Discard any unopened pipis. Add Lee Kum Kee Premium Dark Soy Sauce, Lee Kum Kee Panda Brand Oyster Sauce, sugar, chicken powder, salt and shallot rondelle and cook for a further minute to infuse all the flavours into the pipis. Mix slurry and pour into the XO pipis to thicken. Garnish with coriander or shallot rondelle. [caption id="attachment_987287" align="alignnone" width="1920"] Josh Mullins[/caption] Moreton Bay Bug and Prawn Siu Mai or Wonton [caption id="attachment_987203" align="alignnone" width="1920"] Josh Mullins[/caption] Dumplings are another dish which sit proudly on dinner tables — particularly in northern China — during Lunar New Year festivities. Traditional dumplings are said to resemble ancient Chinese money and are symbolic of prosperity. Today, all kinds of dumplings and wontons make the festive cut. Whether they're crescent-shaped dumplings, wontons or siu mai, this is a dish that is great for everyday dinners as well as during Lunar New Year. For an elevated everyday wonton or siu mai (the only difference is how you wrap them), this recipe is as fun as it is delicious. Finesse your folding skills by wrapping your parcels of seafood yourself, or get the whole dinner crew involved before sitting down to celebrate. Ingredients: 250g fresh or frozen prawn meat 250g Queensland Moreton Bay bug meat 25ml Lee Kum Kee Premium Soy Sauce 25ml Lee Kum Kee Panda Brand soy sauce 10g minced garlic 10g coriander root finely sliced (use stems for extra aroma) 5g lime zest 20g sugar 25g potato starch 50ml garlic oil (canola oil can be substituted) 1 packet of wonton skin Method: Place prawn and bug meat in food processor and slightly pulse 4–5 times. Ensure the prawn and bug meat retain small chunky pieces for texture. Take out the processed prawn and bug meat and place in bowl. Add in Lee Kum Kee Premium Soy Sauce, Lee Kum Kee Panda Brand Oyster Sauce, minced garlic, coriander, sugar, garlic oil and mix until everything is combined and bound together. Add in the remaining ingredients: potato starch and lime zest. CHEF'S TIP: You don't want the starch to form clumps, do not skip step 3 with step 2! Place filling in fridge for 30 minutes. Once it is set, you can begin making the dumplings. Blanch wontons for about 5–6 minutes or until they float. To serve, place blanched wontons in a bowl and garnish with shallot and a few drizzles of sesame oil. Dip into preferred sauce (see below for sauce options). [caption id="attachment_987286" align="alignnone" width="1920"] Josh Mullins[/caption] Simple Dipping Sauce for WontonAdd Lee Kum Kee Chiu Chow Style Chilli Oil, soy sauce, sesame oil and black vinegar. Season to taste. Simple Dipping Sauce for Siu Mai Add Lee Kum Kee Chiu Chow Style Chilli Oil and soy sauce. Season to taste. Experience the flavours of Lunar New Year everyday with Oriental Merchant authentic Asian ingredients.
Fans of things between bread will be familiar with the bright red Saul's Sandwiches drive-thru that graces Kings Way. Well, this month, that beacon of bread is taking a walk on the sweet side as it plays host to a three-day takeover dedicated to a different kind of sanga — Maxibon's new waffle-inspired ice cream sandwich. Dubbed the Maxibon Waffle On, the new sugary spinoff sees the treat's usual biscuit end reimagined with a couple of golden waffle pieces. It's around for a good time, but not a long time, so if the new creation sounds like your jam, you'd best hit the Waffle On Drive-Thru from Friday, August 12 to Sunday, August 14 to nab a freebie. The pop-up will be handing out thousands of free Waffle Ons to everyone who drives through across the weekend, as well as exclusive Maxibon merch for those who get in quick each day. I mean, ice cream sandwiches totally count as a breakfast food if there's waffles involved, right? The Maxibon Waffle On Drive-Thru will be open 12–10pm on August 12 and 13, and 10am–4pm on August 14.
Life is full of golden moments. An early-morning swim and sipping beers in the afternoon sunshine are some of our favourites. But what comes out on top for us is a long weekend. This April, we're being treated to two long weekends in a row. Luckily, we know a thing or two about making the most of our time out of office. Whether you're seeking luxury experiences in Victoria, a multi-day hike in the wilderness or an excuse to soak up the best of the harbour city, we've got your back. Our mates at Ferrero Rocher love a long weekend, too. So much so that the chocolate company has released a range of Easter treats including creamy hazelnut-filled Ferrero Collection Easter Eggs, an impressive Golden Easter Egg Gift Box and more (ideal for indulging in while on holiday if you ask us). To celebrate our mutual love of a long weekend, we've teamed up with the chocolate connoisseurs to give you a $1000 gift card to spend on a long weekend away. But it doesn't stop there. You'll also receive a stack of delicious chocolate from the Ferrero Rocher Easter range. Egg hunt anyone? If you miss out on the major prize, don't fret. We've also got 29 Ferrero Rocher chocolate prize packs up for grabs. The packs include one grand Ferrero Rocher, a boxed egg, three packs of Easter eggs and one dark chocolate grand Ferrero Rocher. To enter, simply tell us in 25 words or less what your ultimate long weekend looks like. Want to nab one of these incredible prizes? To enter, fill out your details below. [competition]849038[/competition]
Your favourite summertime dessert is about to get a wild revamp at the hands of some talented, innovative local chefs. For the next eight weeks, the much-loved Piccolina Gelateria is handing over the reins, inviting a group of kitchen heroes to take over the specials board and deliver their own signature gelato creations. The Piccolina Gelato Project will once again see eight Melbourne chefs each have a crack at impressing the masses with their gelato game. A different name will step up to the plate each week, teaming up with Piccolina's Sandra Foti to create three special flavours that capture the spirit of their respective restaurant — along with a healthy dose of personal flair, of course. From Wednesday, February 16 until Tuesday, April 12, roll into any Piccolina outpost to find inventive desserts from the likes of Peter Gunn (Ides), Thi Lee (Anchovy), Zach Furst (Bar Liberty), Hugh Allen (Vue de Monde) collaborating with Sharon Brindley (Jala Jala), Rosheen Kaul (Etta), Almay Jordan (Neighbourhood Wine and Old Palm Liquor) and Jo Barrett (formerly Oakridge Wines). Kicking things off is Khanh Nguyen of Sunda and Aru fame, who for the first week will be serving up a clever fusion of native ingredients and Southeast Asian flavours. Think, condensed milk gelato topped with a Vietnamese coffee caramel and wattleseed honeycomb. Following Nguyen's stint, Le will churn out a toasted jasmine rice gelato with banana and rum jam; Jordan will draw on her South African heritage for a riff on apricot brandy pudding with custard; Barrett will transform red wine lees into a vibrant sorbet; and Allen and Brindley will get crafty with native ingredients to deliver a cantaloupe and green ant gelato. And that's just a taster of what's to come. [caption id="attachment_815925" align="alignnone" width="1920"] Khanh Nguyen has kicked off the series (photo by Kristoffer Paulsen)[/caption] 8 Chefs in 8 Weeks flavours will be available at all six Piccolina locations.
Inner-city Melbourne is now home to its first 'green' tram tracks, as over 4000 plants begin to bloom along a stretch of tramline down Southbank Boulevard. A carpet of native pig face and everlasting daisies were planted there as part of a $42 million project to give Melbourne's most densely populated suburb a 'green makeover'. The project will see an entire lane of Southbank Boulevard, along with adjoining Dodd Street, transformed into 2.5 hectares of open space featuring greenery, public art spaces and 1.2 kilometres of dedicated bike lanes connecting Domain Parklands to the Yarra River. Late last year, it was announced that the new public space on Dodd Street would cater for everything from street performances to farmers markets and medium-scale music festivals. It's the start of what the government hopes will be 12 MCG's, or 240,000 square metres, worth of new open spaces to be unveiled across the city over the next 15 years. The recent Southbank Boulevard works have included a major revamp of tram infrastructure and the addition of a new accessible tram stop, with blooms planted right through the middle of the tracks. Around 300 trees are also being planted, in an effort to create a year-round canopy for the residents in this booming, apartment-heavy corner of the city. [caption id="attachment_693362" align="alignnone" width="1920"] The new-look Southbank Boulevard[/caption] During the Southbank Boulevard's makeover portions of Southbank Boulevard, Dodds Street and Sturt Street will be closed. You can stay up-to-date with what's open (and what's closed) at the City of Melbourne website. Work is also set to kick off this week on the City of Melbourne's new 5000-square-metre park next to the nearby Boyd Community Centre. The project will replace a 1960's school building with a family-friendly public space, complete with communal garden, improved bike and pedestrian access and lots of grassy areas. Southbank Boulevard's 'green makeover' is expected to be completed in 18 months.
Call it self-isolation, quarantine or lockdown — whichever label you choose, your daily routine has changed drastically over the past few months. Everyone's baking and cooking more. You probably now have a sizeable stash of jigsaw puzzles and/or Lego to play with. You might've mastered the indoor workout, including revisiting Aerobics Oz Style. And, you've likely spent more than a little time watching old-school flicks from back in the day. Yes, nostalgia is very definitely in the air at present, as we all stay home and reminisce about different times. And, when you're next feeling retro — and feeling extra comfy inside your house, too — you can now build yourself an old-school pillow fort. Of course, you can always do that anytime and anyway you like; however IKEA Russia has just released a range of instructions that detail how to construct your own cosy hideaway using the company's products. Feel like building a house out of a table and a sheet? Or some chairs and whatever material you have handy? Prefer not one but two different styles of tent? Perhaps you were always a "throw a blanket over the back of the couch to make a cave" kind of kid — or you might have a way with rearranging the couch cushions. Six different designs are available, as created by IKEA and creative agency Instinct. They're designed for children — or, for adults to build with their children — but, let's be honest, they're also perfect for kidulting at home. You're never too old to turn your with flatpack furniture into forts, after all. And, if you want to whip up IKEA's famed Swedish meatballs first, the company has also released its recipe. Via IKEA Russia.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from July's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW THE BEAR The more time that anyone spends in the kitchen, the easier that whipping up their chosen dish gets. The Bear season two is that concept in TV form, even if the team at The Original Beef of Chicagoland don't always live it as they leap from running a beloved neighbourhood sandwich joint to opening a fine-diner, and fast. The hospitality crew that was first introduced in the best new show of 2022 isn't lacking in culinary skills or passion. But when chaos surrounds you constantly, as bubbled and boiled through The Bear's Golden Globe-winning, Emmy-nominated season-one frames, not everything always goes to plan. That was only accurate on-screen for Carmen 'Carmy' Berzatto (Jeremy Allen White, Shameless) and his colleagues — aka sous chef Sydney (Ayo Edebiri, I Think You Should Leave with Tim Robinson), baker-turned-pastry chef Marcus (Lionel Boyce, Hap and Leonard), veteran line cooks Tina (Liza Colón-Zayas, In Treatment) and Ebraheim (Edwin Lee Gibson, Fargo), resident Mr Fixit Neil Fak (IRL chef Matty Matheson), and family pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings). For viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. The Bear serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling second season. Actually make that ten more courses, one per episode, with each new instalment its own more-ish meal. A menu, a loan, desperately needed additional help, oh-so-much restaurant mayhem: that's how this second visit begins, as Carmy and Sydney endeavour to make their dreams for their own patch of Chicago's food scene come true. So far, so familiar, but The Bear isn't just plating up the same dishes this time around. At every moment, this new feast feels richer, deeper and more seasoned, including when it's as intense as ever, when it's filling the screen with tastebud-tempting food shots that relish culinary artistry, and also when it gets meditative. Episodes that send Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3), get Richie spending a week learning the upscale ropes at one of Chicago's best restaurants and jump back to the past, demonstrating how chaos would've been in Carmy's blood regardless of if he became a chef, are particularly stunning. The Bear season two streams via Disney+. Read our full review. THEY CLONED TYRONE Jordan Peele's Get Out and Us would already make a killer triple feature with Boots Riley's Sorry to Bother You. For a smart and savvy marathon of science fiction-leaning films about race in America by Black filmmakers, now add Juel Taylor's They Cloned Tyrone. The Creed II screenwriter turns first-time feature director with this dystopian movie that slides in alongside Groundhog Day, Moon, The Cabin in the Woods, A Clockwork Orange, Invasion of the Body Snatchers and They Live, too — but is never derivative, not for a second, including in its 70s-style Blaxploitation-esque aesthetic that nods to Shaft and Superfly as well. Exactly what drug dealer Fontaine (John Boyega, The Woman King), pimp Slick Charles (Jamie Foxx, Spider-Man: No Way Home) and sex worker Yo-Yo (Teyonah Parris, Candyman) find in their neighbourhood is right there in the film's name. The how, the why, the specifics around both, the sense of humour that goes with all of the above, the savage satire: Taylor and co-writer Tony Rettenmaier perfect the details. Ignore the fact that they both collaborated on the script for the awful Space Jam: A New Legacy, other than considering the excellent They Cloned Tyrone as a far smarter, darker and deeper exploration of exploitation when the powers that be see other people as merely a means to an end. On an ordinary day — and amid vintage-looking threads and hairstyles, and also thoroughly modern shoutouts to SpongeBob SquarePants, Kevin Bacon, Barack Obama, Nancy Drew and bitcoin — Fontaine wakes up, has little cash and doesn't win on an instant scratch-it. He chats to his mother through her bedroom door, tries to collect a debt from Slick Charles and, as Yo-Yo witnesses, is shot. Then he's back in his bed, none the wiser about what just happened, zero wounds to be seen, and going through the same cycle again. When the trio realise that coming back from the dead isn't just a case of déjà vu, they team up to investigate, discovering one helluva conspiracy that helps Taylor's film make a powerful statement. They Cloned Tyrone's lead trio amply assists, too, especially the ever-ace Boyega. Like Sorry to Bother You especially, this is a comedy set within a nightmarish scenario, and the Attack the Block, Star Wars and Small Axe alum perfects both the humour and the horror. One plucky and persistent, the other oozing charm and rocking fur-heavy coats, Parris and Foxx lean into the hijinks as the central threesome go all Scooby-Doo. There isn't just a man in a mask here, however, in this astute and inventive standout. They Cloned Tyrone streams via Netflix. GOOD OMENS Since 2019, witnessing David Tennant utter the word "angel" has been one of the small screen's great delights. Playing the roguish demon Crowley in Good Omens, the Scottish Doctor Who and Broadchurch star sometimes says it as an insult, occasionally with weary apathy and even with exasperation. Usually simmering no matter his mood, however, is affection for the person that he's always talking about: book-loving and bookshop-owning heavenly messenger Aziraphale (Michael Sheen, Quiz). With just one term and two syllables, Tennant tells a story about the show's central odd-couple duo, who've each been assigned to oversee earth by their bosses — Crowley's from below, Aziraphale's from above — and also conveys their complicated camaraderie. So, also since 2019, watching Tennant and Sheen pair up on-screen has been supremely divine. Good Omens, which hails from Terry Pratchett and Neil Gaiman's award- and fan-winning 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, was always going to be about Aziraphale and Crowley. And yet, including in its second season, it's always been a better series because it's specifically about Sheen as the former and Tennant as the latter. In this long-awaited return, neither Aziraphale nor Crowley are beloved by their higher-ups or lower-downs thanks to their thwarting-the-apocalypse actions. Season one saw them face their biggest test yet after they started observing humans since biblical times — the always-foretold birth of the antichrist and, 11 years later, cosmic forces rolling towards snuffing out the planet's people to start again — and saving the world wasn't what their leaders wanted. One fussing over his store and remaining reluctant to sell any of its tomes, the other continuing to swagger around like Bill Nighy as a rule-breaking rockstar, Aziraphale nor Crowley have each carved out a comfortable new status quo, though, until a naked man walking through London with nothing but a cardboard box comes trundling along. He can't recall it, but that birthday suit-wearing interloper is the archangel Gabriel (Jon Hamm, Confess, Fletch). He knows he's there for a reason and that it isn't good, but possesses zero memory otherwise. And, in the worst news for Aziraphale and Crowley, he has both heaven and hell desperate to find him — which is just the beginning of season two's delightful chaos. Good Omens streams via Prime Video. Read our full review. FULL CIRCLE Whether on screens big and small, when an audience watches a Steven Soderbergh project, they're watching one of America's great current directors ply his full range of filmmaking skills. Usually, he doesn't just helm. Going by Peter Andrews and Mary Ann Bernard — aliases from his parents' names — he shoots and edits as well. And he's prolific: since advising that he'd retire from making features after Side Effects, he's directed, lensed and spliced nine more, plus three TV shows. Among those titles sit movies such as Logan Lucky, Unsane, Kimi and Magic Mike's Last Dance; the exceptional two seasons of turn-of-the-20th-century medical drama The Knick; and now New York-set kidnapping miniseries Full Circle. The filmmaker who won Cannes Film Festival's Palme d'Or at 26 for Sex, Lies and Videotape, earned two Best Director Oscars in one year for Traffic and Erin Brockovich, brought the Ocean's franchise back to cinemas in 2001, and eerily predicted the COVID-19 pandemic with 2011's Contagion is in his element with his latest work. Six-part noir-influenced thriller Full Circle reunites Soderbergh with Mosaic and No Sudden Move screenwriter Ed Solomon, boasts a starry cast, involves money and secrets and deception, and proves a twisty and layered crime tale from the get-go. Full Circle starts with a murder, then a revenge plot, then a missing smartphone. These early inclusions all tie into an intricate narrative that will indeed demonstrate inevitability, cause and effect, the repercussions of our actions, and decisions looping back around. The pivotal death forms part of a turf war, sparking a campaign of retaliation by Queens-based Guyanese community leader and insurance scammer Savitri Mahabir (CCH Pounder, Avatar: The Way of Water). She enlists freshly arrived teens Xavier (Sheyi Cole, Atlanta) and Louis (Gerald Jones, Armageddon Time) to do the seizing under her nephew Aked's (Jharrel Jerome, I'm a Virgo) supervision; one of the newcomers is the brother of the latter's fiancée Natalia (Adia, The Midnight Club), who is also Savitri's masseuse. The target: Manhattan high-schooler Jared (Ethan Stoddard, Mysteries at the Museum), son of the wealthy and privileged Sam (Claire Danes, Fleishman Is in Trouble) and Derek Browne (Timothy Olyphant, Daisy Jones & The Six), and grandson through Sam to ponytailed celebrity chef Jeff McCusker (Dennis Quaid, Strange World). Savitri is convinced that this is the only way to stave off the curse she's certain is hanging over her business — a "broken circle", in fact. But, much to the frustration of the US Postal Inspection Service's Manny Broward (Jim Gaffigan, Peter Pan & Wendy), his go-for-broke agent Melody Harmony (Zazie Beetz, Black Mirror) is already investigating before the abduction. Full Circle streams via Binge. Read our full review. WHAM! "If you're gonna do it, do it right," sang Wham! on their 1985 single 'I'm Your Man'. When it comes to living the dream of becoming international pop sensations in your twenties, and with your childhood best friend by your side, George Michael and Andrew Ridgeley took those lyrics to heart. Wham!'s rise wasn't perfect, as the documentary that shares the group's name surveys, but the group's brief existence in the 80s saw them make their mark on history — and release quite the array of earworms. The songs, the ska band that Michael and Ridgeley formed first, the doubts, the struggles: documentarian Chris Smith (Fyre: The Greatest Party That Never Happened, Operation Varsity Blues: The College Admissions Scandal) steps through it all, including Michael's difficult decision to keep his sexuality closeted. The early club gigs to drum up a fandom, the big-break Top of the Pops appearance, catapulting to fame, becoming the first Western pop group to play China: that's all featured as well. And shorts — so, so, many shorts donned by both the man who'd become a massive solo star once Wham! split and the pal who volunteered to show him around on his first day at Bushey Meads School long before their Wham! success. Smith crafts an affectionate and insightful film that's unashamedly a tribute, celebrates all things 80s from the hair and the outfits to the aura of excess, but makes clear that the band was never just Michael's launching pad — even if it did cement his talents not just as a singer, but also as a writer and producer. A fast-paced array of archival footage tells the tale visually, aided by scrapbooks kept by Ridgeley's mother that chart their careers; candid interviews with Michael before his death and Ridgeley now fill in the details. Also echoing: Wham!'s hits from 'Wham Rap!' and 'Young Guns' to 'Club Tropicana' and 'Wake Me Up Before You Go-Go'. Each gets their engaging origin story, although none more so than the still-astonishing 'Careless Whisper', which record executives dismissed when they ignored the group's very first demo four decades ago. The behind-the-scenes material is relaxed and intimate, the live clips electrifying, and the joy on Michael's face while playing Live Aid with the likes of Freddie Mercury and David Bowie is genuine (even as he talks of his fears that he didn't belong in their company). Watching means getting Wham!'s catalogue stuck in your head, of course — yes, 'Last Christmas' as well. Wham! streams via Netflix. THE HORROR OF DOLORES ROACH It takes place in New York, not London. The era: modern times, not centuries back. Fleet Street gives way to Washington Heights, the demon barber to a masseuse nicknamed "Magic Hands", and pies to empanadas. There's still a body count, however, and people end up in pastries as well. Yes, The Horror of Dolores Roach namedrops Sweeney Todd early, as it needs to; there's no denying where this eight-part series takes inspiration, as did the one-woman off-Broadway play that it's based on, plus the podcast that followed before the TV version. On the stage, the airwaves and now via streaming, creator Aaron Mark asks a question: what if the fictional cannibalism-inciting character who first graced penny dreadfuls almost two centuries back, then leapt to theatres, films and, most famously, musicals, had a successor today? Viewers can watch the answer via a dramedy that also belongs on the same menu as Santa Clarita Diet, Yellowjackets and Bones and All. Amid this recent feast of on-screen dishes about humans munching on humans, The Horror of Dolores Roach is light yet grisly, but it's also a survivalist thriller in its own way — and laced with twisted attempts at romance, too. That knowing callout to Sweeney Todd: The Demon Barber of Fleet Street comes amid an early banquet of knowing callouts, as The Horror of Dolores Roach begins with a play based on a podcast that's wrapping up its opening night. Newspaper clippings in actor Flora Frias' (Jessica Pimentel, Orange is the New Black) dressing room establish that the show takes its cues from a woman who got murderous in the Big Apple four years prior, and helped get unwitting NYC residents taking a bite out of each other. Meet the series' framing device; before the stage production's star can head to the afterparty, she's face to face with a furious Dolores (Justina Machado, One Day at a Time) herself. The latter isn't there to slay, but to haunt the woman spilling her tale by sharing the real details. Two decades earlier, Dolores was a happy resident of Lin-Manuel Miranda's favourite slice of New York, a drug-dealer's girlfriend, and a fan of the local empanada shop. Then the cops busted in, The Horror of Dolores Roach's namesake refused to snitch and lost 16 years of her life. When she's released, gentrification has changed the neighbourhood and her other half is nowhere to be found. Only Luis Batista (Alejandro Hernandez, New Amsterdam) remains that remembers her, still in the empanada joint, and he couldn't be keener on letting her stay with him in his basement apartment below the store. The Horror of Dolores Roach streams via Prime Video. Read our full review. HUESERA: THE BONE WOMAN The sound of cracking knuckles is one of humanity's most anxiety-inducing. The noise of clicking bones elsewhere? That's even worse. Both help provide Huesera: The Bone Woman's soundtrack — and set the mood for a deeply tense slow-burner that plunges into maternal paranoia like a Mexican riff on Rosemary's Baby, the horror subgenre's perennial all-timer, while also interrogating the reality that bringing children into the world isn't a dream for every woman no matter how much society expects otherwise. Valeria (Natalia Solián, Red Shoes) is thrilled to be pregnant, a state that hasn't come easily. After resorting to praying at a shrine of Our Lady of Guadalupe in desperation, neither she nor partner Raúl (Alfonso Dosal, Narcos: Mexico) could be happier, even if her sister Vero (Sonia Couoh, 40 Years Young) caustically comments that she's never seemed that interested in motherhood before. Then, two things shake up her hard-fought situation: a surprise run-in with Octavia (Mayra Batalla, Everything Will Be Fine), the ex-girlfriend she once planned to live a completely different life with; and constant glimpses of a slithering woman whose unnatural body movements echo and unsettle. Filmmaker Michelle Garza Cervera (TV series Marea alta) makes her fictional narrative debut with Huesera: The Bone Woman, directing and also writing with first-timer Abia Castillo — and she makes a powerfully chilling and haunting body-horror effort about hopes, dreams, regrets and the torment of being forced into a future that you don't truly foresee as your own. Every aspect of the film, especially Nur Rubio Sherwell's (Don't Blame Karma!) exacting cinematography, reinforces how trapped that Valeria feels even if she can't admit it to herself, and how much that attempting to be the woman Raúl and her family want is eating away at her soul. Solián is fantastic at navigating this journey, including whether the movie is leaning into drama or terror at any given moment. You don't need expressive eyes to be a horror heroine, but she boasts them; she possesses a scream queen's lungs, too. Unsurprisingly, Cervera won the Nora Ephron Award for best female filmmaker at the 2022 Tribeca Film Festival for this instantly memorable nightmare. Huesera: The Bone Woman streams via Shudder. NIMONA Bounding from the page to the screen — well, from pixels first, initially leaping from the web to print — graphic novel-to-film adaptation Nimona goes all in on belonging. Ballister Boldheart (Riz Ahmed, Sound of Metal) wants to fit in desperately, and is willing to do whatever it takes to achieve it. In this animated movie's medieval-yet-futuristic world, there's nothing more important and acclaimed than being part of the Institute for Elite Knights, so that's his aim. Slipping into armour usually isn't possible for someone who grew up on the wrong side of this realm's tracks, as he did, but Ballister has been given a chance by Queen Valerin (Lorraine Toussaint, The Equalizer), who says that anyone can now be a hero. Alas, just as he's about to have his sword placed upon his shoulder with all the world watching, tragedy strikes, then prejudice sets in. Even his fellow knight-in-training and boyfriend Ambrosius Goldenloin (Eugene Lee Yang, Star Wars: Visions), who boasts family ties to legendary monster-slaying heroine Gloreth (Karen Ryan, Under the Banner of Heaven), believes that Ballister is responsible. His only ally? Nimona's namesake (Chloë Grace Moretz, The Peripheral), a shapeshifter who offers to be his sidekick regardless of his innocence or guilt. Nimona usually appears as a human girl, but can change into anything. The shapeshifter also wants to belong — but only by being accepted as she is. Unlike Ballister's feelings of inferiority about being a commoner, Nimona is happy with morphing from a kid to a rhinoceros, a whale to a shark, then between anything else that she can think of, and wouldn't give it up for anyone. Indeed, when Ballister keeps pestering her for reasons to explain why she is like she is, and asking her to remain as a girl, she's adamant. She already is normal, and she rightly won't budge from that belief. Animated with lively and colour animation that sometimes resembles Cartoon Saloon's Song of the Sea and Wolfwalkers, Nimona is a family-friendly adventure and, as penned as a comic by ND Stevenson (She-Ra and the Princesses of Power), also a clear, impassioned and sincere allegory for being true to yourself. As a film, directors Nick Bruno and Troy Quane (who also teamed up on Spies in Disguise) and screenwriters Robert L Baird (Big Hero 6) and Lloyd Taylor (another Spies in Disguise alum) ensure that it remains a thoughtful delight. Nimona streams via Netflix. RETURNING FAVOURITES TO CHECK OUT WEEK BY WEEK FUTURAMA Good news, everyone: Futurama keeps getting thawed out. The small screen's powers that be love defrosting the animated sci-fi series, and viewers should love watching the always-funny results. Not once but twice in the past quarter-century, Matt Groening's other big sitcom has been cancelled then respawned years later. It was true back in 2007 when the show was first reanimated, and it's true again now: whenever Futurama flies across the screen after a stint in stasis, it feels like no time has passed. Groening first spread his talents beyond The Simpsons back in 1999, riffing on Y2K excitement and apprehension, and also leaping forward in time. Futurama's 20th-century pizza delivery guy Philip J Fry (voiced by Billy West, Spitting Image) didn't welcome the 21st century, however; he stumbled into a cryogenic chamber, then awoke to greet the 31st. After tracking down Professor Hubert J Farnsworth (also West), his only living relative, he was soon in the delivery game again — but for intergalactic cargo company Planet Express, in a show that that satirises every vision of the future previously committed to fiction, and with one-eyed ship captain Turanga Leela (Katey Sagal, Dead to Me) and shiny-metal-assed robot Bender Bending Rodríguez (John DiMaggio, Transformers: Rise of the Beasts) by his side. Futurama's initial run lasted four seasons, four years and 78 episodes. Then, the show reappeared in 2007 as a direct-to-DVD movie, followed by three more, which were then turned into episodes for the show's fifth season. Alas, another trio of seasons later, Futurama said goodbye again. Thankfully, when a series not only peers at and parodies the next millennia, but takes an anything-goes approach that's brought everything from robot Santas and soap operas to human-hating alien news anchors and talking celebrity heads in jars, there's always room for a new spin. Still, getting the Planet Express soaring yet again does pose one difficulty: how do you undo a perfect finale? When the prior season ended in 2013, it wrapped up Fry and Leela's on-again, off-again romance in a smart, sweet and widely loved bow. The new instalments pick up exactly where that swansong left off, then unleash a "massive disruption in the flow of time" to move everyone to 3023, then restore the usual status quo. So, Fry, Leela, Bender, the Professor, Jamaican accountant Hermes Conrad (Phil LaMarr, Craig of the Creek), Martian intern Amy Wong (Lauren Tom, Dragons: The Nine Realms) and lobster-esque alien doctor Zoidberg (also West) resume their workplace sitcom antics — in vintage form. Futurama streams Disney+. Read our full review. WHAT WE DO IN THE SHADOWS Following in Taika Waititi and Jemaine Clement's footsteps isn't easy, but someone had to do it when What We Do in the Shadows made the leap from the big screen to the small. New format, new location, new vampires, same setup: that's the formula behind this film-to-TV series, which is now in its fifth season. Thankfully for audiences, Matt Berry (Toast of London and Toast of Tinseltown), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga) and Kayvan Novak (Cruella) were enlisted as the show's three key bloodsuckers in this US spinoff from the New Zealand mockumentary, all in roles that they each seem born for. The trio play three-century-old British aristocrat Laszlo, his 500-year-old creator and partner Nadja, and early Ottoman Empire warrior Nandor, respectively, who share an abode and the afterlife in Staten Island. In cinemas, the film already proved that the concept works to sidesplitting effect. Vampire housemates, they're just like us — except when they're busting out their fangs, flying, avoiding daylight, sleeping in coffins, feuding with other supernatural creatures and leaving a body count, that is. On TV, What We Do in the Shadows has been illustrating that there's not only ample life left in palling around with the undead, but that there's no limit to the gloriously ridiculous hijinks that these no-longer-living creatures can get up to. It was true as a movie and it's still true as a television show: What We Do in the Shadows sparkles not just due to its premise, but when its characters and cast are both as right as a luminous full moon on a cloudless night. This lineup of actors couldn't be more perfect or comedically gifted, as season five constantly demonstrates via everything from mall trips, political campaigns, pride parades and speed dating to trying to discover why Nandor's long-suffering and ever-dutiful familiar Guillermo (Harvey Guillén, Werewolves Within) hasn't quite started chomping on necks despite being bitten himself. Berry's over-enunciation alone is the best in the business, as is his ability to play confident and cocky. His line readings are exquisite, and also piercingly funny. While that was all a given thanks to his Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace history, What We Do in the Shadows is a group effort. Demetriou and Novak keep finding new ways to twist Nadja and Nandor's eccentricities in fresh directions; their characters have felt lived-in since season one, but they're still capable of growth and change. What We Do in the Shadows streams via Binge. Read our full review. THE AFTERPARTY When The Afterparty arrived on Apple TV+ in 2022, riding a wave of revived murder-mystery comedy love that Knives Out and Only Murders in the Building had helped wash over screens big and small, it made one big risky move. Throwing a motley crew of characters together, then offing one? Tried, tested and a favourite for a reason. The ensemble cast attempting to sleuth its way through a shock death? Flawless. The genre-bending setup that saw each episode in the season parody a different style of filmmaking? Perfectly executed. Having the words "how great is this party?" uttered over and over again? That's what could've proven dicey if The Afterparty wasn't in fact great; thankfully, it very much was. There's a reason that phrase kept being uttered, because superfluous detail isn't this show's style: as in all great whodunnits, everything happens, is mentioned or can be spotted with cause. Creator Christopher Miller and his fellow executive producer Phil Lord, a duo with Cloudy with a Chance of Meatballs, 21 Jump Street and 22 Jump Street, and The Lego Movie on their resumes as co-directors, know the format they're working with. Crucially, they know how carefully their audience will scrutinise every clue and element. And, in the show's first season and now the second season — they also know how to equally honour and spoof. Fittingly, The Afterparty feels like a murder-mystery comedy party as a result. Adoring, irreverent, willing to get loose and shake things up: that's the vibe and approach. In season one, the series' title was literal thanks to a high-school reunion with fateful post-soiree hijinks. In season two, a wedding brings a disparate group together — and, following the nuptials and reception, The Afterparty's moniker comes into play again. To the horror of the returning Aniq Adjaye (Sam Richardson, I Think You Should Leave with Tim Robinson) and his ex-classmate, now-girlfriend Zoe Zhu (Zoe Chao, Party Down), another body then puts a dampener on the festivities; however, this second go-around doesn't get a-solving just in one night. Aniq and Zoe have recovered from their last confrontation with a killing at a celebration by diving into their romance, but it's the latter's younger sister Grace (Poppy Liu, Dead Ringers) who's getting hitched. Her groom Edgar (Zach Woods, Avenue 5) sports both family money and a cryptocurrency-aided bank-balance boost, he's an all-work-no-play socially awkward type as a result and, when he's alive, he's more fond of his pet lizard than most humans. Then he's found face down after the afterparty, déjà vu arrives and so does the also-returning Danner (Tiffany Haddish, The Card Counter) to sift through the suspects. The Afterparty streams via Apple TV+. Read our full review, and our interview with Sam Richardson. MINX A full-frontal embrace of feminism, penises and 70s porn for women greeted audiences when Minx instantly cemented itself among 2022's best new TV shows. The setup: Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying) makes her dream of starting her own magazine come true, but for pornography publisher Doug Renetti (Jake Johnson, Spider-Man: Across the Spider-Verse). Created by Ellen Rapoport (Clifford the Big Red Dog) and executive produced by Paul Feig (Last Christmas), the show wasn't shy about the industry it dived into, even if its protagonist initially was. It wasn't afraid to push the strait-laced Joyce out of her comfort zone, see the empowering side of erotica for the fairer sex and champion the female gaze, either. The end result: a savvy, smart and breezy series that was as layered as it was astute and funny — and, yes, one that happily filled its frames with male genitalia. The show was quickly renewed, but also then cancelled in December 2022 during production as part of David Zaslav's cost-cutting measures at Warner Bros Discovery. Then, fellow American network Starz stepped in to save it. Watching Minx's bigger, richer and deeper second season, it's mindboggling to think that it almost didn't make it to screens. "Minx is back and better than ever," announces Doug with his usual shambling brand of swagger — the kind that Johnson long-perfected in New Girl, and also in film roles in Drinking Buddies and Win It All — and he isn't wrong. Of course, he's talking about the series' eponymous erotic mag, not the series itself, but he's on the money. First, though, the again vibrantly shot, styled and costumed show has season-one finale fallout to deal with, after Joyce and Doug ended their tumultuous working relationship. The former goes looking for a new publisher, with boardrooms overflowing with men dropping compliments and promising money awaiting. Then billionaire and ex-shipping industry titan Constance Papadopoulos (Elizabeth Perkins, The Afterparty) shows an interest in the magazine, in supporting and mentoring Joyce, and in having Doug involved — and the Minx gang, including former model Bambi (Jessica Lowe, Miracle Workers), photographer Richie (Oscar Montoya, Final Space), Doug's girlfriend and ex-secretary Tina (Idara Victor, Shameless), and Joyce's sister Shelly (Lennon Parham, Veep), are back together. Minx streams via Stan. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May and June this year. You can also check out our running list of standout must-stream shows from this year as well — and our best 15 new shows of 2023's first six months, top 15 returning shows over the same period and best 15 straight-to-streaming movies from January–June 2023, too. Top image: Parrish Lewis/Netflix.
The role of Andie Whitford, the lead part in High Country, was written for Leah Purcell. It's easy to understand why. There's a quiet resolve to the character — a been-there-seen-that air to weathering tumult, too, and to knowing that she'll always have to fight hard for what she wants — that's long been a part of the Indigenous Australian star's acting toolkit across a three-decade career. Purcell first appeared on-screen in 90s TV shows such as GP, Police Rescue and Water Rats. In the past year before High Country, The Lost Flowers of Alice Hart and Shayda also popped onto her resume. In-between, the 2000s brought Lantana, Somersault, The Proposition and Jindabyne — and the 2010s added Redfern Now, Last Cab to Darwin, Janet King and Black Comedy. Across three formats, as a play, a book and a movie, she also interrogated and reimagined Henry Lawson's The Drover's Wife in blistering fashion, and while writing, acting and directing. It's thanks to Wentworth that High Country came Purcell's way, however. Creators Marcia Gardner and John Ridley worked with her there, then made this the trio's next shared project. The nuts and bolts of the series are solid anyway, but it joins the ranks of Aussie detective and mystery tales made all the better due to their main talent. Mystery Road, which High Country co-star Aaron Pedersen (High Ground) has led in films and on TV, was the same. Jack Irish, featuring Guy Pearce (The Clearing) as its namesake and also Pedersen as his righthand man, equally fits. So does The Dry and its sequel Force of Nature: The Dry 2, both with Eric Bana (Blueback) — the latter of which also used Victoria's alpine region as a backdrop, as does High Country. Andie is a seasoned police detective who takes a job back in uniform overseeing the town of Broken Ridge, which is located in the mountainous Victorian spot that gives the show its moniker. While High Country might be the second Aussie effort in 2024's early months to embrace this part of the nation — among a small but growing wave of rural-set Down Under movies and programs that aren't traversing red earth, such as the Tasmanian-set Deadloch, The Gloaming and The Kettering Incident, too — it's no mere rehash there, or anywhere. High Country's framework, down to its character types, is easily recognisable. Gardner and Ridley know what everyone does, though: that a great story can make any whodunnit-driven procedural feel different, as can excellent casting. A big reason for Andie's move: stability and work-life balance, aka relocating for the sake of her personal life with spouse Helen Hartley (Sara Wiseman, Under the Vines) and daughter Kirra (Pez Warner, making her TV debut). An existence-resetting tree change is meant to be on the cards, then, in a place where leafy vantages stretch over mountains and down into valleys as far as the eye can see. But her arrival, especially being installed as the new police chief, doesn't earn the sunniest of welcomes. Then there's the missing-person cases that swiftly start piling up, some old, some new, some previously explained by pointing fingers in specific directions. An absent doctor (Francis Greenslade, Irreverent) and the car he leaves behind is Andie's entry point, but that isn't the beginning or the end of the tale. Also key to the series are Andie's retiring predecessor Sam Dryson (Ian McElhinney, The Boys in the Boat), who is fixated on the past disappearance of a young boy — and former teacher Damien Stark (Henry Nixon, The PM's Daughter), who he's certain is responsible, has become the town outcast as a result and contends that he's psychic. Andie is soon perched between them. She values Sam's advice, yet spies how fixated he is in his vendetta (one wall in his house is right out of the obsessed-cop playbook). At the same time, she enlists Damien as a consultant to help on active cases, hoping that he'll accidentally reveal his involvement in the process. Ranger Owen Cooper (Pedersen) is one of the few other Indigenous faces in town; his teenage son Ben (Pedrea Jackson, Sweet As) quickly befriends Kirra. Throw in Rose De Vigny, the financially challenged proprietor (Linda Cropper, How to Stay Married) of a haven for artists, plus cop colleagues of varying help and loyalty (Romance at the Vineyard's Matt Domingo and Wyrmwood: Apocalypse's Luke McKenzie), and Broken Ridge doesn't lack in players. Rabble-rousing siblings (Boy Swallows Universe's Nathaniel Dean and The Clearing's Jamie Timony), town bigwigs (Geoff Morrell, The Lord of the Rings: The Rings of Power) — the list goes on. Crucially, no matter how many of High Country's characters feel as if they could've walked in from fellow Aussie fare, where the show takes them is always its own journey. The same is true of Andie, and not just within a homegrown context; Jodie Foster (Nyad) in True Detective: Night Country and Kate Winslet (The Regime) in Mare of Easttown have charted comparable paths, but never this exact route. Pivotal to giving High Country its own flavour is its sense of place — not merely as a source of picturesque sights, which Andie often takes in as a newcomer to these parts, but in getting entrenched in the ragtag Broken Ridge community. When Sam reflects early that disappearances and deaths are just what happens here, Andie is horrified. Digging into the motivation behind his words becomes another of her missions, and the series'. With a wealth of fellow Wentworth alum behind the camera — Kevin Carlin (Ms Fisher's Modern Murder Mysteries) and Beck Cole (Deadloch) direct; Craig Barden (The Rooster) and Darrell Martin (White Fever) are High Country's cinematographers — this is a probing affair. The surroundings that make us, and also hide our secrets, prove a canvas, a minefield and a map. Discovering what they contain in this small-town thriller makes for addictive viewing, unsurprisingly. And in Purcell as Andie, High Country has a discerning and determined guide to fuel not just one season and its mysteries, but hopefully much more to follow. Check out the trailer for High Country below: High Country streams via Binge. Read our interview with Leah Purcell Images: Sarah Enticknap / Narelle Portanier.
"What do we want?" "Time travel!" "When do we want it?" "It's irrelevant!” And so it is that the Terminator franchise rediscovers its sense of humour. As for everything else, well, the ground’s a little less resolute. Somewhat appropriately, Terminator: Genisys is either the fifth film in the franchise, or the third, depending on your perspective. James Cameron, who wrote and directed the first (and best) two, openly declared both Rise of the Machines and Salvation to be blips on the radar that are best ignored, meaning — at least in his view — Genisys now rounds out the unofficial trilogy (cue joke about a director from the future going back in time to terminate inferior sequels). Certainly, Genisys goes out of its way to fit solidly within the original movie's timeline, at least to begin with. In fact, it’s worth re-watching Terminator beforehand, if only to appreciate the lengths to which director Alan Taylor and his production team have gone in painstakingly recreating some of the film's signature moments (right down to casting a Bill Paxton lookalike for the then-unknown actor’s punk cameo). The reason for the cinematic fidelity quickly becomes apparent, too, when those well-known moments from the original are hugely turned on their head. It’s difficult to explain without revealing giant spoilers, but suffice it to say Sarah Connor (played with remarkable likeness to Linda Hamilton by Game of Thrones’ Emilia Clarke) no longer needs rescuing back in 1984 by Kyle Reese (Jai Courtney), and Arnie isn’t the first Terminator to be sent back there. Everything’s changed, and therein lies both the film’s strength and weakness. As a positive, switching everything up was a sensible and necessary move to breathe new life into a franchise already guilty of retelling the same story with merely cosmetic differences. John Connor (Jason Clarke) undergoes a dramatic amendment in Genisys, and Schwarzenegger’s T-800 (easily the film’s shining light) has noticeably aged, explaining “I’m old, not obsolete”. Going back to 1984, too, is a clever device because — at least for fans of the original — as soon as the first difference becomes apparent, it raises a lot of questions that help drive the story forward. The downside, however, is that making those changes requires some serious amendments to one of the more established and analysed lores in film history, and unless you’ve got rock solid explanations to back them up, gaping potholes quickly reveal themselves. In Genisys, some are answered via hastily mumbled lines about 'nexus points’ and parallel timelines, but the more critical ones — like how terminators ended up in the timeline long before 1984, who sent them there and why — remain unanswered. It’s a clear setup for a sequel, but mostly just lazy film-making, failing to tell the story it promises. When the credits roll on Genisys, you soon realise you’ve no idea what it was actually about. 2015 is proving itself the king of the reboot, with Jurassic World already destroying box office records, and new entries for Mission Impossible, James Bond and Star Wars all to follow. Terminator: Genisys will likely find itself somewhere towards the bottom of that list, mostly because — while it’s a lot of fun — it fails to ‘wow’ us like its predecessors. The terminators’ technology is largely the same, the action sequences are again mostly variations on a theme, and somehow the phenomenal special effects of 1991’s Judgment Day still remain more jaw-dropping than most things that have come since.
Melbourne's Chapel Street is already one of the most colourful and lively precincts in town, but with the return of PROVOCARÉ Festival of the Arts the area is set to explode with confronting creativity as some of the most thrilling and unapologetic artworks and performances of 2018 take place. Running from July 5–15, the second edition of PROVOCARÉ will be headlined by world-renowned American photographer Spencer Tunick. Best known for his massive-scale nude photos, captured throughout many of the world's big cities, Tunick is set to shoot another provocative artwork in the Chapel Street Precinct. Tunick will be joined by a host of leading local and international artists, performing steamy cabaret shows, vodka-fuelled plays and much more. There'll also be a host of activities — such as blindfolded dinner parties — to partake in, too. To help make your scheduling a little easier, we've picked out seven sensational events taking place across the two jam-packed weeks. SPENCER TUNICK RETURN OF THE NUDE Spencer Tunick's PROVOCARÉ installation will be his third on Australian shores, after first shocking audiences Down Under in 2001 — with confronting photographs set on the banks of the Yarra — before returning in 2010 to capture another iconic series on the steps of Sydney Opera House. The artist has described Chapel Street as reminiscent of "East Village in New York, Sunset Strip in LA, and San Francisco's Haight-Ashbury, but all combined into one juggernaut". Before Tunick can transform Chapel Street into a sea of nude bodies, he needs (lots of) nude bodies. He is seeking hundreds of courageous volunteers of all shapes, ages, races, genders and abilities to get their kit off and brave the wintery conditions to feature in the two-day installation. If you'd like to participate in his latest work, head to the PROVOCARÉ website to register your interest (you'll be rewarded with a limited edition print of the artwork). Return of the Nude will be shot over two days between July 7 and 10 in the Chapel Street Precinct. REUBEN KAYE To give you an insight into Reuben Kaye's reputation, he's been described as "the evil love child of Liza Minnelli and Jim Carrey" and "the quintessential cabaret performer". That sets the bar rather high, but Kaye's not one to disappoint — or bore. After stunning audiences in Australian and abroad, Kaye's performance for PROVOCARÉ Festival of the Arts comes hotly anticipated. Having held residencies at London's historic Savoy Hotel and Café de Paris, while also gracing stages in Berlin, Stockholm and everywhere in between, Kaye will perform his award-winning one-man show — that's equal parts song, dance and comedy — for seven nights only. Reuben Kaye will be performing between July 7–15 at Chapel Off Chapel. Tickets: $30. THE DEATH OF WALT DISNEY One of Australia's most celebrated local theatres, MKA: Theatre of New Writing presents a daring and comical production of New York playwright Lucas Hnath's A Public Reading of An Unproduced Screenplay about The Death of Walt Disney. A highly fictionalised portrayal of the American figure, whose impact on pop-culture is matched by few others, the play explores the relationship between Walt Disney, his brother Roy and one of his daughters. Led by three actors supported by a pack of cigarettes and a litre of vodka, the play features the character of Walt Disney reading his own screenplay, written about himself and on his own impending death. The Death of Walt Disney will run from July 11-14 at the MC Showroom. Tickets: $20. ARTWALK Following up from 2017's inaugural festival, PROVOCARÉ will once against host an artwalk that'll lead you through many of Chapel Street's most loved art icons, while also delving into the rich creative history of the area. Winding through Windsor, Prahran and South Yarra, Artwalk will begin at the rooftop sculpture park of MARS Gallery — which features a wind-powered sculpture by Australian artist Cameron Robbins — before heading inside to explore the gallery's latest exhibition Liquid Candy by the acclaimed Bonnie Lane. The walk will provide insight into some of the cultures behind the areas' street art, explaining why they have become such notable attractions both locally and internationally. Artwalk will take place on Saturday, July 7 and 14, and Sunday, July 8 and 15, from 3–5.30pm. Tickets: $29. DINNER IN THE DARK Art and food intersect at this surprise-filled dining experience. Held in a secret location, Dinner in the Dark features three courses of food (and wine) prepared by local chefs Garen Maskal of Shukah and Daniel Natoli of Neptune Food & Wine. After following cryptic clues to a Chapel Street location, that you'll be given 24-hours earlier, you'll be blindfolded and seated in a private dining room. Each course is created to maximise the impact on your senses (well four of them), leaving you guessing as to what delightful flavour combinations you're consuming. Dinner in the Dark will take place in a secret location on Friday, July 6. Tickets: $90. DAVID BROMLEY WHATEVER YOU DREAM Rolls Royces, Mercedes-Benzs and Jaguars aren't your typical canvases, but David Bromley isn't your everyday artist. A free open-air exhibition at PROVOCARÉ, Whatever You Dream sees Bromley take luxury cars destined for the junkyard and transform them into masterful works of art. The co-founder of leading Chapel Street design studio and shop Bromley&Co, David Bromley is one of Australia's most in-demand contemporary artists working today. Best known for three long-term series Boys Own adventure, the Female Nude series, and Butterflies, for his newest exhibition – running July 5-15 – Bromley adds his unique styling to the opulent cars, employing a host of pop culture references, found images and bold colours to explore themes of nostalgia and the lost and found. Whatever You Dream will take place from July 5–15 on Oxford Street, South Yarra. CLUB PROVOCARÉ The theme of burlesque, circus and cabaret continues with a lineup of steamy international performers at Club PROVOCARÉ. The nightly show will be hosted by multi-award winning performer Bernie Dieter, AKA the Queen of Kink. Admired around the world for her sensational voice and sharp wit, Dieter brings along an all-star cast of self-described nocturnal freaks and misfits. The kooky lineup includes Belgian burlesque superstar Laurie Hagan, Australian 'boylesque' duo Tom Worrell and Karl Kayoss, the unmistakable 'Queen of Corporate' Karen from Finance, and Japan's high-flying and pyro specialist Yusura. Club PROVOCARÉ will be an erotic and high-octane experience like nothing else you've seen. Club PROVOCARÉ will show nightly during the festival at the David Williamson Theatre, Melbourne Polytechnic. Tickets: $33. For the full lineup, visit PROVOCARÉ Festival of the Arts and keep an eye on their Facebook @provocareonchapel and @chapelstreetprecinct for more event announcements.
Whether you're in full lockdown mode, are only leaving the house to buy groceries or still have to venture out regularly because you can't work from home, no one is moseying far in these COVID-19 times. Everyone wants to, though. That's just human nature. Even if you're a homebody whose idea of a perfect vacation is getting cosy on the couch with your partner and your streaming queue, we're betting you're currently craving something — anything — to look at beyond your own four walls. Being cooped up in the house and experiencing a hefty dose of wanderlust go hand-in-hand, unsurprisingly — and you can cope in two ways. If you're itching to travel the globe the second you're able to, you can spend all your new spare time planning the trips you'll take when you can finally leave isolation behind. Or, if you're happy to simply pretend that you're somewhere far, far away, you can enter the world of travel live streams. You've virtually toured museums, galleries and landmarks already. Now it's time to while away as many minutes, hours or days as you like staring at a live webcam feed that's capturing life in another country right at this moment. Maybe you want to see what's going on in some of the places you've already been to. Perhaps you're keen to view stunning sights that you've always wanted to visit. Either way, here are seven travel live streams that you can watch from your couch at this very instant. A hint: pop one on in the background while you're working from home, and your day will instantly seem brighter. Also, a word of warning: they're rather addictive. https://www.youtube.com/watch?v=CwriDd8STdI&feature=emb_logo THE NORTHERN LIGHTS, CHURCHILL, CANADA The northern lights, aka aurora borealis, are one of the world's great natural wonders — the type of phenomenon that you need to see with your own eyes to truly appreciate. Caused by solar winds, the lights beam an array of colours across the evening sky, emitting a show that luminous events like Vivid only wish they could emulate. And, for everyone who needs that kind of magic in their lives at the moment, they're being live-streamed via Explore.org's dedicated webcam. You'll obviously need to tune in at the right time; however the middle of the night in Churchill, Canada (where the camera is stationed) coincides with late afternoon Down Under. And, even when you can't glimpse the main attraction, you can still peer at a scenic sky above an expanse of snow, all on the other side of the world. https://www.youtube.com/watch?v=HpZAez2oYsA CANAL OF CANNAREGIO AND PONTE DELLE GUGLIE, VENICE, ITALY Perhaps it's the centuries-old architecture. Maybe it's the glistening water. Or, it could be the entire idea of a city built on a group of 118 small islands, all separated by canals and linked by bridges. Whichever one fits, Venice boasts a particular kind of magic — and, in good news, that remains the case if you're watching on via live stream. Peering at the Ponte delle Guglie over the Canal of Cannaregio, the webcam setup at Hotel Filù is one of the best. Also, while you're viewing, you'll be doing so from a camera inside a building that dates back to the 800s. Those interested in more of Venice's distinctive sights can choose from a range of other cams, too, including a rolling live feed that switches between various scenic vantages. SHIBUYA SCRAMBLE CROSSING, TOKYO, JAPAN It has been featured in everything from Lost in Translation to Fast and Furious: Tokyo Drift — and, during normal circumstances, it's one of the busiest places in one of the busiest cities in the world. That'd be Shibuya's famous scramble crossing, where hordes of people usually cross the intersection all day, everyday. Whether you've been to Tokyo plenty of times or you've always wanted to take a trip, this bustling site is on everyone's must-visit list. For now, though, you can simply watch. Shibuya Community News' web cam peers down at the four-way crossing non-stop, as the few folks who are still out and about in Tokyo go about their business. If you've ever walked across the road yourself, the sparse sight is quite surreal. If you haven't yet had the chance, get ready to start people-watching. https://www.youtube.com/watch?v=wnNrd-VjLsQ WAIMEA BAY, HAWAII, USA Who doesn't wish that, right about now, they were sunbathing on a beach with nothing but sunscreen, sand and the crash of the waves to worry about? We all know the feeling — and while Australia's beaches have been closing over the past few weeks, all in an effort to enforce the country's current social-distancing requirements, you can check out Hawaii's Waimea Bay instead. If you find looking at the surf and listening to the roar of the ocean soothing at the best of times, you'll undoubtedly feel the same in today's far-from-usual predicament. This is a live stream you'll want to turn the volume up for, too, so you can make the very most of every sound from the scenic O'ahu spot. THE EIFFEL TOWER, PARIS, FRANCE Live stream network Earthcam.com has access to cameras in a huge number of places; however there's nothing quite like staring at one of the world's most famous tourist attractions while you're sat on your couch. If you time your peek just right — aka, you have a look when it's evening in Paris but daytime Down Under — you'll see the Eiffel Tower lit up against the night sky, perhaps even with the moon in the background, too. And, if you'd like to see how the iconic structure looks at various times of the day and under different conditions, you can scroll through the site's extensive image gallery, checking out how the tower appeared over the past hours, days, weeks and months. YOSEMITE NATIONAL PARK, CALIFORNIA, USA There's no shortage of magnificent natural land formations to see in California's Yosemite National Park. While no one can lock their peepers on them in person at present, anyone eager to get a glimpse can still do so online. And, thanks to Yosemite Conservancy and the US National Park Service, there are multiple options — peering at multiple sights, too. If it's a live webcam feed you're after, then take a gander at Yosemite Falls, one of the world's tallest waterfalls. Watching water stream down from almost 740 metres up is quite the vision to behold. For those who'd rather peer at the Yosemite High Sierra, the Badger Ski Pass Area or Half Dome, or vicariously live out their Free Solo dreams at El Capitan, you can do so via static live images that refresh every 60 seconds. https://www.youtube.com/watch?v=4zUmDtZAd28&feature=emb_logo LOCH NESS, SCOTTISH HIGHLANDS, SCOTLAND You could spend your days in isolation learning a few new skills, catching up on a heap of movies, watching everything from theatre to opera, getting your sweat on and cooking up a storm. Or, you could keep your eyes peeled for a famous critter: the Loch Ness Monster. Thanks to the Nessie on the Net live stream, a webcam is trained at the body of water in the Scottish Highlands all day and night. If anyone is ever going to spot the creature — if it does even exist — now seems like the perfect time for it. You'll want to check out the stream when it's daytime in Scotland, otherwise you'll just see darkness. And, monster or no monster, the lake and the surrounding countryside still looks idyllic either way. Top image: Shibuya scramble crossing, Benh Lieu Song via Wikimedia Commons.
It's a whole year since Moon Dog opened Wild West in Footscray – and, to celebrate, the venue's throwing a massive shindig: its Rootin' Tootin' First Birthday Party, to be precise. Get down there on Saturday, April 26, from 11.30am, for free drinks, live music and scrumptious food specials. To claim your cowboy shot gratis, you'll need to make your way to the bar on the hour and say "yee-haw". A total of 365 shots will be given away – one for each day that Moon Dog Wild West has been open. Hang around till 3pm for DJs who'll take over the rooftop, before vacating the stage for Elly McK & The Unbelievers. They'll be banging out a bunch of country-influenced covers and originals until 9.30pm, before the DJs return until 1am. Meanwhile, $1 chicken ribs and $30 buckets of beer or fizzes will be making the rounds. You're strongly encouraged to wear your cowboy or cowgirl hat with accompanying boots – and, of course, bring your finest line dancing moves. Entry is free but bookings are recommended over here.
When Taika Waititi and Jemaine Clement decided to don fangs, embrace the undead and make a mockumentary about vampire housemates, What We Do in the Shadows was the sidesplittingly funny end result. And when the pair decided to expand the concept on the small screen, utterly delightful things followed, including NZ television show Wellington Paranormal — which stuck with the movie's movie's cops as they kept investigating the supernatural — and the American TV series also called What We Do in the Shadows. That US television offshoot also boasts a killer cast, all playing an ace roundup of vamps. For the uninitiated, this iteration of What We Do in the Shadows is set in Staten Island — but no, Pete Davidson doesn't show up. Instead, the series focuses on a household where Nandor (Kayvan Novak, Cruella), Laszlo (Matt Berry, Toast of London and Toast of Tinseltown) and Nadja (Natasia Demetriou, Eurovision Song Contest: The Story of Fire Saga) all live. Energy vampire Colin Robinson (Mark Proksch, The Office) and Nandor's familiar Guillermo (Harvey Guillen, Werewolves Within), the latter of which comes from a family of slayers, have also staked a claim in the story. Given that this What We Do in the Shadows has been running for four seasons now, with a fifth on the way, that basic premise is just the beginning. Plenty of supernatural mayhem has followed Nandor and company, and long may it continue. Indeed, in the just-dropped trailer for season five, everything is as wonderfully chaotic as ever — and yes, "bat!" gets yelled and Matt Berry is as glorious as ever. Visits to shopping malls, getting into politics, hosting news shows, saucy rendezvous, the return of other familiar faces: they're all glimpsed in this sneak peek, which doesn't just herald the return of TV's best vampires, but of the best on-screen universe there is. Fingers crossed that just like bloodsuckers, this small-screen take on What We Do in the Shadows will never die. For now, its fifth season has locked in a mid-July return date in the US, which hopefully means that it will hit Australia via Binge and New Zealand via Neon at the same time. Check out the trailer for What We Do in the Shadows season five below: What We Do in the Shadows' fifth season arrives in the US on July 13, with Australian (via Binge) and New Zealand (via Neon) return dates still to be confirmed — we'll update you when they're locked in.
Prepare yourself for a night of whimsy, wonder and a weird, scaly, hermaphroditic fish man named Old Gregg. Noel Fielding, the androgynous co-lead of the surreal British comedy series The Mighty Boosh, is bringing his live show, An Evening with Noel Fielding, to a capital city near you. Combining stand-up comedy with animation and original music, as well as special appearances from some of Fielding's most beloved and baffling characters, including Fantasy Man and The Moon, the April 2015 show marks Fielding's first time in Australia since his sold-out tour in 2012. This time he'll also be joined by his younger brother Michael, best known for his recurring role on The Mighty Boosh as Naboo the Enigma, an alien shaman from the planet Xooberon. Fielding previously played the part of Richmond in The IT Crowd, appeared as a team captain on the music comedy panel show Never Mind the Buzzcocks, and helped create the comedy sketch program Noel Fielding's Luxury Comedy. He is also a member of the band Loose Tapestries along with Kasabian guitarist Sergio Pizzorno, whose music will be featured in the tour. Tickets to An Evening with Noel Fielding go on sale at 9am on Wednesday, December 17. The show begins in Auckland on Monday, April 6, following by Wellington on Friday, April 10, and Christchurch on Sunday April 12. Fielding then crosses the ditch, first to Melbourne on Wednesday April 15, then Adelaide on Friday April 17 and Canberra on Monday April 20. He'll be at the State Theatre in Sydney on Wednesday April 22, before finishing up with Perth on Friday April 24 and Brisbane on Monday April 27.
Two icons of Australian creativity will combine in the country's newest opera, which sees Opera Australia take on the life of famous Aussie artist Brett Whiteley. Called Whiteley, the production will come to the Sydney Opera House across July 15–30, 2019, exploring and honouring not only the celebrated, two-time Archibald Prize-winning painter, but his wife and muse Wendy. And, as well as turning their tale into a song-filled drama, the opera will feature a digital backdrop that'll incorporate the artist's iconic pieces onto huge LED screens. The set design will be Dan Potra's domain — and if you saw any of the Handa Opera shows on Sydney Harbour, or even just saw pictures, then you'll know you're in for a visual treat. As for the rest of the talent behind this take on an Aussie talent, it'll be directed by David Freeman, with music composed by Elena Kats-Chernin and libretto by Justin Fleming. The opera will mark the second time that Whiteley's story and works have made the jump to another medium in just a few short years, following on from the 2017 documentary also called Whiteley — but so far, this latest effort is exclusive to Sydney as part of Opera Australia's packed 2019 season. While a slate of Melbourne productions have also been announced for next year, Whiteley isn't taking the trip down south yet. That means art fans should schedule a mid-year getaway, or cross their fingers that Whiteley will feature among the company's touring productions down the track. Whitely comes to the Sydney Opera House from July 15–30, 2019. For more information or to buy tickets, visit the Opera Australia website. Image: Photo courtesy Brett Whiteley (Australia; England, b.1939, d.1992). Self portrait in the studio 1976. Oil, collage, hair on canvas, 200.5 x 259 cm. Art Gallery of New South Wales. Photo credit: AGNSW, Chritopher Snee.
Roasting coffee in Melbourne is what collecting and trading cards used to be like back in the '90s. But we've always been keen on the more rare finds (here's looking at you unassuming keyring collection) and so have decided to collate a list of Melbourne's more matchbox-sized coffee collectables — that is, the best specialty coffee in the city. Notable mentions go to Assembly and Patricia who've started to roast their own beans, but this must-hit list captures the current top of the crops, some of Melbourne's smaller speciality roasters who are already doing some pretty big things. Fingers crossed that flaunting our new favourites just means we'll be trading cups more often. RUMBLE COFFEE ROASTERS Having trained in the dark arts of coffee for the past decade, the Rumble cohort (Stan Bicknell, Matt Hampton and Joe Molloy) are mixing up some fine black magic beans. Their use of bird branding isn't just a flourish of bright and striking plumage, but reflects the bean's country of origin — not to mention it's a bold and welcome change to the otherwise simple, and colourless, character of a lot of coffee branding. That alone is reason enough to ruffle some feathers, but don't just take our word for it. Join their Friday afternoon cuppings, where caramelly Brazilian blends and exotic Columbians collide. You may even get the chance to sample the El Limonar from Guatemala, a pesticide-free bean that's placed twice in the Cup of Excellence. rumblecoffee.com.au EVERYDAY COFFEE Collingwood's Everyday Coffee has been roasting most of their own espressos and filters for a while — both through Supreme and community roasting space Bureaux Collective — and we're all a tizz for the Guatemalan and Colombian espresso blend. With hints of chocolate and butterscotch, it's a perfect shorty for any weather. Mark Free and Aaron Maxwell are leading the roast, with past filters including beans from the Kenyan Kainamui Factory, which brings together 1800 farmers, 700 of which are women. Everyday retail plenty of brewing equipment, so you can bag their take-home beans and bypass the Johnston Street bustle if you like. everyday-coffee.com WOOD AND CO Another working out of the Bureaux Collective shared roasting hub is Wood and Co. Their Twin Peaks seasonal blend is currently half Ethiopian, half Columbian and melds together a fudgy flavour with a cherry pop finish. Roaster Aaron Wood is an old hand at the coffee game, so knows how to get those Columbian filters fruity with notes of kiwi, apple and maple. Find them at hand selected cafes, such as Kines and All Day Donuts. Or swap some of your old penny collection for their delivered-to-door beans (via their online store). woodandcocoffee.com.au TIN MAN COFFEE ROASTERS Queensberry Pour House specialises in black, white and short — and we're not talking about the resident dog, Phyllis (she's a good metre tall, so wouldn't fit into your cup anyway). Puppers aside, their house-roasted Tin Man Coffee is top notch. Natalie Kirwan closes the cafe on weekends so co-owner Ben Stronach can roast the weekly grind out the back which, he says, can be anywhere from 'a little bit' to ten kilos of the green stuff. Rotational single origins seem to favour Ethiopian varieties and can cover notes from honeysuckle and peaches to buttery toast and jasmine. The batch brew is served bottomless (just pay $4 for a cup), so it works out to be a steal, especially if you tuck into their free Wi-Fi. queensberryph.com.au MAKER FINE COFFEE After selling Kew's Ora Specialty Coffee, partners John Vroom and Stephanie Manolas headed over to Richmond to roast their own beans under Maker Fine Coffee. The half-honeycomb half-science project taste cards are as well rounded as their rich apricot, soft grape and black tea sips and slurps – and provide the journey from plant to palate, so you get why you're paying $22 per bag. Keen to hear why the coffee's so good straight from the roaster's mouth? Then head to a Wednesday evening cupping, where Maker showcases not only their own, but other locally roasted coffees. makerfinecoffee.com
The art world's love affair with Andy Warhol has lasted far longer than 15 minutes. Australia's fondness for the iconic artist definitely hasn't been fleeting, either. In 2023 alone, not one, not two, but three different exhibitions Down Under have celebrated his work; however, only Instant Warhol is solely dedicated to his skills with a polaroid camera. On the Gold Coast in autumn, Pop Masters highlighted Warhol's pieces alongside works by Jean-Michel Basquiat and Keith Haring. In Adelaide around the same period, Andy Warhol & Photography: A Social Media honed in on the artist as a shutterbug. Obviously, Instant Warhol has the same idea as the latter, but it will only be filled with polaroid portraits — 59 of them. This time, Warhol's work is headed to Ballarat, displaying from Saturday, August 26–Sunday, October 22 at the Art Gallery of Ballarat during the Ballarat International Foto Biennale. The regional Victorian photography festival is never short on things to see, but Instant Warhol is quite the drawcard for the biannual event. [caption id="attachment_906816" align="alignnone" width="1920"] Andy Warhol self-portrait in drag, 1980. © Andy Warhol Foundation for the Visual Arts, Inc. Artists Rights Society [ARS]/Copyright Agency, 2023.[/caption]The original snaps that Warhol himself took — when he wasn't painting Campbell's soup cans and images of Marilyn Monroe, of course — will be on display. Even if you haven't seen them before, some should be familiar. One of the reasons that the artist captured polaroids, other than loving them, was to turn some of the famous faces he snapped into his screen prints. Drawn from the thousands of photographs he took with the instant cameras between 1958–87, this selection of pictures will also feature images of Warhol himself. They're all coming to Australia thanks to The Brant Foundation, with founder Peter M Brant one of Warhol's early patrons, then a friend, and also the the producer of Warhol's films L'Amour and Bad. [caption id="attachment_906817" align="alignnone" width="1920"] Top image: Andy Warhol, Sylvester Stallone, 1980. © Andy Warhol Foundation for the Visual Arts, Inc. Artists Rights Society [ARS]/Copyright Agency, 2023.[/caption]Top image: Photograph of Andy Warhol taking a polaroid picture while sitting with Jack Ford and Bianca Jagger on the Truman Balcony, U.S. National Archives and Records Administration courtesy Gerald R. Ford Presidential Library via Wikimedia Commons.
Danny Boyle directs. Alex Garland penned the screenplay. Oppenheimer Oscar-winner Cillian Murphy isn't listed among the cast, but is credited as an executive producer. In the latter's place on-screen, Jodie Comer (The Bikeriders), Aaron Taylor-Johnson (Nosferatu), Ralph Fiennes (Conclave), Jack O'Connell (Sinners) and Alfie Williams (His Dark Materials) are all tasked with navigating the remnants of a virus-ravaged world. That's the recipe behind 28 Years Later, and it looks set to unsettle — at least if the initial trailer from late 2024 and the just-dropped new sneak peek are anything to go on. Here, the zombie apocalypse has evolved. When just 28 days had passed, survivors faced a nightmare. Little had improved when 28 weeks had gone by. Now, following 28 years of chaos, life has been forced to find a new normality after dealing with the aftermath of a society decimated by a horrific infection for a hefty period. The setup this time around: almost three decades after the rage virus initially seeped through humanity after escaping from a biological weapons laboratory, some survivors have etched out an existence on a small island. Elsewhere, quarantine remains a key way of tackling the infection. With that starting point — and with unease dripping through both trailers so far, complete with stunning imagery — expect Boyle (Yesterday) and Garland (Warfare) to dig into the terrors that linger when two of the island's residents venture over to the mainland. Although 2030 will mark 28 years since viewers were treated to one of the best zombie movies ever, aka the Boyle-helmed, Garland-written 28 Days Later, the third flick in the same franchise — and second with Boyle behind the lens and Garland on scripting duties — arrives after 23 years. 28 Years Later was first confirmed at the beginning of 2024, and will hit cinemas Down Under on Thursday, June 19, 2025. The series' initial film has already spawned one follow-up thanks to 2007's 28 Weeks Later, but Boyle didn't direct it. Garland, who also penned Sunshine for Boyle, then hopped behind the camera himself with Ex Machina, Annihilation, Men, Civil War, Warfare and TV series Devs, wasn't involved with 28 Weeks Later, either. Their return restarts the saga, kicking off a new trilogy. The franchise's fourth feature 28 Years Later Part II: The Bone Temple has already been shot, in fact, with Candyman and The Marvels' Nia DaCosta directing. Boyle and Garland's first proper collaboration after Boyle adapted Garland's best-selling novel The Beach for the big screen two years prior, 28 Days Later still ranks among the best work on either's resume. It's the same on Murphy's as well, even if it didn't win him any of Hollywood's top shiny trophies for playing a bicycle courier who wakes up from a coma in a deserted hospital 28 days after an outbreak changed the world forever. And yes, the series is missing a 28 Months Later instalment. It was talked about for years, but the time has now passed unless the new trilogy includes a flick set between 28 Weeks Later and 28 Years Later. Check out the latest trailer for 28 Years Later below: 28 Years Later releases in cinemas Down Under on Thursday, June 19, 2025.
Right now, The Lume's multi-sensory exhibition is dedicated to Italian maestro Leonardo da Vinci. His most famous works are projected all over the digital art gallery, which punters can marvel at when visiting. But The Lume is more than just a space where you can wander around and admire art. It also plays host to immersive yoga classes and the occasional dinner. And its latest evening of food and art takes place on Thursday, June 20, when 400 Gradi's Johnny Di Francesco takes over the kitchen. For this one-night-only event, guests will eat some of Melbourne's best pizza while immersed in a room full of moving digital artworks and operatic melodies. But you're not just dropping by to down some pizza and leave. Di Francesco has designed an all-Italian, three-course set menu just for the evening, and the drinks team has selected vinos to be paired with each dish. It will cost a mean $295 per person, but we expect this to sell out fast — just like its previous Guy Grossi dinner. Diners will also get a first look at four new excerpts from da Vinci's Codex Atlanticus. Sketched by the man himself around 550 years ago, these original works will be on display at The Lume for three months, before returning to Milan for preservation. Combining a night of admiring Da Vinci's artworks with some of Melbourne's best pizza seems like a no-brainer to us. Just book as soon as you can to make sure you get a seat. Images: Griffin Simm
Across four seasons of Stranger Things so far, entering a rift to the Upside Down hasn't transported anyone Down Under. But jumping into the hit Netflix series' world keeps proving a reality in Australia — first via one of those portals popping up in Bondi back in 2022, and next courtesy of Stranger Things: The Experience, which has just locked in its Aussie debut at Luna Park Sydney as part of Vivid's 2025 program. Luna Park Sydney and immersive experiences based on Netflix shows keep going hand in hand of late; from the end of 2024, the Harbour City tourist attraction also hosted Squid Game: The Experience, letting small-screen fans dive into another streaming smash. Stranger Things: The Experience will run from Friday, May 23–Saturday, June 14. The must-attend event falls into the Ideas portion of Vivid's lineup. Get ready to visit 1986 — and also Hawkins, Indiana, of course — in what promises to be an interactive stint of Stranger Things-loving fun. Locations from the show are part of the setup, as is a supernatural mystery. And yes, you can expect to feel nostalgic, even if you don't have your own memories of the 80s because you hadn't been born yet. Stranger Things: The Experience isn't just about visiting recreations of settings that you've seen while watching Eleven (Millie Bobby Brown, The Electric State) and the gang. The installation features its own storyline, where playing along means trying to save Hawkins from yet another threat. And yes, you will take a trip to the Upside Down. You'll also be able to drink themed cocktails. Based on its time in other cities, Demogorgons and/or Vecna might await, too, along with Christmas lights, Scoops Ahoy and Surfer Boy Pizza. The experience initially opened in New York in 2022, and has enjoyed dates with Los Angeles, San Francisco, Atlanta, Seattle, Toronto, London, Paris and São Paulo since, with a Rio de Janeiro stint also on the way. Hanging out for new Stranger Things back in your Netflix queue? That's due to happen in 2025, when the show's fifth and final series arrives — although there's no exact release date as yet.
On Saturday, December 7 and Sunday, December 8, Palace Balwyn and Dendy Brighton will become the most magical places in Melbourne. Split across the two days, all ten Harry Potter and Fantastic Beasts films will grace the two venues' screens, serving up a whole weekend of wizarding wonder. BYO time-turner if you don't think you'll be able to get through it all otherwise. Ten films, you say? Yep, this really is a celebration of every Potter-related flick there is, which means the eight movie versions of J.K. Rowling's original seven books, plus both Fantastic Beasts and Where to Find Them and Fantastic Beasts and the Crimes of Grindelwald as well. Watch Harry, Hermione, Ron and co. spend their first day at Hogwarts, play quidditch, search for the deathly hallows and battle He Who Must Not Be Named. And, then jump back several decades earlier to explore the exploits behind one of their textbooks. Potterfest: A Harry Potter Marathon kicks off at 10am on Saturday, runs through until 11.40pm that evening, and then screens again from 10am–10.45pm on Sunday. Dressing up in costume is always highly recommended, as is indulging in the whole two days of Potter nerdery — with tickets costing $50, or $40 for Palace members.
Travelling in our own backyard is one of the most sustainable and planet-friendly options we can make when planning a well-deserved getaway. If you're starting to pencil in some strategic long weekends for the latter half of this year, here's one to consider: Port Douglas, a tropical paradise conveniently located just an hour's drive from Cairns. Nestled perfectly between the Great Barrier Reef and the oldest tropical rainforest in the world, Port Douglas offers an alluring long weekend proposition for city travellers looking to put nature at the forefront of their next holiday. Port Douglas is home to a number of sustainable tours, accommodations, and opportunities for conscientious involvement, so here are five ways you can reduce the carbon footprint of your next getaway. [caption id="attachment_913642" align="alignnone" width="1920"] Image: Good Travel with Marriott Bonvoy[/caption] CHOOSE ECO-FRIENDLY ACCOMMODATION Consider camping if you're looking to keep your holiday footprint low. Douglas Shire Council coordinates powered and unpowered camping grounds, along with a range of caravan sites. In order to protect the unique environment, overnight stays are only permitted at licensed caravan parks and camping grounds, so make sure to plan and book ahead. If you're looking for luxury accommodation, The Sheraton Grand Mirage Resort boasts over two hectares of sparkling saltwater pools in Tropical North Queensland. Lagoons on-site include spots with sandy beaches, as well as serene private cabanas nestled on the waterfront. As part of your trip, all Sheraton guests are invited to participate in a conservation activity hosted by Marriott Bonvoy in partnership with Good Travel. The Four Mile Beach cleanup is hosted by a marine biologist, allowing travelers to meaningfully engage with the environment while giving back. [caption id="attachment_888046" align="alignnone" width="1920"] Image: Sheraton Grand Mirage Resort, Port Douglas[/caption] BOOK WITH ECO-CERTIFIED OPERATORS If you are keen to venture further during your stay, there are a variety of eco-friendly and sustainable tour options you can book. Locally-run and eco-certified Back Country Bliss run swimmable tours through the Daintree Rainforest, which includes a snorkel and float tour of Mossman Gorge. As part of the Mossman Gorge Back Country Bliss tour, guests can experience a Welcome to Country and smoke ceremony with a Kuku Yalanji guide. Acknowledging and paying respects to the Traditional Owners of the lands you are visiting is a great way to show deep respect for the place you're visiting. The Kuku Yalanji People are the Traditional Owners of this land. [caption id="attachment_844375" align="alignnone" width="1920"] Image: Sailaway Reef Cruises - Tourism Tropical North Queensland[/caption] CHOOSE EXPERIENCES THAT GIVE BACK Sailaway is a family business running half-day and full-day charters to Great Barrier Reef, including the Low Isles and Mackay Coral Cay on the Outer Reef. The business holds an advanced eco-certification, meaning they're recognised for their work in conserving and protecting the Great Barrier Reef. A qualified marine biologist attends cruises, so you can learn about the wonders of the Great Barrier Reef as the boats go out. The company also donates $20 from every ticket to its reforestation and carbon offsetting. [caption id="attachment_913718" align="alignnone" width="1920"] Image: Tourism and Events Queensland[/caption] LOOK FOR GREENER TOUR OPTIONS If you want to experience Four Mile Beach from a different angle, adventures with a twist can be booked with locally-operated Port Douglas Segway Tours. Segways use electric power to recharge but produce zero emissions and are extremely energy efficient. Cruise along a trail which features the spectacular Four Mile Beach, rainforest paths and sandy flats. [caption id="attachment_913719" align="alignnone" width="1920"] Image: Tourism and Events Queensland[/caption] SUPPORT FIRST NATIONS COMMUNITIES There are lots of ways you can support First Nations communities and creators during your stay in Port Douglas. Booking tours and experiences with First Nations-owned or operated businesses, purchasing locally-created art and wares or attending a Welcome to Country are all meaningful ways you can pay respect to the Traditional Owners of this land. Concrete Playground travelled to Port Douglas as a guest of The Sheraton Grand Mirage Resort, Port Douglas. If you want to extend your Queensland getaway, check out our curated Whitsundays packages on CP Trips which includes a four-day stay, snorkel and sail adventure with a day cruise. Top image: Good Travel with Marriott Bonvoy.
The latest production in the MTC’s Neon Festival of Independent Theatre is taking outdated gender demarcations and turning them on their head. The women in Patricia Cornelius’ bluntly titled new play aren’t afraid to scream, swear or throw punches. They’re mean and tough and damaged, and about as unladylike as you can get. And that, of course, is the point. Shit marks the latest collaboration in a more than three-decade partnership between Cornelius and director Susie Dee. Their previous work together, Savages, won four 2013 Melbourne Green Room Awards as well as the 2014 Premier’s Literary Award for Drama. According to its creators, the aim of this new play was to allow the kinds of women rarely seen on the stage "the chance to come back at a world which despises them." Shit runs from June 25 to July 5, with a post-show Q&A with Dee and Cornelius scheduled for June 28. For more information, go here.
Sometimes it's nice to celebrate the little things, and at Crop Up! you'll be doing just that — by exploring the importance of seeds, grains and berries and their impact cultures across the globe. The event, as part of the North South Feast West festival at the Immigration Museum, will be filled with talks, tasting and demos, and you'll even have a chance to get your hands dirty in a berry planting workshop with the green thumbed legends at Do it on the Roof. For those interested in the art of brewing, head down to the Hawkers Beer event with brewer Mazen Hajjar. If cocktails are more your thing, grab an extra ticket to Fred Siggins' cocktail workshop From Bush to Bar, where you'll learn about the use of foraged and native ingredients in modern food and cocktails, among many other things. Plus, there will be Pimms. So get yourself to the Immigration Museum on Sunday, November 15 for the ultimate productive Sunday session.
By now, it's an all-too-familiar story. Put the human ball of hilarity that is Kate McKinnon in a film and it instantly improves. It was true in Office Christmas Party, Rough Night and Masterminds, no matter how average, sometimes awful those movies ultimately were. It's true again in The Spy Who Dumped Me as well. Thankfully, however, the Saturday Night Live standout isn't a rare diamond this time around. McKinnon's latest action-comedy doesn't always hit the mark, but it entertains in both the action and comedy departments — complete with death by fondue, affairs with Edward Snowden and completely relatable gushing over Gillian Anderson. That said, even when she's declaring that Anderson's MI6 boss is "the Beyonce of the government", and delivering other one-liners and asides with gusto, McKinnon is only one half of The Spy Who Dumped Me's modest charms. Mila Kunis is the other, playing the straighter role against McKinnon's gloriously goofy energy. Together, they not only make an engaging comedic pair, but furnish a funny, mayhem-fuelled ode to female friendship. That's the film's secret weapon. Director Susanna Fogel doesn't just throw women into the usually male-dominated realm of big-screen espionage, and nor is she content to just laugh as ordinary folks get caught up in the spy world. Rather, she shows that her characters cope with their new outlandish life by relying on each other. It's a recognisable scenario, even when it isn't. Girl meets boy, they bond over beers and bad jukebox songs, and then settle into a comfortable relationship. A year later, grocery store cashier Audrey (Kunis) is suddenly dumped by text, and aspiring actress Morgan (McKinnon) is her trusty shoulder to cry on. What they don't know is that Audrey's ex, Drew (Justin Theroux), is a lethal CIA agent immersed in a globe-trotting plot. When they find out, it's courtesy of two fellow operatives (Sam Heughan and Hasan Minhaj), a hook-up gone wrong and a shower of gunfire — plus a promise to travel to Europe to finish Drew's mission. "Do you want to die having never been to Europe, or do you want to die having been to Europe?" Morgan asks. Hopping between Vienna, Prague, Paris and Berlin, Audrey and Morgan try to do what's right, work out who they can trust and, of course, not die even though they've now been to Europe. And they do it all amidst cafe shootouts, an eventful Uber ride, stealing from Australian tourists, chatting about Balzac and trying to outrun the icy Russian gymnast turned model turned assassin (Ivanna Sakhno) on their trail. Whether you're a seasoned spy flick fan or barely know your Bond from your Bourne, everything you expect to happen happens. Well, almost everything, with the Cirque du Soleil finale a zany surprise. But even when the film seems predictable (and stretches its material about 30 minutes too far), the hyper-violent set-pieces always come with a slice of humour, the gags always inspire at least giggles, and the movie knows it is wading through a sea of genre cliches. More than that, its love of its central duo remains. This might be Fogel's first foray into big, bouncy action, but it's telling that her only other film — 2014's Life Partners — spun a story of lifelong besties who find their relationship being tested. While espionage wasn't part of that flick, there's plenty that's universal about women grappling with life's challenges with a pal by their side. Here, co-writing the script with David Iserson (United States of Tara), Fogel never questions Audrey and Morgan's camaraderie. Rather, The Spy Who Dumped Me feeds off of the characters' connection, using it as a constant source of affection, affirmation and amusement throughout all of the chaos. There are the foreseeable high points and a few low points, and most of the movie falls firmly in the middle, but it always feels fitting: that's friendship, after all. https://www.youtube.com/watch?v=URUVhRYJsgA
If you're due for your next Yarra Valley getaway, this might just be the weekend to do it. South Yarra's much-loved Leonard's House of Love is packing up its retrotastic food truck, hitting the road and descending on Four Pillars' Healesville headquarters in a blaze of deliciousness. Camping out at the much-loved distillery on Saturday, March 16 and Sunday, March 17, the burger maestros will be slinging an assortment of signature eats, from brisket cheeseburgers and a smoked mushroom burgers to vegan classics. And of course, at this spot, no one's going thirsty either. In at the bar, Four Pillars will have all your booze needs sorted, with gin tastings and flights, a range of house G&Ts, and a lineup of crafty gin cocktails to boot. Four Pillars is open from 10.30am–9pm on Saturday and 10.30am–5.30pm on Sunday.
Perhaps the rarest thing in Hollywood is the producer who says, “You know what? That was great, so let’s just leave it there”. As a result, we get sequels. Lots of sequels. Prequels, too, and spinoffs. One need only look at American food portions to recognise it’s not a nation possessed of the ability to know when enough is enough. The application of restraint (at least in the entertainment world) seems a decidedly British trait, sparing us from horrors like Love Actually 2: The Re-Loving or Slumdog Billionaire, and allowing gems like Faulty Towers to end after a mere 12 episodes, before there was any risk of overstaying its welcome. It’s not that sequels are bad, but there’s a grace to knowing when something should become a sequel (or even a franchise) and when something that’s both critically acclaimed and financially successful should nonetheless stand alone and untouched, forever. It’s not hard to see why 2012’s surprise hit Ted found itself a challenge to that notion of restraint. The film took in over half a billion dollars worldwide and, despite its often controversial content, proved one of the funner comedies of the year. It’s the kind of movie where you hear they’re making a sequel and you think, "yes, I laughed quite a lot in the first one, and I like laughing, so I’ll welcome more of that, thank you." Even the plot of the sequel offered a genuine extension of the original, with the living, breathing, foul-mouthed and pot-smoking teddy bear ‘Ted’ (voiced by writer/director Seth MacFarlane) told that his marriage to Tami-Lyn (Jessica Barth) has been nullified on account of him being deemed ‘property'. TED 2 hence finds itself a civil rights story that literally (and repeatedly) compares a teddy bear’s struggle to adopt a human baby with the plight of African slaves being considered human in the eyes of the law. Seth MacFarlane, ladies and gentlemen. Seth MacFarlane. Is it funny? Absolutely. MacFarlane is a clever and talented comedian who knows how to extract laughs from a variety of different setups, be they gross-out, shock value or pop-culture referential. But is it consistently funny? Not even close, and the quantity over quality approach means a lot of the film is rendered uncomfortably dull (or worse, offensive) as a result. The latter is particularly concerning, with racism, sexism and homophobia all rearing their heads over and over again in Ted 2, as though somehow MacFarlane has completely lost sight of the distinction between ‘confronting' and straight-up ‘wrong’. Drenching Mark Wahlberg’s character, John, in a shelf load of semen is a tough sell at the best of times, but suggesting his plight is made all the worse because it’s “black guy’s cum” demonstrates just how far off the mark Ted 2 consistently lands. When it gets things right, of course, the film shines. The opening titles are a delightfully choreographed musical number straight out of the golden age of cinema, and Liam Neeson’s brief cameo as a gravely serious man concerned about the purchase of cereal marketed strictly for children is terrifically funny. Amanda Seyfried, too, puts in a nice turn as both Ted’s lawyer and John’s love interest, even enduring constant barbs about her Gollum-esque eyes. But overall the film leaves a bad taste in your mouth and regret in your heart that the bottled lightning of the original couldn’t have just been left alone and untouched, forever.
Once a month, Melbourne’s own King of Sweets, Darren Purchese, puts on an unforgettable afternoon tea at The Langham. This Friday will be the last one for the year, so if you're a bit of a sucker for sugary goodness this could be a pretty delicious pre-Christmas treat. Darren's shop, Burch & Purchese Sweet Studio, has become well-renowned as one of Melbourne's top dessert destinations. Their bold flavour parings and inventive design draws a crowd all year round, and once you've had a bite of their Lamington Eclair, it’s pretty easy to see why. For the high-tea purists there'll also be The Langham’s signature fluffy scones, ribbon sandwiches and all the tea and coffee your heart desires. There are three session times available throughout the day: 10.30am-12pm, 12.30-2.30pm and 3pm-5pm. For those of you who have too much last-minute running around to do in December, don’t fret. The Burch & Purchese high teas will be running again once a month next year as well.
In 2011, in this very country and galaxy, a pop culture favourite gained a singing, stripping burlesque parody. It's the mash-up that was bound to happen. Who hasn't looked at George Lucas' space opera, its sprawling drama and ample spectacle, and wondered what a steamier, funnier version with more visible butt cheeks would look like? Russall S. Beattie clearly did, and had a good feeling that other people would give it a shot. The Empire Strips Back was the end result. It became a hit around Australia, then took itself overseas to much acclaim. Now it's returning home for a 2020 tour — once again showing local audiences that lightsabers aren't the hottest thing in the Star Wars galaxy. The saucy show promises "seriously sexy stormtroopers, a dangerously seductive Boba Fett, some tantalising Twi'leks, a delightfully lukewarm Taun Taun, a lady-like Skywalker [and] the droids you are looking for", according to its website. Apparently Yoda doesn't get the sexed-up treatment, but there is plenty of song, dance, acrobatics and — because it's burlesque — the removal of clothing. A dancing Chewie and Han is just the beginning of this cheeky take on Star Wars cosplay. Given that it's got an upbeat soundtrack, the costumes are extremely detailed and the show throws out lots of references to George Lucas' original plot, it's not surprising that local audiences — presumably the same ones that pack out Star Wars parties and large-scale screenings with a live orchestra — have latched onto the production. Heading to The Palais on Saturday, February 1, The Empire Strips Back sits alongside Dame of Thrones in Beattie's pop culture parody stable — so if you've already seen one of your fantastical screen obsessions get the burlesque treatment, then you know what you're in for. If you're super keen, you can also nab a Wookieerotica magazine online: a 116-page, 70s-style men's mag, just casually featuring all of your favourite jedis, siths, ewoks and other Star Wars characters. Either way, it could be a great introduction to burlesque or Star Wars, depending on which way you're coming at it. Pre-sale starts at 9am on Tuesday, November 12. Images: Jon Bauer, Leslie Liu and Josh Groom.
Before watching The Nest, you mightn't have imagined Jude Law playing Mad Men's Don Draper. He didn't, of course. But this new 80s-set psychological thriller about a corroding marriage brings that idea to mind, because it too follows a man who spends his days selling a dream, thinks he can talk and charm his way into anything, and may have unleashed his biggest spin upon himself. More often than not, Law's character here has used his charisma to get whatever he wants, and to evade whichever sticky personal and professional situations he's plunged himself into. Indeed, stock trader Rory O'Hara slides easily into Law's list of suave on-screen roles, alongside the likes of The Talented Mr Ripley and Alfie. But there's also a tinge of desperation to his arrogance, as the actor showcased well in miniseries The Third Day. A Brit who relocated to New York and married horse trainer Allison (Carrie Coon, Widows), Rory looks the picture of Reagan-era affluence but, when he suddenly wants to return to London to chase new work opportunities, the cracks in his facade start widening. When Rory proposes the move to Allison, she's reluctant. From the instant she first spies the centuries-old Surrey mansion he's rented for them, her teenage daughter Sam (Oona Roche, Morning Wars) and their son Ben (Charlie Shotwell, The Nightingale), she's mistrustful as well. Rory crows about how Led Zeppelin once recorded an album there as he tours her through the cavernous property, but the glassiness in Allison's eyes shows that she can't unthinkably subscribe to his glossy view of their relocated existence. That remains true even after he buys her a new horse, and brings home a fur coat for her to wear to his work get-togethers, where he brags about his prowess, success and eagerness to expand his property portfolio with a city apartment. It takes time for Allison to confront Rory's lies, and for his efforts to swindle and cajole his way out of financial strife to tear apart the O'Haras' lives; however, that Rory's posturing and pretence will crumble isn't a matter of if, but when. While it's obvious from the outset that trouble is afoot — from early images that survey the family's almost too-idyllic NY life, in fact — filmmaker Sean Durkin isn't in any rush to unleash The Nest's full nightmare. The writer/director made his feature debut with 2011's cult thriller Martha Marcy May Marlene, so his big-screen career pre-dates Hereditary and Midsommar's Ari Aster, but he's just as committed to evoking a climate of pervasive, unshakeable dread. And, he wants his viewers to linger in it, because his characters must. Allison is forced to live with the knowledge that little is right, but the way she chain-smokes hurriedly illustrates that she also knows how far her fortunes could fall. Every move Rory makes is driven by his need to paint a gleaming portrait of himself, and he's aware that it's a reverse Dorian Gray situation: the shinier and flashier he makes everything seem to anyone who'll listen, the more he rots inside. Durkin doesn't just rely upon an exacting pace and a festering mood of gloom, though. Reuniting with cinematographer Mátyás Erdély (Son of Saul) after 2013 miniseries Southcliffe, he gives every second of The Nest an eerie look — whether staying a few beats longer than normal on its opening shot, lensing vast rooms to emphasise their emptiness, repeatedly peering at the film's characters through glass or breaking out the most gradual of zooms. A sense of distance echoes through the movie, mirroring how the O'Haras can never get close enough to what they really want. Reminders of conflict are perched everywhere, especially in the way that Erdély plays with light and shadow across the family's faces. Decadence abounds, too, but in an overstressed fashion via wood-panelled walls and deep colours seething with darkness. The score by Arcade Fire's Richard Reed Parry plays up the threat and menace, while few recent films have compelled their audience to pay such attention to their unsettling sound design. All that tension and unease conveys not only Rory and Allison's domestic discontent — and, as one rebels and the other frets, Sam and Ben's as well — but also the false promises of chasing capitalism-driven fantasies. When, in a vulnerable exchange, Rory says that his job is pretending that he's rich, The Nest slices savagely into the toxic and false notion that money, belongings and status equal happiness. That should have viewers thinking about Mad Men again, but Durkin takes to the subject like he's making a biting horror movie rather the 21st century's best TV drama so far. The film is called The Nest, after all, and that luxurious abode evokes terror in a number of ways. It's the ultimate symbol of living beyond one's means and attempting to fake it till you make it. It's worlds away from the humble upbringing that Rory's trying to hide. It has more than enough space for Allison to fill with her worries, and to lose her sense of self in. And, in, every creak and suddenly open door, it reflects the paranoia that accompanies trying to be someone you're not. Law is perfectly cast, and Durkin is now two for two, but Coon is as essential to The Nest as her fellow lead and her director. As she demonstrated in Gone Girl and on TV in The Leftovers and Fargo, she's so adept at cutting to the heart of a character's complexities with minimal fuss that her performances feel like their own form of shorthand. And, that's crucial here. As Rory's bluster sees him increasingly flounder, Coon ensures that audiences know exactly how it's affecting Allison at every turn. Cue many of The Nest's most haunting scenes, because there are few things more gut-wrenching than realising that the life you don't even love is a sham, but wading through it day after day nonetheless. https://www.youtube.com/watch?v=G9OR8RC2t7Q
In The Post, journalists strive to source, confirm and publish reports about a government cover-up spanning several decades. In America's highest office, and among the connected and influential, the powers-that-be attempt to silence the story. It's a true tale, and one that couldn't be more relevant today. At the moment, if the media tried to reveal something as significant as the Pentagon Papers — which detailed the lies four consecutive US administrations told the public about the country's involvement in the Vietnam war — we all know what would happen. Tweets would fly, thick, fast, and probably misspelled. "Fake news!" they'd scream, over and over again. If you're not familiar with the real-life scandal that rocked Washington in the early 1970s, it all starts with marine turned military analyst Daniel Ellsberg (Matthew Rhys) and a treasure trove of leaked classified documents. Once The Washington Post editor Ben Bradlee (Tom Hanks) begins to suspect that their rivals at The New York Times have a big scoop in the works, the two newspapers battle it out to piece together the story. The Nixon administration pushes back, placing publisher Katharine Graham (Meryl Streep) under considerable pressure to kill their investigation. While the government accuses the press of violating espionage laws and causing irreparable damage to American security, the journalists stand by their belief in the First Amendment as well as the importance of speaking truth to power. Complicating matters further is the paper's impending stock offering, with the board and investors nervous about possible controversy. There's perhaps never been a better time to make a movie about an attack on the freedom of the press, or the need for the media to scrutinise the workings of the country's leaders. That feeling is inescapable while watching The Post, to the point that many of its rousing speeches could easily be uttered today. That said, director Steven Spielberg dedicates the bulk of the film's time to the procedural business of reporters doing what they do: chasing leads, combing through documents, butting up against deadlines, and more. Tracking their hard work, as well as the difficult decisions and fierce opposition that comes with it, the drama is solid, smart and polished. Working together for the first time in their long and illustrious careers, the same can be said of the movie's two stars. The Post is an ensemble effort, with Bob Odenkirk, Carrie Coon, Tracy Letts and Sarah Paulson all fantastic in pivotal parts. But the central performances of Hanks and Streep are particularly instrumental in the film's hard-earned thrills. Hanks ensures Bradlee's hard-nosed determination shines through, while Streep brings quiet courage to a trickier and ultimately more resonant role. Among The Post's many timely subjects, the dismissive treatment Graham endured as the first female publisher of a major American paper does not escape attention. Nor does her fortitude in fighting back. With Spielberg in the director's chair, working with a script by first-timer Liz Hannah and Spotlight Oscar-winner Josh Singer, none of the above should be surprising. Increasingly at home making serious-minded dramas as the decades go by — see Lincoln and Bridge of Spies in recent years — the filmmaker's handling of tone and pace suits the story and subject matter perfectly. With frames filled with period detail and steely hues (the picture was shot by his now 16-time cinematographer Janusz Kaminski), Spielberg favours an old-fashioned, no-nonsense approach that nonetheless proves thoroughly rousing. And really, how better to handle a movie like this. This tale might be history, but these days it feels like anything but. https://www.youtube.com/watch?v=N1VcCv9JOPQ
There's a difference between passion and talent, though few people dare to explain that to Marguerite Dumont (Catherine Frot). The fictional character, inspired by a real-life New York socialite, lives for music. Unfortunately, as much as she loves belting out a song, she can't hold a tune to save her life. "Does she always sing like this?" asks young critic Lucien Beaumont (Sylvain Dieuaide) when he first hears her voice at one of her frequent soirees. He's as shocked by the response as he is at the sound ringing in his ears; "No. She's come a long way," he's told. Marguerite tells her tale, transporting the story to 1920s France to avoid conflicting with another film about its obvious source of inspiration, the forthcoming Florence Foster Jenkins. If you think a narrative about a wealthy woman's repeated attempts to sing in public would be riddled with both tragedy and comedy, you'd be right. However writer-director Xavier Giannoli (Superstar) struggles to find the ideal balance between the two. It's not just many of the characters that are outwardly laughing at, not with, the aspiring opera star. Always trying to find humour in the situation, the movie itself seems to be trying to inspire the same reaction. Indeed, the film's depiction of the behaviour of those closest to her demonstrates this approach. Marguerite's husband (André Marcon) belittles her to anyone who'll listen, while her loyal butler (Denis Mpunga) hopes to profit from his photographs of her outlandish behaviour. When Lucien befriends the wannabe soprano after reviewing her concert, he's clearly secretly joking at his new pal's expense. The feature stresses again and again that no one wants to ruin Marguerite's fantasy of grandeur, though it also makes plain that they're enjoying watching her make a fool out of herself. Showing them as much empathy as it does its protagonist, Marguerite follows in their footsteps. Accordingly, any kindness in the movie is tinged with unmistakable cruelty — and it's an uncomfortable mix to say the least. Frot's performance won a Caesar award, and proves the most nuanced and convincing element of the film. Sadly, she's left languishing in an effort that treats her character in a cartoonish manner. Any intended satire about the falseness of upper-class society fails to hit the mark. While Marguerite's tone proves awkward, it's technical artistry is never in doubt. Giannoli's skills as a filmmaker are best evidenced in the sumptuous imagery he brings to the screen, which shows levels of texture and intricacy his script does not. In fact, the movie's detailed production design and lingering cinematography often sit at odds with its comical treatment of its central figure. If only the care and affection of the former could've extended to the latter.
