While wallet-friendly price points and a penchant for the flat-pack can often see IKEA's designs pitched as short-term furniture, the Swedish retailer is keen to shake off those perceptions. And how better to do so than by teaming up with an acclaimed design company for a clever new collection? The latest move in IKEA's push towards longevity is a statement range called Ypperlig, created in collaboration with Danish designers HAY. Launching this October, it's a collection of basics crafted for contemporary styling, drawing on HAY's flair for functionality and aesthetics. According to Rolf Hay, one half of the husband-and-wife duo behind the design company, the project proved an all-round win. "It's fair to say that HAY and IKEA are two very different companies," he acknowledged. "But when we started talking to IKEA it became very clear that we shared many perspectives on design." Unlike some of IKEA's more ubiquitous designs, this is a range of furniture and accessories you won't want to get rid of in a hurry — each piece clever, yet understated, sleek and undeniably Danish. Expect nifty products like a slimline LED lamp complete with in-built touch dimmer, hand-painted stoneware vases, a contemporary take on the classic Scandinavian plank table and a spring mattress sofa bed that's actually comfy enough to sleep on. HAY has even redesigned the iconic blue Ikea shopping bag, working in a range of new colours and weave patterns. The best part about this HAY x IKEA collaboration is that you can purchase a HAY piece for IKEA prices. While a HAY chair retails for around $200–400, one from their IKEA collaboration will set you back less than $100. The HAY x IKEA Ypperlig collection will go on sale this month. To browse the collection, visit ikea.com.
Close out the summer with a wild and wacky bang at Mona's annual festival of boundary-defying culture, music and art. The iconoclastic Hobart gallery, performance space, and purveyor of beer and wine, is known for subverting expectations so you can expect an eccentric and unforgettable few days down south at Mona Foma. Now in its 16th year, the 2024 incarnation of the festival runs from Thursday, February 15 to Sunday, February 25 in nipaluna/Hobart and from Thursday, February 29 to Saturday, March 2 in Launceston. There are morning meditations with cross-cultural musical collaborations and captivating art exhibits for those after a more reflective experience. On the flip side of fun, there are gigs galore and late-night bashes for those keen for a boogie. The program features everything from Taiwanese artist Yahon Chang painting with a human-sized brush and Emeka Ogboh's gin-centred exhibit to musical headliners Queens of the Stone Age, Courtney Barnett, Paul Kelly and cult favourites TISM in a rare live show. Check out our picks of the program below to kick-start your festival planning or get you inspired to book your Tassie getaway. Mona Sessions If you can only make it to one event, the quintessential Mona Foma experience can be found at the Mona Sessions. On the evenings of Friday, February 23 to Sunday, February 25, you can enjoy live music from international artists on the sprawling museum lawns. Suitable for all ages, Mona Sessions features performances by Scottish space-rock stalwarts Mogwai; Kutcha Edwards and The Australian Art Orchestra; Japanese punk-pop band Shonen Knife; Canadian quartet Holy Fuck; French-Korean siblings (both under the age of 15) Isaac et Nora; and Lonnie Holley with Moor Mother and Irreversible Entanglements. [caption id="attachment_939340" align="alignnone" width="1920"] Amniote Editions[/caption] Faux Mo Keep the grooves flowing after the Mona Sessions at Faux Mo. The Granada Tavern opposite Mona will become abuzz with late-night beats and boogies from 10.30pm until 2am on Friday, February 23 and Saturday, February 24, with a more chill afternoon sesh on Sunday, February 25. Catch sets from POOKIE, Soju Gang and m8riarchy, along with melodic beats by Mama Snake from Denmark, Afrobeats by Nigerian-born Emeka Ogboh, and mellow house by Kiwi brothers Chaos in the CBD. [caption id="attachment_939338" align="alignnone" width="1920"] Amber Haines[/caption] Wayfinder Queensland dance collective Dancenorth is known for compelling performances which weave together contemporary dance and powerful storytelling. Wayfinder is no exception. Viewers will be immersed in Dancenorth's spellbinding choreography, set to a score by Grammy award-nominated Hiatus Kaiyote with a stage and costumes designed by visual artist Hiromi Tango. The performance will only run for three nights from Thursday, February 22 to Saturday, February 24, so be sure to book in quick. [caption id="attachment_829589" align="alignnone" width="1920"] MONA and Jesse Hunniford[/caption] Boats (a gin and art experiment) Multifaceted artist Emeka Ogboh will not only be spinning a DJ set at Faux Mo, but has also developed an immersive exhibit. Boats explores themes of migration and belonging through a bespoke gin blended by the Nigerian-born creative. Festival-goers can sample the gin and snacks accompanied by a sound installation at Detached. If that's not enough, Ogboh is collaborating with Mona's executive chef to incorporate the gin and West African flavours at various Mona restaurants during the festival. [caption id="attachment_939336" align="alignnone" width="1920"] Courtesy of Filastine & Nova[/caption] Arka Kinari It wouldn't be Mona Foma without show-stopping, thought-provoking works — and what's a bigger statement than a 70-tonne sailing ship moored at the waterfront to spread awareness about climate change? The boat, named Arka Kinari, is musical duo and married couple Filastine and Nova's home, creative work, transport and travelling stage. The pair are inviting visitors aboard to learn about the ship's sustainable resources — which include water desalination, solar power, wind travel and waste management — and will also be performing their music against a backdrop of cinematic visuals on the deck of the ship. Don't miss it. [caption id="attachment_939339" align="alignnone" width="1920"] Gabriel Comerford[/caption] Dekoor In Launceston, gym and rave bros collide at the adults-only Dekoor. Local Tasmanian artists ROOKE will put on an exciting dance, theatre and circus performance in a working gym, where audience members can wander through the space throughout the show. For some added fun, consent tokens will be available if you're open to being touched, carried or led away by performers. These tokens can of course be removed or passed on if you change your mind during the event. After the show, stick around for a party with DJs and performances across three levels of the gym until 1am. The Shruti Sessions Journey across musical borders at The Shruti Sessions, where musicians from Hindustani and Rajasthani backgrounds collaborate and experiment with Australian instrumentalists. Experience something new at each performance, whether you drop in for a Morning Meditation or catch the action at the Mona Sessions. Performers include notable tabla player Bobby Singh, percussionist Benjamin Walsh, OAM recipient and saxophonist Sandy Evans, sarangi player Asin Khan Langa and renowned slide guitarist Debashish Bhattacharya. [caption id="attachment_831323" align="alignnone" width="1920"] Jason Charles Hill via Tourism Tasmania[/caption] The Gorge How about a lazy day of lounging and swims followed by an evening concert at the spectacular Cataract Gorge? And what's more, this live show — featuring the elusive TISM, Mulga Bore Hard Rock, FFLORA x Grace Chia and Cash Savage and The Last Drinks — is completely free. If you'd like to level up your experience, you can opt for the Peacock Pass which grants you access to the Peacock Bar, a private entrance and a viewing area with seating. Find out more and book your tickets at the Mona Foma website.
You've forsaken smashed avocados, saved all your cash and somehow have enough money to purchase your own property — and, naturally, you want to make the transaction count. May we suggest a 16th-century British cottage that's been dubbed the most haunted house in the UK? Anyone can buy an apartment in the suburbs, but only one person can nab a notorious spot that was once a medieval witch prison. Located in St Osyth in Essex, the property in question is known as The Cage. Back in the late 1500s, it was used to house 13 women accused of witchcraft while they were awaiting trial. Three were ultimately sentenced to death by hanging, including the infamous Ursula Kemp — a midwife and healer who came under suspicion after people in her neighbourhood, including children, became sick and died. That's not the end of The Cage's unnerving story. In the years until 1908, the house was also used to detain men, women, and children. Unsurprisingly, the spot has featured on local ghost tours and as the subject of a television docudrama, with current owner Vanessa Mitchell even co-writing a book about her spooky experiences living in the property. [caption id="attachment_726177" align="aligncenter" width="1920"] Right Move[/caption] Mitchell's time onsite was short-lived — she moved out "because of the relentless paranormal activity" according to Home Domus, who've listed the house for sale — however she has owned the spot since 2004. If you're keen to follow in her footsteps and you have £240,000 or more to spare, the two-level house features three reception rooms, a kitchen, a ground floor cloakroom, two bedrooms and a bathroom. Outside, a walled courtyard comes complete with a door to a walkway known as "Coffin Alley", where dead bodies were once transported on the way to the local cemetery. Top image: Home Domus 360.
Under current COVID-19 restrictions in Australia, you can't go on an interstate holiday just yet. But, Prime Minister Scott Morrison has said it could be back on the cards by July, 2020 — so, it's time to start dreaming. There's no shortage of on-snow accommodation in Australia — from ski lodges to chalets. But a lot of it is designed for function, rather than romance. Finding a cosy cabin of your own, however, where you can snuggle in front of a roaring fire with a glass of wine in your hand, while watching the snow fall all around you isn't easy. But it's not impossible. We've searched far and wide, to scope out five cabins where you can stay right on the snow. Just don't forget to pack your skis — or snowshoes. NUMBANANGA LODGE, SMIGGINS HOLES, NSW Opened in July 2018, this secluded lodge is just minutes (by skis) from Smiggin Holes ski resort and two kilometres from Perisher Valley. Whether you want to ski or snowboard downhill all day or go on a cross-country adventure, you can – from your door. Plus, there are loads of restaurants, bars and pubs nearby, too. Three bedrooms provide room for up to six guests. The only catch is, you'll need to be quick. This is one of the only isolated, free-standing huts on snow in Kosciuszko, so it's pretty popular. Bookings, at $1200 per night in winter, are available via NSW National Parks. How much? From $1200 a night. [caption id="attachment_733860" align="alignnone" width="1920"] Lean Timms[/caption] THE EASTERN, THREDBO, NSW For incredible views of Mount Kosciuszko, the highest mountain in Australia, stay at the Cedar Cabin, which makes up one half of The Eastern: a pair of beautifully designed, luxe stays in Thredbo. The open-plan, loft-style space features vaulted ceilings, exposed timber and a piping hot Japanese-inspired onsen — the perfect place to relax after a day spent outdoors. You'll find this haven on the village's western side, around four minutes from restaurants, bars, shops, and Thredbo's diverse, scenic ski runs. How much? From $700 a night. MOONBAH HUT, SNOWY MOUNTAINS, NSW Moonbah Hut is located on private frontage on the Moonbah River, the Snowy Mountains' cleanest, most unspoilt home for trout. Give your fishing muscle a flex from your front doorstep, while keeping an eye out for wildlife – from wombats to deer to brumbies. Or bunker down inside, with a huge, open stone fireplace for company. Previous guests have taken the experience next level and invited personal chefs along for an evening. Moonbah Hut is around 20 minutes' drive west of Jindabyne. How much? From $245 a night. FOREST VIEW BUSH CABINS, CRADLE MOUNTAIN, TAS Smack bang in the middle of Tasmania's Cradle Mountain National Park are two bush cabins surrounded by forest and run by Highlanders Cottages. Hand-built with local Tasmania timber, each offers two bedrooms, den lounges and a log fireplace, plus a private deck and a fully stocked kitchen. Meanwhile, in the bathroom, you'll find a soaking tub and a shower. This is an ideal spot to unwind after wandering around Cradle Mountain's magical, snow-covered forests. How much? From $215 a night. WOMBAT CABIN, MT BAW BAW, VIC Located on the edge of Victoria's Mount Baw Baw Village, the simple, super-cute Wombat Cabin is just a quick shuffle away from both Maltese Cross T-Bar and the Frosti Frog Hollow Toboggan Park — so there's fun to be had for skiers, boarders and tobogganers of all kinds. There are two cosy bedrooms, with room for up to five guests, plus a private deck, where you can surround yourself with snow gums. When you're not adventuring on the slopes, explore Mount Baw Baw's many offerings, including Howling Huskys' husky sled dog tours. How much? From $419 a night. Looking for more? Check out these seven cosy cabins around the country. Top image: Numbananga Lodge
Talk about a show that delivered on its promise the first time around: when a fresh-from-Russian Doll Natasha Lyonne teamed up with Knives Out and Glass Onion: A Knives Out Mystery filmmaker Rian Johnson on a whodunnit-of-the-week TV series, Poker Face did indeed prove a delight. A second season was quickly greenlit, in fact, and now it's on its way to your streaming queue. The sleuthing gem has also just dropped its full season two trailer. While the combination of Lyonne (Fantasmas) and Johnson was always set to be an ace, Poker Face gave the detective setup a particular spin. Protagonist Charlie Cale has a handy gift: being able to tell when someone is lying. In each weekly episode, she then worked her way through resolving a different crime, all while on the road in a Plymouth Barracuda. Then and soon, when season two kicks off on Thursday, May 8, 2025 Down Under — where it streams via Stan in Australia and TVNZ+ in New Zealand — Lyonne also has a heap of other well-known faces for company. Where season one boasted The Brutalist Oscar-winner Adrien Brody, to name just one high-profile figure, season two will feature fellow 2025 nominee Cynthia Erivo (Wicked) in multiple roles. If you're a fan of John Mulaney's wonderful Everybody's Live talk show, rejoice: not only Mulaney but also Richard Kind (Mid-Century Modern) are guest starring in Poker Face season two. From there, this season's roster also includes John Cho (AfrAId), Melanie Lynskey (Yellowjackets), Katie Holmes (Rare Objects), Awkwafina (Black Mirror) and Giancarlo Esposito (The Residence), as well as Alia Shawkat (Severance), BJ Novak (Lessons in Chemistry), Carol Kane (Between the Temples), Corey Hawkins (The Piano Lesson), Saturday Night Live pair Ego Nwodim (Mr Throwback) and Ben Marshall (Please Don't Destroy: The Treasure of Foggy Mountain), Sam Richardson (It's Florida, Man) and Margo Martindale (The Sticky). Then there's Cliff 'Method Man' Smith (Power Book II: Ghost), Haley Joel Osment (Blink Twice), Justin Theroux (Running Point), Kathrine Narducci (The Alto Knights), Kevin Corrigan (Deli Boys), Kumail Nanjiani (Only Murders in the Building), Patti Harrison (The Electric State), Sherry Cola (Nobody Wants This), Gaby Hoffmann (Zero Day), Simon Rex (Red Rocket) and more. As well as the stellar lead turn from Lyonne and the show's smart writing, part of the fun of Poker Face stems from seeing how the series weaves in such a dream supporting lineup. The above list follow in the footsteps of The Menu's Hong Chau and Judith Light, Lil Rel Howery (Deep Water), Danielle MacDonald (The Last Anniversary), Chloë Sevigny (Bones and All), Ron Perlman (Nightmare Alley), Joseph Gordon-Levitt (Pinocchio), Ellen Barkin (Animal Kingdom), Nick Nolte (The Mandalorian), Cherry Jones (Succession), Jameela Jamil (She-Hulk: Attorney at Law) and Stephanie Hsu (Everything Everywhere All At Once) in season one. And yes, you'll have two chances to get a mystery fix from Johnson in 2025, given that Wake Up Dead Man, the third Knives Out movie, is also on its way this year. It too boasts another stacked cast, this time surrounding Daniel Craig (Queer) with Josh O'Connor (Challengers), Glenn Close (Back in Action), Josh Brolin (Outer Range), Mila Kunis (Goodrich), Jeremy Renner (Mayor of Kingstown), Kerry Washington (The Six Triple Eight), Andrew Scott (Ripley), Cailee Spaeny (Civil War), Daryl McCormack (Bad Sisters) and Thomas Haden Church (Twisted Metal). Check out the full trailer for Poker Face season two below: Poker Face season two streams from Thursday, May 8, 2025 via Stan in Australia and TVNZ+ in New Zealand. Read our review of season one. Images: Sarah Shatz/PEACOCK.
Whether you're currently in lockdown or not, a lot of the world's most exciting and wondrous attractions are off limits right now. Thankfully — in these self-isolating, social distancing, closed borders times — many of the globe's top museums, galleries and landmarks offer virtual tours. Want to ogle the National Gallery of Victoria's collections? See the Smithsonian's dinosaur fossils? Check out the Sistine Chapel? That's all as easy clicking a few buttons. Whether you're eager to experience Japan's luminous digital art museum or peer at cute critters in a zoo, you can spend a night — or day — at a museum, gallery or other culturally significant spot from the comfort of your couch. Here are ten highlights to get you started — and if you're keen on others, Google Arts and Culture will point you in the direction of even more. THE LOUVRE Nothing really compares to visiting The Louvre and standing in front of the Mona Lisa yourself, your eyes roving across the Leonardo da Vinci-painted artwork's enigmatic smile. Now, for the first time, the Parisian venue is allowing you to experience it virtually with a Mona Lisa VR experience. If you are equipped with a next-level VR setup, you can explore a bunch of the gallery's exhibitions online. Via its virtual options, wander through exhibitions exploring the relationship between art and political power, Renaissance artworks and myths told through art. https://www.youtube.com/watch?v=SRDEmb5Eo_Y&t=7s VAN GOGH MUSEUM If you missed out on Van Gogh Alive's first run of Australian shows, Amsterdam's Van Gogh Museum is home to the largest collection of the artist's work in the world, including more than 200 paintings, 500 drawings and 750 letters. That's a hefty array, which you can peer at yourself via Google Arts & Culture's virtual tour. Yes, Sunflowers is one of them, although there's plenty of inimitable artistry also on display in his other still life pieces, landscapes and other painted scenes. Rove around at your own pace, then zoom in to see the detail and read the accompanying descriptive plaques. And if you're eager for an overview first, you can check out the museum's YouTube tour as well. https://www.youtube.com/watch?v=lmVeh4fS2HQ&t=14s TEAMLAB BORDERLESS DIGITAL ART MUSEUM The word 'immersive' gets thrown around much too often these days, but if anywhere deserves the term, it's TeamLab's Borderless Digital Art Museum. Sprawled across a Tokyo warehouse, this eye-catching venue fills every available surface with moving, changing and interactive artworks — so you can watch flowers bloom across the floor, wall and ceiling; then sit and stare at the ocean's waves crashing through a room; then roam through lit-up lily pads. Or, thanks to its hefty array of YouTube videos, you can get a taste of its vibrant installations from home. TeamLab's online archive also includes materials from its many other exhibitions beyond its Tokyo base's borders and, while they're each only a minute or two long, there's plenty to choose from. Make sure you have your sound on, too. THE SMITHSONIAN As you live through a historic global event, why not spend some time exploring the planet's natural history? That's what The Smithsonian is all about, with more than 145 million specimens and artifacts in its collections. And while you can't see them all in its online tour, you can virtually mosey through its current, previous and permanent displays. That means dinosaurs, of course. Peering at a stegosaurus' spikes or a tyrannosaurus rex's face is still just as impressive when you're doing it via your phone or computer. It also means everything from butterflies and bones to gems and humanity's origins — and, if it isn't too grim for you at present, there's also an exhibition dedicated to outbreaks, epidemics and the spread of diseases. NATIONAL GALLERY OF VICTORIA Maybe you're a Melburnian who has been keen to visit the National Gallery of Victoria's current big exhibitions. Perhaps you live elsewhere, but had a trip to the Victorian capital in your future — including to the NGV. With the gallery currently closed, that's obviously off the cards; however you can still take a gander at last year's blockbuster Triennial, the Tiwi Islands off the coast of Darwin and Japanese Modernism. Just head to the new NGV Channel, where curator-led tours are being added to the online library on an ongoing basis. A whopping 75,000 pieces from the NGV Collection are also available as well, so you'll really feel like you're actually there. [caption id="attachment_765593" align="aligncenter" width="1920"] Sturm via Wikimedia Commons[/caption] MUSEU DE ARTE DE SAO PAULO Think you know what all museums and art galleries look like in broad, general, overall terms? Think again. Museu de Arte de São Paulo, or MASP, doesn't simply put its many artworks on its walls. Instead, it places them on crystal sheets anchored by concrete blocks, in a design that's meant to emulate an artist's easel — and then spreads them through large, cavernous rooms. That makes looking at the site's paintings, sculptures, photographs and other objects a completely different experience, even when you're doing so online. If you take the tour via the Google Arts and Culture app for iOS or Android, you can also explore a virtual reality component to really make you feel like you're there. [caption id="attachment_765594" align="aligncenter" width="1920"] Jean-Christophe Benoist via Wikimedia Commons[/caption] THE SISTINE CHAPEL The Sistine Chapel boasts as much stunning artwork as any other gallery or museum. More than some, in fact. And, via the Vatican's online tour, you can scope it for as long as you like — and take in the immense detail on Michelangelo's wall-to-wall frescoes, of course — without crowds or time limits. These pieces have glistened for more than five centuries and, as absolutely everyone knows, they comprise quite the sight. After you're done perusing, scrolling around and zooming in, you can also explore other museums, wings and chapels in the Vatican thanks to the rest of its virtual offerings. If you're keen not just on art and sculpture, but on architecture, prepare to be in your element. https://www.youtube.com/watch?v=_hunddVoMjo SYDNEY OPERA HOUSE When it comes to visiting the Sydney Opera House without physically visiting it, you have multiple online viewing options. Take the 360-degree tour, and you can jump around Australia's most iconic landmark at your own pace — and check out a number of online exhibits, too. You can watch the YouTube video tour accompanied by a the soundtrack that usually echoes through the opera houses' halls, or steam a range of gigs and talks on its new streaming service. No matter how you explore, you'll see the venue as you've never seen it before, which is one of the joys of going virtual. You mightn't peer into every nook and cranny while you're actually there but, via remote means, who's going to stop you? BLARNEY CASTLE Who doesn't wish they were holed up in a castle right about now? Dating back to 1210 originally and 1446 in its current form, Ireland's Blarney Castle is up there with the best of them — and, as its name gives away, it's home to a very famous attraction. Located at the top of its tower, the Blarney Stone is supposed to bestow anyone who kisses it with the gift of eloquence. You can't lock lips with it virtually, of course, but perhaps staring at the site in general will do the same thing? On the castle's online tour, you'll also explore its stony interiors and sprawling gardens (and likely feel like you've stumbled into an episode of Game of Thrones). SAN DIEGO ZOO Sometimes, you just need to watch adorable animals go about their business. Actually, as the internet's never-ending stream of cat and dog videos firmly shows, there's never a bad time to lock your peepers on a cute critter. Absolutely everyone feels this way, because of course they do — which is where San Diego Zoo's live webcams, which peer into several animal enclosures all day long, come in. Check out majestic elephants as they swing their trunks, watch African penguins scamper around and see polar bears snoozing happily. You can also catch apes and baboons for your monkey fix, see condors fly about, and get a dose of big cats in the tiger enclosure. Oh, and if you want to spend some time staring at an Australian animal, there's also a koala cam as well.
Game of Thrones might be coming to an end, but HBO isn't done with secrets, scheming, lies, bickering, battles and betrayal just yet. After all things Westeros wraps up later this month, the network is returning to Monterey, California — with Reese Witherspoon, Nicole Kidman, Laura Dern, Shailene Woodley, Zoë Kravitz and Meryl Streep. Put any one of those actors on screen and viewers will follow. Stick them all in the same TV program, and it's set to become one of the biggest shows of the year. Yes, Big Little Lies is back for a second season, and it's added three-time Oscar winner Streep to its latest dose of murky mysteries, tested friendships and life-altering events. And more lies, obviously. If you missed the huge Emmy and Golden Globe-winning first series back in 2017, it follows a group of women whose children all go to the same school. Oh, and who all got caught up in a murder tale, naturally. Based on the book by Australian author Liane Moriarty, it originally aired as a one-season once-off, but its enormous popularity (and a hefty swag of awards) has helped bring the drama back for another series. While an initial teaser dropped in April, HBO has just released the first proper look at the new season. Unsurprisingly, the drama has been ratcheted up a few levels, with the arrival of Streep's new character hardly helping matters. Witherspoon, Kidman, Dern, Woodley and Kravitz were all among the cast the initial time around, but Streep joins the fold as Mary Louise, the visiting mother-in-law to Kidman's Celeste. And, like everyone else, she doesn't quite expect she'll hear the truth when she starts asking questions about the previous season's developments. Also hopping on board is director Andrea Arnold, of Fish Tank, Wuthering Heights and American Honey fame, who is helming all seven episodes in the season season. She takes over from C.R.A.Z.Y., Dallas Buyers Club and Wild filmmaker Jean-Marc Vallée, who did the same for the first season. Check out the new full trailer below: https://www.youtube.com/watch?v=eCWevZV945M Big Little Lies airs on Foxtel Showcase weekly from Monday, June 10. Image: Jennifer Clasen/HBO.
Forged over six decades so far, Robert De Niro's resume contains multitudes. 2025 marks exactly 60 years since his uncredited on-screen debut in Three Rooms in Manhattan — and if a New York-shot French drama seems an unlikely pick for his first-ever movie, it's a case of De Niro starting to build his wide-ranging filmography from the outset. Comedies, thrillers, musicals, horror, dramas and action fare all have a place among his work. His name instantly brings a particular genre to mind, though: gangster flicks. For one, The Godfather Part II, he earned his first Oscar. For Martin Scorsese (Killers of the Flower Moon), he made a helluva early impression in Mean Streets, then was spectacular in 90s masterpieces Goodfellas and Casino, plus in 2019's The Irishman. With Barry Levinson, another director that he's collaborated with again and again, De Niro one-ups his past organised-crime movies in a specific way, however, including Once Upon a Time in America and The Untouchables. The Alto Knights is a tale of two IRL mob bosses, Frank Costello and Vito Genovese. Neither figures are new to the screen. They're not even new to Levinson's pictures, after both popped up in Bugsy back in 1991. But here, the Academy Award-winning Rain Man filmmaker and directing veteran — helmer of Diner, The Natural, Good Morning, Vietnam, the first episode of iconic police procedural series Homicide: Life on the Street and two instalments of Dopesick, too, and more — focuses on the pair's relationship as the two childhood pals become fierce rivals. And to stress the connection between Frank and Vito, and draw attention to the parallels between the duo, he has his Sleepers, Wag the Dog, What Just Happened and The Wizard of Lies star play both men. De Niro doing double duty for one of his go-to filmmakers. De Niro leading a gangster picture with a script by Nicholas Pileggi, the crime reporter who wrote the non-fiction books Wiseguy: Life in a Mafia Family and Casino: Love and Honor in Las Vegas, then co-penned the screenplays for their movie adaptations Goodfellas and Casino with Scorsese. De Niro in a mobster flick produced by Raging Bull, Goodfellas and The Irishman's Irvin Winkler. That's the recipe behind The Alto Knights. It was Winkler who had the idea for De Niro to portray both Frank and Vito, Levinson tells Concrete Playground — and the choice is one of the feature's best moves, especially when the actor is literally facing off against himself. When he's in Frank's shoes, De Niro is all about attempted respectability, as someone who sees diplomacy as the best way to rule the Big Apple's criminal underworld. Switching to Vito, he's the hot head who'll do anything, and bring down anyone, to regain the top job. Costuming, hair and makeup help, but De Niro makes both roles distinctive as the two men, who both grew up as Italians in NYC hanging out together around the titular social club, find themselves battling it out after Vito takes control of the Luciano crime family, then flees to Italy following a run-in with the law, then returns for the throne Frank is now perched on. As has proven true across many of Levinson's movies, since the chatter-heavy Diner with Kevin Bacon (MaXXXine), Mickey Rourke (The Wheels of Heaven), Steve Guttenberg (High Potential), Daniel Stern (For All Mankind), Paul Reiser (Beverly Hills Cop: Axel F), Tim Daly (Life & Beth) and Ellen Barkin (Poker Face) gave him his directorial debut, there's a storytelling element to The Alto Knights. With the film structured around Frank telling this tale to viewers, add another familiar component to the picture's setup. The narrative shared is one not just about friends turned foes, or about power struggles between mob bosses both vying to sit at the top of the mafia ladder, including the impact upon those around them — Debra Messing (Bros) plays Frank's wife Bobbie, Kathrine Narducci (Godfather of Harlem, and De Niro's past co-star in both The Irishman and A Bronx Tale) is Vito's counterpart Anna and Cosmo Jarvis (Inside) portrays Vito's righthand man Vincent Gigante — but of a moment that changed America and organised crime within it forever. That's one of the reasons that Levinson was so interested in hopping onboard, he advises. And of getting De Niro acting opposite himself as the film's two lead characters, it helped that the two-time Oscar-winner (for Raging Bull as well) and seven-time nominee beyond his two victories (for Taxi Driver, The Deer Hunter, Awakenings, Cape Fear, Silver Linings Playbook, The Irishman and Killers of the Flower Moon) is "one of the great actors in the history of cinema" and "has great instincts as an actor", he notes. Speaking with Levinson, we dived into the decision-making behind that pivotal casting, digging into Frank and Vito's connection, and the organic nature of De Niro's performance. On Casting De Niro as Both Frank Costello and Vito Genovese This is a film with history, not only because it heads back to the 50s — and to the decades around it. But if The Alto Knights had made it to the screen before now, those twin De Niro performances mightn't have been at its centre. "Well, it came about — originally this goes back, I guess people have been trying to do a movie about Frank Costello for years," Levinson explains. "And Nick Pileggi got involved and was working on something, and I came onto the project. And somehow we were talking about Vito, and he was a character in it, but the idea was 'well, why don't we just follow what took place?'." "That they were best friends as kids, they hung around The Alto Knights place, and as they grew older, best friends, they started to grow apart. One was much more ruthless and spontaneous in doing things. The other one was much more deliberate, almost a corporate sensibility about how to run the mafia. And then the clash of the two," he continues. "And so when we began to really get that together, Nick's writing, and we had a draft of it, we gave it to Irwin Winkler. And Irwin Winkler liked the draft and he said 'what about Bob playing both roles?'." "And I was thinking for a second, and I went 'well, that's s an interesting way to — we are talking about one of the great actors in the history of cinema, so it's not like this is impossible for him to do. Let's see what he thinks'." "And he responded well, and then that's how that all came about." On What Appealed to Levinson About Digging Into Costello and Genovese's Connection in The Alto Knights, Especially After Featuring Both Figures as Characters in 1991's Bugsy When Frank and Vito last played a part in a Levinson movie more than four decades ago, they weren't the focus. Bugsy hones on its namesake, with Warren Beatty (Rules Don't Apply) as Benjamin "Bugsy" Siegel. But because Bugsy had his own key childhood link to Charles "Lucky" Luciano, they're all in the same slice of the mob world. Before Vito and Frank's stints at the apex of the Luciano crime family, Lucky was in the job first. (In a film that also flashes backwards, NCIS and Mayor of Kingstown alum Amadeo Fusca plays him in The Alto Knights.) A Frank- and Vito-centric film interested Levinson "because we were watching the mafia as Vito took over, and then because of having to leave the country and turning it over to Frank, it began to change," he says. "And that change led to a feud between the two of them, basically because of Vito wanting control again. You go 'well, that's a great conflict. That's a story to explore'." "And then: 'what happened because of that?'. It wasn't like it was just two guys and one killed the other or whatever, maybe. It changed the whole, in the sense it brought the hearings on organised crime, that all came about because of the incident that takes place in the film." "And you'd say 'well, this is an interesting arc of the mafia and what happened. That's a story that's interesting'. That was basically 'can we tell that story?'." On the Direction That You Give Someone When They're Playing Two Different Characters in the Same Film How do you guide someone as a director, if you even need to in the case of an actor of De Niro's calibre and experience, when they're tasked with portraying two completely different characters and giving two completely different performances in the one movie? And how does the process of building the two parts work? "He has great instincts as an actor," Levinson calls out to begin with. "And as we would go along in the process leading up to the filming of it, you're talking about one character, you're talking about the other character, this piece of information, that piece of information — you just start adding that. Bob absorbs it." "Then you're going through the whole process of makeup. 'What does this one look like? What does that one look like? How do we do this? How do we handle that?'. And then that starts coming in — and then 'what is the rhythm of the way they talk to one another?'. One is slow, much more deliberate. The other one is faster, quicker, more sort of dangerous in the way that he throws ideas around. And then you start putting these pieces together," Levinson adds. "And then, of course, in the process of the shooting, we would sit down in Bob's trailer and go over the scene and tweak it a little bit and tweak it a little bit. And 'hey, what about this?'. And then you add to it and you keep building for it. And at the end of the day, after you build all that, you want to create the spontaneity. And that's what Bob can do — he's not mechanically going through one character or another." "There's a spontaneity about them that it feels like these two guys are talking to one another, and they're making up things as they go along, rather than 'I say my line, now you say your line'. It just feels more organic." The Alto Knights opened in Australian cinemas on Thursday, March 20, 2025.
First, Australian supermarkets introduced restrictions on the amount of toilet paper that customers could purchase. Next, as COVID-19-related panic-buying ramped up, Aussie chains also announced dedicated shopping times for the elderly and people with disability and implemented limits on a wide range of everyday items. Now, in their latest attempt to help combat the spread of the coronavirus, local stores are putting a cap on the number of customers allowed in store at any one time. Coles, Woolworths and Aldi have each announced plans to restrict the number people who can shop for groceries at once, marking the supermarket chains' next tactic to enforce social-distancing measures. The move comes after stores have already implemented a range of other initiatives in recent weeks, including rolling out plexiglass screens to separate checkout clerks from customers, placing stickers on the floor 1.5 metres apart at checkouts and encouraging shoppers to use the length of their trolleys as a distancing guide. Coming into force from this Monday, April 6, the restrictions will vary store by store, depending on each shop's size. Overall, though, each chain is taking a similar approach — enlisting staff and security to enforce limits, decide how many customers are allowed in every store at any one time, and make sure that queues outside each shop also adhere to the 1.5-metre social distancing requirements. Outside Woolies stores, for example, there'll be signage and a coned area, showing customers where to queue. The chain will also employ a one in, one out policy in terms of letting customers inside its stores. Coles advises that shoppers will be assisted at the entrance to each store, and may be asked to queue to get in where necessary. And it's worth remembering that Coles, Woolworths, Aldi and IGA have all also released a collective plea for consideration, stressing the need to stick to new restrictions — and reminding shoppers something that should just be a given, aka that hardworking supermarket staff should be treated with courtesy and respect. For more details on Australian supermarket customer limits, keep an eye on Coles, Woolworths, Aldi and IGA's websites. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Chinese Architecture is renowned for being highly avant-garde and unorthodox, but some designs can only be described as outright peculiar. From fish shapes, to huge bottle of alcohol, giant rings and God-sculpture-buildings, Chinese structures cover a lot of bases on the quirky scale. These odd designs attract a large amount of tourism to the various regions of China and are also an important aspect of the Chinese history and culture, while simultaneously demonstrating their radical modern shift in architectural design. Ranging from company headquarters to hotels, or watchtowers, here are ten of the quirkiest and most outrageous building designs throughout China. Fushun Shen Fu New Town 'Circle of Life' This 50 floor panoramic structure fitted out with 12,000 LED lights and with a diameter of 157m took a massive 3000 tons of steel and a casual billion dollars to make. Despite remarks that the dome is a ridiculous and unnecessary, the local government maintains that it is a unique and distinctive architectural design. Center of Bashu Culture Art Found in Chongqing at the Guotai Art Center, this quirky structure with needle-like protrusions is set to be finished later this year. Yichuan Northern Gate Another expensive and obscure construction, the Northern Gate currently under construction will provide a gate to the city of Yichuan in the Henan province. Although it has been likened to a belt, a trap and a bow, the gate is hoped to be a welcoming door to guests from afar with beautiful curves and rich ties to the region's history, spirituality and culture as well as being representative of Yichuan's economic development. Beijing Olympic Watchtower Consisting of five 'pins' of varying heights, this unorthodox tower is located in China's capital and is still yet to complete construction. With the highest point reaching 244.35 metres, this foreboding structure is not your average Olympic watchtower. Fangyen Mansion This building appears in the Shenyang Finance and Trade Development Zone, and attempts to resemble a coin, for fairly obvious reasons. Unfortunately the design didn't go down too well with the CNN, who in January of this year placed in the top ten ugliest buildings in the world because it apparently tries to unsuccessfully merge Western and Eastern style. Cuiping Wuliangye, Yibin city Believe it or not, this giant bottle is a Chinese liquor-producing company's factory located in Sichuan Province. Hotel of the Emperor At 41.6 metres high this hotel in Hebei, Yinjiao features in the World Guinness Book of Records as the 'largest pictographic building', aka the largest structure in the world which is both a building and a sculpture. The hotel showcases three Ancient Chinese Gods Fu, Lu, and Shou, who are known as the three wise men, symbolizing happiness, prosperity, and longevity. Sheraton Huzhou Hot Spring Resort This unique, idiosyncratic building will open its 321 rooms on the first day of the new year in 2013. Located on the edge of the stunning Lake Taihu in Zhejiang, this upmarket hotel will provide a relaxing yet unconventional stay for those bedding within its walls. Linda Hai Square The design of the Linda Hai Square on Dongsi Ring mirroring the shape of a fish was not all that well received by the Chinese people. Perhaps this one slightly overstepped the border from eccentric to just plain weird. Phoenix Island Real Estate Situated in the prime location of Sanya, Hainan Island, apartments on this corner of the world will set investors back almost $14,000 per square metre. You'd surely expect some spectacular waterfront views at a price like that.
Since he first hit the big screen in two wildly different 1995 movies, Clueless and Halloween: The Curse of Michael Myers, the seemingly ageless Paul Rudd has spent time in plenty of imaginations. Who hasn't filled seconds, minutes or hours thinking about how Baz Luhrmann chose him as the unwanted romantic alternative in Romeo + Juliet, or how nothing Wet Hot American Summer-related would be the same without him? Who hasn't pondered how Rudd was ideally cast as Ant-Man, and also in both Parks and Recreation and Only Murders in the Building, too? Given how far the actor's resume stretches on around all of those projects, there's always a reason to have Rudd on the brain. Writer/director Alex Scharfman initially met him after penning a screenplay called The Cats of Baxley, then had a Rudd-centric idea pop into his head: the extremely likeable actor killing a unicorn. Getting one of the most-beloved actors currently working to slay one of the most-cherished mythical creatures there is: now that's quite the concept for anyone's mind to conjure up, and also quite the unique way to start a film. That movie is Death of a Unicorn, the A24-backed genre mashup that kicks off with a widowed father and his college-aged daughter — Elliot and Ridley Kintner, played by Rudd (Ghostbusters: Frozen Empire) and Jenna Ortega (Beetlejuice Beetlejuice) — stunned that they've accidentally hit one of the titular creatures. They're also in shock that such a critter is real. The pair are meant to be on a business trip to the Canadian Rockies, to the estate owned by Elliot's boss, who is in pharmaceuticals and loaded as a result. Elliot sees the getaway as way to boost his career; Ridley would rather be anywhere else. A unicorn encounter isn't something that can just be shaken, though — especially if a billionaire can monetise it, and if nature isn't fond of being messed with. Scharfman's debut feature is a monster movie about unicorns, so a film firmly in the horror-comedy mould. It's an eat-the-rich satire, too. Death of a Unicorn plays with viewer expectations of a picture with Rudd at its core, getting someone so adored for so long portraying a man who constantly makes terrible decisions. Equally, it tasks Ortega with being the film's emotional and empathetic centre as the person instantly attuned to the unicorns, and to the fact that every choice being made around her is wrong (and driven by chasing cash and power). With a killer cast that also spans Richard E Grant (The Franchise) as pharma company head Odell Leopold, Téa Leoni (Madam Secretary) as his wife Belinda and Will Poulter (Black Mirror) as their son Shepard — as well as Anthony Carrigan (Barry) and Jessica Hynes (Am I Being Unreasonable?) among the clan's hired help, plus Sunita Mani (Fantasmas) and Steve Park (Mickey 17) as scientists — it's also a playful creature feature that digs into unicorn lore alongside class structures and hierarchies, commodifying nature, plus capitalism, colonialism and imperialism. That all sprang from the flick's first scene materialising in Scharfman's imagination, then from the filmmaker's deep dive into the mythology surrounding the fabled one-horned animals — and realising what those stories say about society, not merely centuries back but also now. The picture works The Unicorn Tapestries from the Middle Ages into the plot prominently, courtesy of Ridley studying art history; however, as the Leopolds, especially the dying Odell, focus on potential miracle cures and the big bucks that their wealthy peers would pay for them, that's just one of the director's touchpoints. As always evident to Death of a Unicorn's audience, Scharfman has followed the path that his unicorn research has taken him down— through tales typically "about a lord, it's about a king, a nobleman, sending out their court, all their servants, the people who have no choice in the matter, the people who have to do it, and sending them out into nature to capture the uncapturable, so that this this object of purity, this resource, can be owned and possessed and commodified", he tells Concrete Playground — and found modern-day parallels in the pharmaceutical realm. He's interrogating commodification not just of nature and animals, but resources, knowledge, medicine, health and life-saving treatment, and tearing into the imbalance in access that comes with it. That said, never forgetting the type of movie that he's crafting, Scharfman has equally gleaned inspiration from a wealth of films and TV shows, resulting in a mix of Jaws, Jurassic Park, Succession, ET the Extra-Terrestrial, The Creature From the Black Lagoon, Evil Dead, The Rules of the Game, John Carpenter flicks, Korean cinema and more as clear influences. Before dreaming of Rudd dispensing with unicorns, and before turning that idea into a cinematic reality in a SXSW-premiering picture, Scharfman started solidifying his filmmaking voice by writing and directing his own shorts — and also producing features. Keep the Lights On, Selah and the Spades, Resurrection, House of Spoils: they're just some of the projects that he's been involved in. How did that background assist with Death of a Unicorn? Did Scharfman ever imagine a version of his directorial debut without Rudd? How crucial is Ortega in grounding the feature's chaos, and how pivotal is the scene-stealing Poulter in helping set the comedic tone? We chatted to Death of a Unicorn's guiding force about all of that, coming up with the initial concept, his research, that huge lineup of inspirations and more. On Conjuring Up the Concept for the Film — and for Starting It with Paul Rudd Killing a Unicorn "The first thing I thought of in the movie is the opening sequence. A family kills a unicorn, and a father and daughter specifically, then need to put it out of its misery — for lack of a better turn of phrase. So that was always the initial intention, and that was where the movie started for me. Then it grew out of that seed and that premise and that idea, not knowing where it was going to go, and it took the shape that it did hopefully organically. And I also wrote that role for Paul. So they were both always the plan. Paul is incredibly likeable. And Paul is, frustratingly — he's likeable as a performer, and he's frustratingly likeable as a person, too, because you want to find something wrong with him and he doesn't have it. He's just an incredibly at-peace, generous, kind person. And there was something that I thought was interesting on a narrative level of making him unlikeable, because I think he has this inherent likeability, and that we could tolerate a lot of bad behaviour from him and wait until he comes around, or hope that he comes around, to become the Paul Rudd who we love. So I think there was something that was interesting to me about veiling that Paul Rudd we know and love, and shrouding him in anxiety and stress at the beginning of the movie — and telling you 'he's going to become the Paul Rudd we love by the end of the movie, but he's not going to be that guy at the beginning of the movie', and to give him an arc to become that. And I think that came through, I hope, in this sense of this character who's had some misfortunes — the universe has thrown him some curveballs, and he's gotten some bad luck along the way — and what that might do to someone to start ratcheting up their anxiety with financial, personal, otherwise, in a way where they're always trying to look ahead at what might go wrong. The real Paul Rudd has had an incredibly blessed life and is a really sweet person, and is totally present and in the moment and wonderful. And the thought was 'well, how we get the opposite of that to that place?'. And so, yeah, I thought it was an interesting challenge to weaponise Paul Rudd's likeability." On Always Imagining Rudd in the Lead — and the Journey That That Key Piece of Casting Takes Audiences On "The hope was to understand why he's making bad decisions, and to understand his moral compromise and the perspective of moral relativism that he's had to adopt as a means of coping with the world, navigating his way through the world, and also providing for his daughter — who I think he's taken a very literal approach to 'how do I be a good parent?'. It's 'I provide for her and that's what I'm supposed to do, and as long as I have amassed enough financial security, then anything that comes our way, we'll be able to tackle and address as best we can'. Because they've had, as I said before, he's been kicked in the teeth from the universe before. Things have happened to him that were no one's fault that just sort of happened, and that happens to people. And I think that that gave him a certain kind of limp, that's an invisible limp that he walks with for the rest of his life until the events of this movie — and he hopefully shakes that limp. But in terms of 'was it ever anyone else?', no. I always liked the idea of it being this morally compromised lawyer, because I think something interesting about lawyers is that's a skillset that could be applied in any direction. And there's something interesting about the nature of the legal system and that everyone's entitled to representation, even guilty people. There's a certain moral vacuum. That's literally what they refer to it as, lawyers: the moral vacuum, a place where you don't make a moral judgment. And I thought that was always an interesting perspective to have for a protagonist. And usually I feel like the lawyer in Jurassic Park was killed quite unceremoniously, and I thought it would be interesting to say 'what if that guy was the hero?'. Or I thought a lot about the actress who's married to Kenneth Lonergan [Manchester by the Sea], who played Gerri in Succession, who's so great: J Smith-Cameron [Hacks]. I was like 'oh, what if she was the lead of a movie, that character?'. And so was it ever not that? I always hoped it would be Paul. I certainly entertained 'well, what if Paul says no'. And I thought about other people in the role if I had to, but thankfully he said yes and I never had to." On the Wide Range of Influences, From Succession and Jurassic Park to ET and Korean Cinema, That Helped Inspire Death of a Unicorn "I wish I could say that the tone was something I thought about and meditated on for a long time. It always felt like that was just the expression of the movie to me. I think unicorns are, in our consciousness, magical, in a way that they're not just monsters. You can't treat a unicorn like a xenopmorh, because I don't think then you're treating a unicorn — you can make a horror movie that features unicorns that isn't a unicorn horror movie, if that makes sense. You want to be true to the emotional associations that we all have with unicorns, to make sure that you're doing justice to that for all the unicorn lovers out there and for everyone who has a passive understanding of a unicorn that has a certain magical association. And so that sort of conjured, in my mind, a certain Amblin kind of magic — you know, that ET kind of way. And The Abyss also has that in spades, certainly. But then I also thought about subverting that, and that led me down a road of the Alien and Aliens and Evil Deads of the world. And An American Werewolf in London, certainly, too. So there was a lot of that hybridisation. But then at the end of the day, I was also thinking 'well, I don't think you could do a unicorn movie with a total straight face, as a unicorn horror movie. You have to be funny'. I think there has to be some awareness of the absurdity in that. I think if you just did that with a straight face, it would get real boring real fast. And so it kind of presented itself in this way, that it was like 'well, it's a monster movie' so it has to have these things like Jaws and Alien and Aliens, and those sort of movies — and Creature From the Black Lagoon and so forth. But then we have all this warmth associated with them. And so that brings in the ETs of the world. And there's a great Val Guest movie, The Abominable Snowman, which is wonderful and has these benevolent yeti monsters that are really interesting. And The Abyss, also again, to go back to that one, has these benevolent monsters, that it's on us not to fuck with them, you know? Like, they will decimate us if they decide to, but it's our prerogative to make sure they don't want to. So anyhow, these influences all coalesced, and I think it became clarified through a certain Korean sensibility — thinking about The Host or Train to Busan, or Thirst, which is a very different movie. But there's something about those movies, and I think a general Korean sensibility, is that they aren't afraid to combine influences and to swing, and to say 'we're going to be funny here and absurd, and then we're going to be scary over here, and then this emotionality is going to be building underneath all of that'. The Host is such a favourite movie of mine. It opens with Song Kang-ho [Cobweb] doing these brilliant pratfalls and physical comedy, and then it ends with this tragic loss at the end of the movie that's really heartbreaking. And then through the middle, it's almost like The Royal Tenenbaums on a monster hunt. It's this dysfunctional family of adult estranged siblings. And you're going 'wait, what? This movie does all of these things?'. And it has this anti-American, -colonial, -capitalist satire threaded through all that. And yet somehow I watch that movie and I'm like 'what a perfect movie'. My hope was when you watch those kind of movies — and Train to Busan is another one that contained zombies, action and high-concept, but also is a commentary about selfishness and self-interest, and then also this father-daughter story that makes me cry every time I watch it. There's something about that that's like, I don't know, somehow that has a spine that allows it move through all these zones. And I think if you commit to it, hopefully that's okay. So that's sort of what I was aspiring to do, I suppose." On Connecting Unicorn Lore and Mythology to Class Structures, Commodifying Nature, Colonialism and Capitalism "I outline a lot, so I try to accrue a lot of information and thoughts and research and material. John Houston has this great quote where he said 'don't start writing till you can't stop', and so I try to do that. So what I end up doing is, I end up thinking about things a lot. I very early on got to unicorn mythology, and I zeroed in on the Middle Ages — because I think the tapestries are brilliant, and I love them, beautiful pieces of art, but that's sort of when unicorn narratives became really cohesive and codified, in a way. Before that, there were unicorns, but they weren't in a traditional structure. And then in the Middle Ages, the hunt narratives became quite, not formulaic per se, but that was the archetypical unicorn story, it was about a unicorn hunt. And when I realised that, I was like 'oh, well this provides a basis for a parallel to a creature-feature structure', in the sense of those kind of James Cameron-y or Spielberg-y monster movies where very often they're on a hunt. That's what most of that second act of Alien is about. And same with almost the entirety of Aliens, that is about a monster hunt. And so that made a lot of sense to me. And again, that Val Guest Abominable Snowman, that's a monster-hunt movie. The Creature From the Black Lagoon: monster-hunt movie. There's a very traditional structure. But then when I started thinking about medieval unicorn mythology in a contemporary context, it also invites a lot of thought about class structure, and those are very much stories about social hierarchy. It's about a lord, it's about a king, a nobleman, sending out their court, all their servants, the people who have no choice in the matter, the people who have to do it, and sending them out into nature to capture the uncapturable, so that this this object of purity, this resource, can be owned and possessed and commodified. And so when I was like 'okay, well I'm updating unicorn mythology, unicorn myth', that's what the lore is. It's like, well, how could it not be about those things? And when you realise that unicorns were prized for their curative properties, it naturally invites a conversation with healthcare and pharmaceuticals. And so it's funny. How I like to write is just to find a string and start pulling and see where it leads me, and it seems like the story presented itself as being about class, about the social structures that we live in today and also about pharmaceuticals. And so it naturally provided this context to consider an oligarchic, industrialist family as if it was a former nobleman or noble lord's family with their fiefdom, but their fiefdom is an industry." On Enlisting Jenna Ortega to Be the Film's Emotional Centre, Audience Surrogate and Voice of Wisdom "I wrote the role and figured out the characters based on what the story was asking for and what their dynamics were, and then I got to the end of that process and we were like, with the studio, with A24, they're like 'let's start casting the movie'. And I realised, I was like 'holy shit, what have I done? Who can play this role?'. Ridley is such a challenging role because, yeah, she's the vehicle of exposition. She's the character who the audience identifies with. She's the most — I try not to write anyone as like a straight man, I think comedies are most fun when everyone has their own weird game that they're playing, but she's certainly among the most-grounded, probably. I think her and Anthony's character are the most grounded in terms of their perspective. And so, yeah, it's a really hard role to figure out. And I'm so fortunate, we only offered the role to one person and she said yes, and that person is Jenna Ortega. She's an absolutely just knockout performer. Every take is great. So I don't know, what did I have to do? I had to get lucky. I wrote Jenna a letter and I asked her to please be in my movie and save it. And she did. And so I just showed up every day and we'd talk about things a lot, but the truth is Jenna's just an incredible performer. She's so good. She's just one of those actors that you just point the camera at her, she's going to do it." On the Importance of Will Poulter's Comic Timing, and Ability to Lean Into His Character's Privilege and Obliviousness, to Help Set the Comedic Tone "Shep's voice was one that came off the page pretty early in the writing process, where it was hard not to keep writing for his voice. He's one of those characters that — and Will figured it out so beautifully — it's just a character that you just want to keep giving him stuff to say. You just want him to react. He's in a great position, too, as far as comic structure, in that he gets to react to a lot of things. He doesn't have to drive a lot of things. The scenes, he gets to just be present in them and be arrogant and lack any self-awareness. But Will totally landed it and nailed, I think, the tone. And did this amazing feat — that's a very heightened character that he somehow found an emotional centre for, and he grounded that character in a sense of, I think, inadequacy, and bravado around that inadequacy. And wanting to be told that he's enough as a person, trying to earn his parents' love and respect. And I think he, in doing so, built a character that's both heightened and yet grounded, and so both villainous and yet I kind of sympathise with him. I look at that character and I'm like 'oh, man, you've got into a bad situation where psychologically you've been put in this position that your parents have really done a number on you, and there's nothing you can do about it because it's all it's too late now, it's all locked in'. The dark humour of the movie and the pace of the jokes and dialogue all lives in the performance, and the Leopold family really gets to let that rip. They get to be unmoored. And Will totally got it. And Téa and Richard are also comic geniuses, I think, and totally understood the commitment to the bit. And I'm just so lucky they all chose to be in the movie." On How Scharfman's Experience as a Producer for Over a Decade Helped Him Make the Leap to Directing His First Feature "It was invaluable. I've worked as a producer for a long time. And it built up a comfort level on set. To be honest, when I started working in film, I wanted to be a writer and a producer, and I was a little bit scared of directing. It's a really daunting task, and I had, I hope, a respect for it, a reverence for it, that I don't think I could have — I didn't want to go out and be directing at the outset of my career, and I think I only gained that perspective over time, and the desire to do it as well, as I got more comfortable on set. So I would say producing the features that I have just built up my comfort level with the apparatus, of the machine, of a film set, which is such a specific working environment — and understanding how to problem-solve in that kind of context, how to be creative in that context, how to create the right environment. And that trickles into the writing in invisible ways, just the choices you make. I've seen filmmakers make great choices and I've seen filmmakers make choices they regret later. And not that any of those films that I made were dry runs or anything like that, those are films that I'm all proud of, but you just gain experience by being around an apparatus like that, by making movies and by being part of it. And I think I've gained a lot of experience. I've worked as a professional screenwriter for several years as well, not quite as long as I've been a professional producer, but you learn a tremendous amount by working in development on other scripts and by developing your own scripts simultaneously. So I like to think that it's just a holistic perspective. It's hard to isolate an experience that like 'this experience taught me that' — it's just all cumulative to become who you are and the lens through which you see the world. So I don't know exactly how, but I know it's helped me. I know I felt more comfortable on a set, and I know I've been around enough practical effects and stunts and things like that that I felt it was within my capacity to execute an execution-dependent film like this as my first feature. There's a lot to bite off in the film, but I don't think I would have been capable of doing that if I hadn't been building towards this over the course of over a decade of just learning about the filmmaking process." Death of a Unicorn opened in cinemas Down Under on Thursday, April 10, 2025.
Whether you're buying flowers for your nearest and dearest, such as your mum or your partner, or you'd just like to have something floral brightening up your house, the real kind always come with an expiry date. Fake flowers exist, of course, for those who like permanent petals — but they're not as fun as the block-built type in Lego's new Botanical Collection. Part of the brand's growing range for adults — because we're all well past pretending that Lego is just for kids — the Botanical Collection currently features two items. For a bouquet that'll never die, the 756-piece flower bouquet kit includes a number of different blooms that you can bunch together however you like. If you're more of a bonsai kind of person, an 878-piece set that features one of the miniature trees is also available. For those keen on vibrant flowers, the flower bouquet box includes pieces to make blooms based on roses, snapdragons, poppies, asters, daisies and grasses, all in different colours and shapes. In fact, because this is the first kit of its type, it features blocks in hues and shapes — including 17 realistic-looking petal pieces — that Lego hasn't ever used before. The stems come in different lengths, measuring up to 36 centimetres, and you choose which flowers sit at which height. The petals and leaves are also customisable; however, if you want a vase to put them all in, you'll have to find that elsewhere. In the bonsai tree set, you'll obviously build a bonsai. Yes, it's that self-explanatory — but you'll also make a black pot for it to sit in and a wooden stand for it as well. You can pick between green leaves and cherry blossoms while you're putting it together, and it's up to you how you arrange them as well. If you fancy a bit of pink in warmer months and something earthier when winter hits, you can do that as well. Both kits cost $89.99, although the bonsai one is temporarily out of stock after they both launched on January 1 this year. Lego is also moving towards being more green with its pieces, not just with the designs they can be used to make — and announced that it was starting to produce sustainable blocks made from plant-based plastic back in 2018. You'll find some in the Botanical Collection sets, fittingly, as made from sustainably sourced sugarcane. Plus, as well as catching the eye, Lego's newest products are designed to help you destress and get mindful — something that the brand has been promoting for adults for a few years now. For more information about Lego's new Botanical Collection, including the flower bouquet and bonsai tree kits, head to the company's website.
Flight sales pop up all the time, which is excellent news for everyone that's obsessed with taking holidays. So, it's great for everyone. But Virgin Australia's latest batch of cheap fares is a once-in-four-years offering. It's doing big discounts for Leap Day, because February 29 is worth celebrating when it rolls around. For today, Thursday, February 29 only, then, more than 200,000 sale flights are up for grabs across a range of both domestic and international destinations. In other budget-friendly news, the cheapest starts at $35. As is always the case with these kinds of specials, that's the price from Sydney to Byron Bay — but Melbourne to Launceston will only cost you $39, too. Other options include Sydney to the Sunshine Coast from $55 and to the Gold Coast from $59, Melbourne to Uluru from $89 and to Hamilton Island from $99, and Brisbane to Cairns from $75 and to Hobart from $99. Folks in Adelaide can hit the Gold Coast from $85, while Perth residents can go to Cairns from $129. And they're just some of the one-way deals available. Internationally, the return deals start with Adelaide to Bail from $385, and also include Melbourne to Bali from $439, Sydney to Queenstown from $405 and Brisbane to Fiji from $479 — with more where they came from as well. If you're wondering when you'll need to travel, there's a range of dates from Monday, April 1–Sunday, June 30, 2024, all varying depending on the flights and prices. Getting in quickly is always recommended when it comes to flight sales — but when they only run for a day, finishing at 11.59pm AEST, you need to take that advice seriously. Virgin's 2024 Leap Day sale runs until midnight AEST on Thursday, February 29 — or until sold out. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Summer might be over, but when winter adventures abound somewhere like Tasmania, there's no excuse for hiding indoors. Surrounded by views so awe-inspiring, you really won't care if you need to pack an extra jacket or two. Tasmania may be Australia's smallest state, but it's got a massive reputation, especially among hikers and adventurers from all over the globe. From epic multi-day coastal walks and summit lookouts to remote islands that display the state's famously rugged landscape, Tasmania is a natural wonderland that'll satisfy your explorer spirit. To help you get prepped and planned, we've tracked down five breathtaking places to hike that perfectly express why folks just can't get enough of this beauty. THREE CAPES TRACK Considered one of Australia's most impressive bushwalks, the Three Capes Track combines soaring clifftops that offer incredible views of the Southern Ocean with a myriad of rugged windswept landscape and the possibility of peeping some glittering Aurora Australis. Over the course of 48 kilometres, this multi-day hike tours across the southeast's most famous capes: the trio of Cape Pillar, Cape Hauy and Cape Raoul. Along the way, the natural landscape shifts from woodland to eucalypt forest — before you arrive at the coastline and get a spectacular view of the Blade, which juts out into the ocean. If you feel like making your visit extra-special, consider taking the Three Capes Lodge Walk, dotted with boutique overnight eco-stays and making your adventure a little cosier. [caption id="attachment_718814" align="alignnone" width="1920"] Painted Cliffs on Maria Island. Courtesy of Flow Mountain Bike.[/caption] MARIA ISLAND Just off Tassie's celebrated east coast, Maria Island boasts a seemingly endless variety of wildlife and plants. Whether you're keen on spotting wallabies, Tasmanian devils or wombats, you're bound to see at least one. Plus, in the winter, there are fewer crowds here so you'll get all of these sights practically to yourself. There's also an astounding range of natural landmarks, such as the island's famed marbled sandstone marvels, The Painted Cliffs and Haunted Bay, which showcases enormous granite cliffs overlooking the sea — a very dramatic site to see during Tasmania's rugged winters. Accessible only by ferry, Maria Island is covered by dozens of spectacular walking tracks with lots of picturesque spots to pitch a tent. There are also firepits already stocked with wood for you to cosy up to at night. If you have less time on your hands, e-bike trips around this World Heritage Listed island are another great way to cover some ground. It'll be quite the active stay and a seriously scenic trip, too — with all those trails highlighting the very best of Tassie's coastline from an offshore vantage. [caption id="attachment_718811" align="alignnone" width="1920"] Tourism Tasmania and James Bowden.[/caption] PANDANI GROVE The drive to Mount Field National Park is almost as special as the destination, with the park located 80 kilometres west of Hobart through the Derwent Valley. Your trip isn't over yet; in fact, you'll have to trek deep into the state's oldest national park, which is often dusted with snow in winter. On your hike, you'll pass rushing waterfalls before reaching the Pandani Grove. This otherworldly nature walk winds its way alongside Lake Dobson and features the rather odd looking pandani fern, which only grows in Tassie and is quite the marvel, especially when cloaked in snow. Even compared to Tasmania's wealth of natural landmarks, Pandani Grove stands out — it's the kind of place you won't find anywhere else in a hurry. MOUNT RUFUS CIRCUIT Starting from the Lake St Clair visitor centre, the Mount Rufus Circuit walk takes hikers on a journey through an incredible display of natural beauty. Take the Watersmeet Nature Trail through a peppermint gum forest and, eventually, you'll come to the Mount Rufus summit track junction. Make a turn upwards and trek seven-and-a-half kilometres to the peak where you'll be welcomed with panoramic vistas that are hard to beat. As well as looking over Lake St Clair far below, you'll also score views of Mount Olympus, the immense Frenchmans Cap and the Franklin River that winds its way through the landscape. And the fact that all of these sights will be dusted with snow, will make your trek through this veritable winter wonderland all the more magical. [caption id="attachment_721403" align="alignnone" width="1920"] Paul Fleming.[/caption] MARIONS LOOKOUT Cradle Mountain is possibly Tasmania's most popular mountain, typifying the rugged terrain that the island is known for. The sprawling region is filled with highlights just about everywhere you look, but few can match the beauty of Marions Lookout — especially when it's covered in snow. To get there, you'll have to be willing to take on a rather strenuous three-hour return trek, but the gradual climb will take you through stunning scenery like snowy forests, white-frosted peaks and around some glacial lakes. Of course, once you reach the summit, you'll almost certainly forget that your legs feel a bit like jelly — unsurprisingly, the 360-degree views of spectacular winter wonderland provide the perfect distraction. Roam the summit and admire the vantage over the rest of Cradle Mountain and the surrounding lakes. Yep, this is quite the hike. Top image: The Candlestick at Cape Hauy by Jason Charles Hill.
Our Melbourne comrades are doing it especially tough right now, currently pushing through the fourth long week of their current stage four lockdown. But if you know a southerner who could use a distraction from their 8pm curfew and five-kilometre travel restrictions, you can now send them a little sweet relief courtesy of Uber Eats. This week, the delivery service is allowing interstate mates to send Victorian friends free dessert or ice cream, via its new #lockdownlove offer. From today, Monday, August 31, to Friday, September 4, you can surprise your Melbourne mate with a free Uber Eats dessert delivery, up to the value of $20 (including delivery fee). There are 1000 of the freebies available each night, starting from 8pm. To share the love, simply plug your friend's address into the app, order from one of their local dessert venues and enter that day's promo code (it's 'mondaylove' for Monday, 'tuesdaylove' for Tuesday and so on). Once you've ordered, you can click 'Share This Delivery' at the top of the app and your pal will be able to track their sweet treat on the move. Brighten their day with some Pidapipo gelato, send some Greek doughnuts from Lukumades, or maybe treat them to a wedge of cheesecake courtesy of the iconic Brunetti. If you're a sweet-toothed Melburnian who could do with some free dessert, we just send this article to an interstate friend — as a very unsubtle hint. [caption id="attachment_687498" align="alignnone" width="1920"] Doughnuts by Shortstop[/caption] Top image: Lukumades
Is it a balloon? Is it a giant beach ball? No, it's (This is) Air, the National Gallery of Victoria's 2023 Architecture Commission. Thanks to the St Kilda Road arts institution's annual commitment to livening up its garden by celebrating design, a towering sphere is making Melbourne home until June 2024. This isn't just any old 14-metre-tall globe: as everyone can see while in its presence, it breathes, inhaling and exhaling to draw attention to air. When the NGV International hosts this yearly architecture commission, almost anything can grace the venue's grounds. In the past, that's meant a colourful mini Parthenon, a bright pink pool to wade through, a bamboo garden with its own deck and a pink carwash, all memorable. Among a series of pieces all literally designed to stand out, (This is) Air might just have them beat. A lofty sphere that expands with air, then releases it — doing so all day from Thursday, November 23 — isn't easily forgotten. One of (This is) Air's aims: to make the invisible substance that's there in its name visible. Australian architect Nic Brunsdon has joined forces with ENESS — the art and technology company behind public artworks such as Sky Castle, Airship Orchestra, Cupid's Koi Garden, Lost Dogs' Disco and more — on the work that promised to make quite the sight when it was announced back in July, and proves the case now that it has been installed. No one in the vicinity will be able to miss it, either, thanks to that 14-metre height when it's fully inflated. To get to that measurement, it uses air as a building material. And when it breathes out, it does so by releasing gusts, forming different cloud-like shapes, then filling back to capacity again. Brunsdon and ENESS also want everyone taking in (This is) Air to think about humanity's need for and relationship to air. While you're peering at the commission, you'll see air in action and notice how essential it is. Also highlighted: how dependent we all are upon the element, how finite it is and how its quality is being impacted. "The idea for this project was conceived by the architect during the global pandemic, when the air we breathed was suddenly at the forefront of everyone's mind. Taking the form of a giant inflatable sphere, this living structure inhales and exhales before our eyes, giving presence to that omnipresent yet invisible element that connects us all," said Ewan McEoin, the NGV's Senior Curator, Contemporary Art, Design and Architecture. "Air can be understood as part of our global economic, social and ecological realities. And yet, the quality of air we breathe varies depending on where and how we live. Air is universal, yet clean air is not." As (This is) Air gets viewers pondering, it's also designed to be uplifting. As is always the case with the NGV's yearly commission, it'll provide a place for accompanying performances and other public programs in the NGV Garden, too. (This is) Air also forms part of this year's NGV Triennial exhibition, which will display from Sunday, December 3, 2023–Sunday, April 7, 2024. On the agenda: robot dogs, a room-sized ode to plants, Yoko Ono's work and more, with 75 works set to feature, including more than 25 world-premiere projects. The art showcase will respond to the themes magic, matter and memory, with (This is) Air fitting in with the matter strand. (This is) Air displays at NGV International, St Kilda Road, Melbourne from Sunday, December 3, 2023–June 2024 — head to the NGV website for further details. Images: Installation view of the 2023 NGV Architecture Commission: (This Is) Air designed by architect Nic Brunsdon in collaboration with ENESS. (This Is) Air is on display from 23 November 2023 until June 2024 at NGV International, Melbourne. Photo: Ben Hosking
It's that glorious time of year again, when cherries are ripe for the pickin'. The Victorian cherry season has hit, which means that your next few months can be spent cruising through picturesque orchards and indulging in a diet of cherry-based everything. It's also the time when CherryHill Orchards hosts its annual cherry-picking festival, running from Sunday, November 10– late December at its Coldstream location, and from Monday, November 25 until early-January at its OG Wandin East orchard. Booking in for a cherry-picking timeslot means getting two hours to pick and eat your fill of delicious fruit straight from the tree, with any extra take-home haul charged by the kilogram. You can pack your own picnic to enjoy onsite, or let Mary Eats Cake take care of you with its high-tea picnic packs. Also hitting the orchard through the festival will be a rotation of food trucks and a program of live tunes, which you can enjoy alongside scoops of CherryHill's famed cherry ice cream. Looking to amp up your experience? CherryHill has teamed up with nearby Rochford Wines to offer a wine-tasting, cherry-picking and lunch package — and with Yarra Valley Dairy to bring fine cheese into the equation. Adult tickets clock in at $21.50 on weekdays, and $25 on weekends and public holidays, with packages and extras available to add on at the time of booking.
Early in We Live in Time — early in the film's running time for watching audiences, but not early in its central romance thanks to the movie's non-linear storytelling — Florence Pugh's Almut reacts to significant news about her health by delivering her own to Andrew Garfield's Tobias. Years after a meet-cute involving a hospital (and also a car accident, with her behind the wheel and him lightly struck by the car), they're again at one. Their relationship has never been much of a stranger to them, in fact. This time, however, as the chef and the Weetbix employee stand in the carpark after an appointment, they ponder a question that lingers over everyone but never as much as those forced to reckon with the knowledge that their future might not be guaranteed: is life best lived for quantity or quality? Charting a decade in its characters' existence, from a surprise encounter to falling in love, weathering heartbreak, starting a family, pursuing professional dreams, navigating challenges and facing mortality, We Live in Time isn't a strict two-hander in terms of casting. Still, it's so intimately a double act between Pugh (Dune: Part Two) and Garfield (Under the Banner of Heaven) that it feels like one. See: this crucial moment, which conveys everything about Almut and Tobias' dynamic. She speaks carefully but passionately. He listens devotedly. Nothing else could be more important to either of them. Pugh's performance simmers with raw emotion. This interaction isn't about him, but Garfield turns in some of cinema's most-moving reaction work as Tobias takes in what he's being told. Asked how important that scene is for him, Garfield is quick and decisive: "very pivotal," he tells Concrete Playground. It also cuts to the core of exactly what helps make We Live in Time so affecting. This is a heartfelt romance dealing with the fleeting nature of life — and in other hands than Garfield and Pugh's, and director John Crowley (Brooklyn) and screenwriter Nick Payne's (The Last Letter From Your Lover), it'd risk being dismissed as a weepie — but it's always about who Almut is regardless of anything that she can't control. It's about how people endure, create a life together and cherish their time together, while the hourglass empties, too. The impact that a person has beyond just being someone's parent, someone's partner or someone's child also sits at the centre of the film as much as Almut and Tobias' relationship. And, as it delves into weighty topics for its genre while stepping through Almut and Tobias' tale, We Live in Time firmly never falls into the common trap of heroing what Tobias is going through over Almut's experience — as a person, not just as someone with an unwanted diagnosis. It doesn't dream of defining her or them through the worst thing that they'll ever confront, either. In some features, letting time jump around can be a gimmick, but here it is done with touching purpose. As the movie flits between the duo's first weeks and months together, one specific day spent in the bathroom of a service station and also their well-established romance, the non-linear structure ensures that the full wave of life and love — not specific pieces of news, or coping with their aftermath — are always pushed to the fore in an immensely well-rounded narrative. For Garfield, Tobias is the role that brings him back to the screen. 2025 marks 18 years since his film debut in Boy A, another empathetic and sensitive film directed by Crowley — as well as a feature that earned its star a BAFTA TV award — and he's rarely been far away the viewers' gaze since, until 2022. Before half a decade had passed from his first movie, he'd made an imprint in three-time Oscar-winner The Social Network opposite Jesse Eisenberg (A Real Pain) and slung webs in a comic-book blockbuster in The Amazing Spider-Man. Another five years later, he had his first Best Actor Oscar nomination for Hacksaw Ridge. Before, in-between and afterwards, Garfield kept adding interesting projects to his resume, the page-to-screen Red Riding crime saga, dystopian romance Never Let Me Go, housing-crisis drama 99 Homes, the Martin Scorsese (Killers of the Flower Moon)-helmed Silence, LA-set neo-noir Under the Silver Lake and Lin-Manuel Miranda's (Hamilton) Jonathan Larson biographical musical Tick, Tick... Boom! — the source of his second round of Best Actor love from the Academy Awards — among them. Two more stints as Peter Parker also eventuated, including in the Marvel Cinematic Universe. Then, after television's Under the Banner of Heaven, he took some time off. One of the things that made We Live in Time a must-star for him: a memorable birth scene that Garfield likens to an action sequence. What did it mean to join forces with Crowley again after the filmmaker gave him his initial movie role? And to dive into the meaning of life and what truly matters in We Live in Time — and to create such a deep sense of intimacy with Pugh, too? Over a cup of tea, we chatted with Garfield about all of the above, the film's efforts to avoid the tearjerker label and two key instances, one off- and the other on-screen: the "this is it!" moment that made him know he wanted to make this movie, and that carpark scene. On Reteaming with John Crowley on We Live in Time After Boy A — and Collaborating with the Director on Empathetic and Sensitive Films "It's quite natural because John is naturally that, and I think I'm quite naturally that, and I think it just works. There's nothing better than on a film set feeling like you have room to take ownership over a moment, to breathe as the character, to not feel like you have to get it right — and it's an important thing for me to feel when I'm on a set. John is one of those filmmakers that provides that for his actors. He creates a lot of space for breath. He creates a lot of space for exploration and nuance, and interior life and subtlety, and for life to unfold. I felt that when I was first working with him and then it's remained now." On Diving Into Weighty Notions Such as How People Create a Life, Cherish Their Time Together and Have an Impact in a Romantic Drama "I love these ideas and I think that you said it perfectly — they are weighty and they are about the meaning of life, and they are about what matters and what doesn't, and how we keep our attention and our hearts trained on that which is nourishing and that which is mysterious and meaningful. So I love these ideas, and I love being able to hang out in them and to ask questions within them, within the question. And to explore these themes with great artists and collaborators is a dream, and with such great writing. I think that these are the questions that I ask myself on a daily basis anyway. So it felt very natural to slide into this character's skin, and all of the difficulty and beauty of the experience he was having." On What Excited Garfield About Starring in We Live in Time as His First On-Screen Project Since 2022's Under the Banner of Heaven "I think while I was reading the script, and I was reading how this dynamic was unfolding and how it built particularly to the birth scene, I thought 'my gosh, this is such an epic action sequence in domesticity'. I thought: 'oh, man, I want to see this, and how this plays out'. And there were a few scenes of just deep beauty and tenderness, and funny — they were just so sweetly funny within such pain. And I thought 'that just feels like a balm'. It feels like a balm for me, as a person that's been through his own grief. But also it will feel like a balm for other people in the audience who are going through their own version of what these people are going through in this film. So it felt like an act of service. It felt like a real act of service to make this film for myself, but also for an audience, hopefully." On Building Deep Intimacy with Florence Pugh as Tobias and Almut "So the writing is very good. The writing was the jumping-off point and thank god it was a great script, otherwise I don't think we'd be talking — I don't think the film would have been made. So that was the beginning. And then it was me and Florence just finding this natural trust and depth of intimacy and nakedness and vulnerability together. And joy and play together. We can go from being feeling like two childhood friends to feeling like parents. That's a really important thing, I think, for this film. That was rather easy for us to find together. I think we're both just up for it. We're both just two actors and two people who are just like 'what are we doing today, and how do we make it as fun and as silly and as real and as deep as possible?'. That's what we came into every day looking for — and not just for ourselves, but for the other, too. We were two actors who really, really loved being a part of the other person flying. And that's a really special thing." On Ensuring That The Film Tells a Well-Rounded Story That Reflects Life and Is Never a Weepie, Even as It Deals with Love and Mortality "We didn't want it to feel sentimental or saccharine. We didn't want it to feel imbalanced. We didn't want it to feel manipulative. We wanted it to feel, as you say, like life. We wanted it to be very, very rich, diverse experience that felt like watching life unfold for these two people — in all of the agony and all of the ecstasy and all of the complication. What's amazing about Florence's character is she's not this lionised, idealised survivor/victim. And I think the same thing with Tobias, he's not some overly soppy, wet, sympathetic, sentimental character. They both have flaws. They both have fallibility. And they're both deeply human. So that was very, very important for us to keep our eye on." On What Garfield Was Hoping to Express in the Movie's Pivotal Carpark Scene "I was hoping to convey just an impossible contradiction in impulses. I think there's no easy path in that moment for these two characters. And for Tobias, I wanted to convey a thousand things at once. I wanted to convey overwhelm. I wanted to convey being unable to offer anything concise or rational or useful. I wanted to convey deep understanding of where she was while also wanting to kick and scream — and I wanted to convey, on top of that, 'all I've got to do right now is not make this about me. I've just got to listen and I've just got to support and let this moment be this moment, not have an answer'. Just the humility of 'I don't have anything to say here and I'm not going to force it' — like I think most of us want to do in those situations, we want to have a fix-it answer. We want to have some kind final solution. But I think Tobias, in that moment, is humble enough or overwhelmed enough to be able just to stand there, not having anything to offer apart from comfort." We Live in Time opens in Australian cinemas on Thursday, January 16, 2025 and in New Zealand cinemas on Thursday, January 23, 2025.
Ever since the ABC's War on Waste aired in May this year, we've seen a significant shift in the way people think about waste — from the bananas amount of bananas that are thrown away each day to the single-use coffee cups and plastic items we thoughtlessly use whenever we like. But it's that last item — plastic — that's seen some big companies spring to action. Last month grocery chains Coles, Woolworths, and NSW-based Harris Farm announced that they would ban single-use plastic bags by from 2018 — a huge (and influential) example of big business leading change. Now Hobart City Council is planning to take city-wide action by phasing out single-use plastic takeaway containers and cutlery completely. According to the ABC, the council voted 10-1 to amend draft environmental health bylaws which will see the items banned by 2020. They'll be replaced by compostable alternatives, which will be processed at a proposed new facility. If the changes are implemented, Hobart will be the first Australian city to completely ban single-use plastic containers — and it's quite possible others will follow suit. Last year France last year committed to phasing out single-use plastic plates, cups and cutlery across the entire country by 2020. Slowly, it seems the tide is finally changing — and hopefully we'll see a lot less plastic in it. Via ABC.
First came the return of the Kirra Beach Hotel, pouring drinks again after three years out of action while the surfside pub was rebuilt as an all-new 1300-square-metre watering hole with a sunny beer garden. Then arrived Kirra Beach House, with multiple spaces to eat and drink — and cabanas for both — on the beachfront. Now, for everyone heading to the Gold Coast to take advantage of the two venues, or just in general, Kirra Point Holiday Apartments is up and running. Out-of-town visitors and staycationers alike have a new spot to stay at Kirra Point, the precinct that's reshaping this part of southeast Queensland's coast. If you're keen to slumber for at least two nights — with longer trips welcome, too — this sleek new accommodation boasts one-, two- and three-bedroom options, all in a prime location. Killer views from each apartment overlooking the beach are a huge highlight. So are expansive balconies that are designed for hanging out outside as much as in, whether you're going solo, or you're with your partner, mates or travelling as a family. No one usually books a holiday apartment with more room than they need — and with prices starting at $395 per night, that'll prove the case here — but whichever size abode you pick, you'll still be peering at the water. Beach vistas are part of every apartment, so you won't miss out on making the most of the scenic surroundings. Fancy taking a splash, too? That's where the block's elevated pool deck comes in, also with stunning views. As you swim in the 25-metre heated pool or kick back on the poolside lounges, you'll have an uninterrupted vantage of the beach. The communal al fresco area also includes barbecue facilities and an outdoor shower. Back inside, expect a contemporary aesthetic; sizeable bedrooms, with the main featuring a king-sized bed; a full kitchen with European appliances and a Nespresso coffee machine; a 65-inch television with a Chromecast; internet access; and a full laundry. Plus, Kirra Point Holiday Apartments has its own air-conditioned gym, and hires out beach carts, umbrellas and bikes for exploring the area. Need a charcuterie platter or picnic hamper to make your stay even better? They can be delivered. If you're new to Kirra, you'll be venturing 70 minutes from Brisbane, 30 minutes from Broadbeach and 45 minutes from Byron Bay. And if this is the first that you're hearing about the Kirra Point precinct, it's all about giving folks the beach life whether they're dropping by for a sip and a meal, residing onsite or temporarily calling it their home away from home. Find Kirra Point Holiday Apartments at 4 Miles Street, Kirra, Queensland — head to the apartments' website for bookings and further details. Images: Elise Hassey.
Since the untimely passing of legend David Bowie in January, mourning fans have been creating respectful and fitting ways to remember him. They've held tributes all across the country (and the world) in the form of concerts, karaoke, screenings and dance parties. But fans looking to get closer to the life of the prolific artist now have another avenue to consider: a stay in Bowie's former holiday house in the Caribbean. The house, which is on the luxury Caribbean island of Mustique, has just gone up for rent — albeit for a whopping $52,000 AUD (or $78,000 AUD in high season) per week. That's cool, right? I mean, what you're paying for is priceless. Bowie had the villa built himself back in 1989, and a lot of the original design and fixtures still stand. Everywhere you stand, it's likely you'll be standing in the exact same spot that Bowie once stood (we're not sure how long it will take for that game to get old, but we're guessing a substantial amount of time). Of course, the house — named the Mandalay — comes with a lot of non-priceless things too, like an infinity pool, personal waterfalls, an epic outdoor dining pavilion, views of the Atlantic Ocean and a staff of 10 (including your own personal chef). It has five bedrooms (each with their own private verandah), sits on 6.2 acres and comes with neighbours like Kate Moss, Hugh Grant and royals Will and Kate. It's important to note that the home doesn't come straight from Bowie's hands — he sold the property back in the '90s to publisher Felix Dennis. Following Dennis' death, it was bought by English entrepreneur Simon Dolan, who has now put the house up for rent for the first time. But if you've got $50k to spare on a lavish Caribbean trip, you may as well go all out and holiday like Ziggy Stardust. Via Travel + Leisure.
Pairing movies with music is no longer new news, but the latest returning event that's serving up that combo is hoping for two things. Firstly, it's betting on a whole lot of love for Patrick Swayze and Jennifer Grey dancing up a storm in a classic 1987 romantic drama. Secondly, when it comes to getting excited about seeing that now 36-year-old flick on a big screen with its soundtrack performed live, it's hoping that you've never felt like this before (or, not since 2022's shows). Obviously, Dirty Dancing in Concert wants to give you the time of your life as well — and to not only let you celebrate one of Swayze's biggest and most charming film roles, but to immerse you in the movie from the moment you take your seat. No one will be carrying watermelons or checking into Kellerman's Mountain House in the Catskills, but the digitally remastered feature will grace the big screen, and a live band and singers will perform its iconic songs as it plays. Just as swoon-worthy: the fact that those musicians will stick around afterwards to headline a party that'll naturally have you singing and dancing. If you're feeling adventurous and inspired by the movie, you might even want to try to recreate the famous lift. Here, nobody will put you or Francis 'Baby' Houseman in a corner — and you'd be just a fool to believe otherwise. Your hungry eyes will soak in Baby's first taste of dirty dancing, her eager rehearsals and her growing infatuation with Johnny Castle, as well as her parents' bitter unhappiness about the entire situation. This blast-from-the-past affair is touring Australia and New Zealand across September and October, with dates locked in for Melbourne, Sydney, Brisbane, Adelaide, Perth, the Gold Coast, Auckland and Christchurch. And yes, because Dirty Dancing in Concert is certain to be popular, it's bringing its 80s-themed fun to sizeable venues, so you'll be having the time of your Dirty Dancing-loving life with plenty of people. DIRTY DANCING IN CONCERT 2023 AUSTRALIAN AND NEW ZEALAND TOUR: Friday, September 1 — Hamer Hall, Arts Centre Melbourne Saturday, September 2 — Darling Harbour Theatre, ICC Sydney Friday, September 22 — Brisbane Convention and Exhibition Centre, Brisbane Saturday, September 23 — Adelaide Entertainment Centre Arena, Adelaide Sunday, September 24 — Perth Convention and Exhibition Centre, Perth Thursday, September 28 — The Star Gold Coast, Gold Coast Saturday, September 30 — Kiri Te Kanawa Theatre, Auckland Sunday, October 1 — Christchurch Town Hall, Christchurch Dirty Dancing in Concert will tour Australia and NZ in September and October 2023 — head to the show's website for tickets and further details.
Mr Tucci has been nominated for Best New Cafe in our Best of 2018 awards. Like it? Vote for it right 'ere. Sibling-run cafe Mr Tucci in Glen Iris is bold, with three areas in particular standing out: the space, the food and the vibe. Let's start with the space, because, let's face it: first impressions are lasting. The space is encased in a glass triangle, with lots of natural light and a backdrop of trees, which makes it feel like you're eating in a very comfortable conservatory. And every seat in the cafe feels like this. Speaking of seats, it's worth noting that owners Fabian, Massimo, and Romina Crea did the fit out themselves — which included sourcing 1950s Australian school chairs and revamping them. The food shines in the space. And it's no wonder, really, given that this is not the Creas' first rodeo. Stalwarts of hospitality in Melbourne's southeast, they've created a menu which they know reflects local taste. The only problem with the menu at Mr Tucci is deciding what to eat. The sriracha and maple glazed bacon with avocado seems a firm favourite, judging from the plates of fellow diners, and the sourdough waffles are a clear winner given they've already sold out by early Saturday afternoon. No problem — despite the busyness of the day, the kitchen whips up some more for the polite children on the table next door. A definite thumbs up from the cute ones. There's a Mr T burger with beef brisket, for those with a larger appetite, and plenty of vegetarian options as well such as panko-crumbed eggplant or black bean röstis. The tasting plate with rösti, smashed avo, maple bacon, a poached egg and waffles with poached pear is a great way to sample three dishes from the menu at once. You can also just swing by for some really great coffee and cake. Fabian points out that he's lucky to still have his mum, Franca, doing things for him, and in this case she's making stunning cakes. Think Italian sponge filled with lemon curd, pistachio and chocolate biscotti, or pistachio and berry teacakes. Round out your morning (or afternoon tea) with a white coffee, made with beans from local-roaster Veneziano, or an espresso or filter with Wood and Co. This brings us to the last, and best, aspect of Mr Tucci: the intangible vibe. When you enter a new place and you're greeted like an old friend, this goes a long way. The Creas espouse old-fashioned good service. The name itself is a nod to their nonno, Giovanni Santucci, and hints at the importance of family for them. It feels like a family affair, and you've already been welcomed into the fold. Images: Julia Sansone
Lately, the world has seen all sorts of weird and wonderful shoe creations, from sneakers made from recycled ocean plastic to beer-proof kicks to those chicken-and-waffles-inspired Nikes. But this latest sneaker design find might just be the strangest yet, with some bright sparks in Amsterdam crafting a shoe with soles made from chewing gum collected from the city's streets. Dubbed Gumshoe, it's a collaboration between companies Gum-tec and Publicis One, plus local shoe brand Explicit Wear, and it's out to stomp all over The Netherlands' costly chewing gum problem. Apparently, the country's streets rack up around 1.5 million kilograms of the stuff each year, creating the second biggest litter issue after cigarettes. The Gumshoe sole features a special kind of rubber crafted from used gum that's been recycled into a sustainable material. They're available in black or hot pink, with a map of Amsterdam stamped into each sole. On Gumshoe's website, Mustafa Tanriverdi, from Marketing and Investments, Amsterdam Metropolitan Area said, "with these shoes, we take a step closer towards gum-free streets and at the same time create awareness amongst gum users without being preachy." If you fancy a pair of gum-based kicks for your own feet, head over to the Explicit Wear website. Via Designboom
If the waning summer temperatures have got you feeling frosty about the cooler months to come, here's something that'll warm up your outlook again. Melbourne's major citywide arts festival RISING is back and it promises to be the bright spark in Victoria's winter, unveiling the blockbuster 185-event program it's bringing to town from Wednesday, June 7–Sunday, June 18. RISING's 2023 instalment is set to be a monumental affair, assembling more than 400 artists for almost two jam-packed weeks of art, culture, music, performance and culinary goodness. There are 35 works commissioned exclusively for the festival and an impressive 12 world premieres set to hit. Alongside the already-announced Euphoria, which will take over Melbourne Town Hall with an immersive multi-screen film installation starring Cate Blanchett, the program is filled with a hefty and diverse array of happenings. [caption id="attachment_888892" align="alignnone" width="1920"] Euphoria by Katja Illner.[/caption] Large-scale events abound, not least of which is Shadow Spirit — a showcase of First Peoples-led projects across the realms of art, performance, music, food and more. Put together by renowned Yorta Yorta writer and curator Kimberley Moulton, it'll grace the legendary space above Flinders Street Station for eight weeks, displaying major works from artists like Brian Robertson (Maluyligal/Wuthathi), Karla Dickens (Wiradjuri), Vicki Couzens (Keerray Wooroong/Gunditjmara), Paola Balla (Wemba Wemba/Gunditjmara) and more. At Federation Square, a mass participatory work by composer Ciaran Frame will feature 10,000 biodegradable kazoos played simultaneously by eager locals, while Dutch artist Daan Roosegaarde's SPARK takes the form of a wondrous floating light show, animating thousands of 'fireflies' crafted from biodegradable materials. Festival hub Night Trade takes over the grounds of St Paul's Cathedral for the duration, coming to life with super-sized surrealist art from Poncili Creción, performances from the likes of Debby Friday and London DJ ESA, hawker-style dining by Free to Feed and even a smattering of drag karaoke. [caption id="attachment_892640" align="alignnone" width="1920"] Paola Balla[/caption] Head inside the cathedral to experience Anthem — an equally majestic installation of sound and video courtesy of singer Beverly Glenn-Copeland and artist Wu-Tsang, which comes to Melbourne fresh from the Guggenheim. RISING's ice-skating rink will be reborn bigger than ever, this time perched at Birrarung Marr, set beneath an installation of luminous orbs, and complemented by a wintery offering of mulled wine, hot chocolates and popcorn. Music lovers of all persuasions will be kept busy with RISING's sonic lineup, spanning everyone from bass legend Thundercat and Afrofuturist pioneer Flying Lotus to UK punk icons The Damned and hit US singer-songwriter Weyes Blood — and Ruth Radelet from Chromatics, too, performing her first-ever solo show. [caption id="attachment_892641" align="alignnone" width="1920"] The Rink by Shannyn Higgins.[/caption] Uncle Kutcha Edwards is assembling an all-star lineup of First Nations talent for Waripa, Paul Kelly will take his mix-tape album Drinking live to the stage for two shows at Melbourne Recital Centre, and Japanese composer Cornelius joins Shintaro Sakamoto for a double bill at The Forum. The program is brimming with theatre and dance, too, including two Australian Ballet commissions by Daniel Riley and Alice Topp, Florentina Holzinger's famously unsettling body-horror ballet Tanz — while she's in Australia for Dark Mofo as well — and a deep-dive into the history of alternative Aussie tunes with Robyn Archer: an Australian Songbook. And, it features sound work Consort of the Moon, a communal listening experience by twilight at Fitzroy Gardens — plus Buŋgul, with live Yolŋu dancers and songmen celebrating the inspiration behind Dr G Yunupiŋu's album Djarimirri (Child of the Rainbow). Meanwhile, catch Hear My Eyes give the Robert Pattinson-starring Good Time the live score treatment, then check out a 20-strong flock of three-metre-tall wallabies in a technicolour work by Archibald Prize finalist Matthew Clarke. You can also see Chapter House transformed into an ever-evolving living museum celebrating Haitian street culture, and take to the high seas with all-ages First Nations comedy Hide the Dog. Plus, you'll soon spot six striking new First Peoples artworks rolling through the city for the latest instalment of Melbourne Art Trams. [caption id="attachment_892650" align="alignnone" width="1920"] Hide the Dog by Pat Stevenson.[/caption] RISING will descend on venues and spaces across Melbourne from Wednesday, June 7–Sunday, June 18. For the full program and to sign up for pre-sale, see the website.
It seems there is no better time to bust out the picnic rug and lap up the sunshine with your closest pals than right now. Since it's also barbecue season, we've teamed up with Jim Beam to bring you five public barbecue spots where you can crack open a cold one and enjoy a leisurely afternoon cooking up a feast. [caption id="attachment_794065" align="alignnone" width="1920"] Visit Victoria[/caption] ALBERT PARK Albert Park is right near Port Melbourne Beach, so you can take your afternoon from barbecue to sandy beach. Extending from St Vincent Gardens to Mills Street, the park has lots of land for you to set up your picnic rug and gather your pals for a good time. The space is pet-friendly, so you can bring your furry friend with you. Plus, Albert Park has over nine areas with public barbecue facilities, which means there's plenty to go around. You'll often see people rowing or paddle boarding in the lake too, which sounds like the ideal long afternoon activity after your feast. [caption id="attachment_794134" align="alignnone" width="1920"] Creative Commons[/caption] PRINCES PARK Princes Park is a classic Carlton barbecue spot due to its expanse of land. With a playground, soccer field, barbecue grills and plenty of areas to lounge around, it is a great option for those with larger groups, or with kids in tow. Princes Park often has sports games during the mornings on weekends, so we suggest heading there for an afternoon feed for more space to spread out. As it is further away from Faraday Street, Princes Park is a great option for those who want to BYO barbecue, rather than fight for a public one. WERRIBEE PARK Built beside a mansion and the Victoria State Rose Garden, Werribee Park is a fun place to pretend you've stepped into an episode of The Crown. The estate is heritage listed and boasts a beautiful rose garden and manicured landscape, as well as a picturesque lake for a wonderful post-feed stroll. Parks Victoria has tried to restore the original orchard that was planted by the Chirnside family in the late 1880s, which makes for a good place to wander. Werribee Park has electric barbecues, public toilets and decent parking, too. ROYAL BOTANIC GARDENS If you prefer eating city-side, head to the famous Royal Botanic Gardens Victoria. Next to some great bars and restaurants in Melbourne's south, as well as the Yarra River, the Gardens are a very convenient and scenic spot for a barbecue. Woodland Picnic area has free barbecue facilities, or you can bring your own. After you eat, head to the National Gallery of Victoria, or take a walk around the lake up to Melbourne Cricket Ground. Or, stay put. There are just over 86 hectares of the Botanic Gardens to explore. [caption id="attachment_784754" align="alignnone" width="1920"] Visit Victoria[/caption] CARLTON GARDEN One of Melbourne's most famous barbecue spots, Carlton Gardens spreads over 26 hectares and contains the Royal Exhibition Building, Melbourne Museum and the IMAX Cinema. Adjoining Rathdowne and Victoria Streets, the park has lots of BYO food options nearby, as well as barbecue facilities onsite. It is also home to wildlife, an award-winning children's playground and a maze, so it has heaps to entertain the whole family at your next get-together. Top image: Carlton Gardens; Visit Victoria
Go dotty about the world, and it'll go dotty about you: that's the Yayoi Kusama story. For seven decades, the Japanese artist has thrust polka dots to the centre of her paintings, collages and installations, making her a contemporary art favourite — and all of those years of circular creativity are now coming to Brisbane's Gallery of Modern Art. From 4 November 2017 to 11 February 2018, GOMA will host Yayoi Kusama: Life is the Heart of a Rainbow, a major showcase of her lengthy and prolific career since the 1950s. Co-curated with the National Gallery Singapore, where the exhibition is currently on display until September, it will boast than 70 of her pieces — featuring 24 works from her recent My Eternal Soul series, which has been ongoing since 2009, and currently comprises 500 canvases in total. Kusama's early painterly experiments, a multi-decade presentation of her 'net' paintings, soft-sculpture and assemblage will also grace the gallery's spaces, as will performance documents and large-scale installations. With the celebrated artist no stranger to the Queensland Art Gallery and GOMA, a number of her iconic pieces will be making a return. Two artworks commissioned for the gallery's 2002 Asia Pacific Triennial of Contemporary Art will feature, including Narcissus garden in the QAG Watermall. Of course, the beloved interactive experience that is The Obliteration Room will also be brightening up GOMA's Children's Art Centre for the first time since summer 2014-2015. Fans of plastering a white room full of coloured dot-shaped stickers, rejoice. Fans of Kusama's bright riot of dots and hues, rejoice as well. Images: Anwyn Howarth.
Memes might not be the first thing that spring to mind when you're thinking of ways to stage a hard-hitting political protest (you know, those times when you do that). But this unassuming cultural phenomenon, initially reserved for LOLcats, has spent over a decade mutating into a medium that netizens now actively use as a form of direct political expression. Straightforward and effective in their output, memes usually consist of a simple (or roughly photoshopped) image accompanied by some witty text using the IMPACT font. Memes are more and more becoming the people's answer to the realm of government-issued propaganda, distilling an issue down to its core message and dispersing it far and wide. Here are five of the best political memes that have recently infected social and mainstream media. CHINA: Free CGC So it would be super-embarrassing if one of the world's largest and most powerful military and security powers let an activist escape house arrest, right? And even more so if he was blind, right? Well this is what happened in April last year, when blind Chinese activist Chen Guangcheng escaped from house arrest right under the noses of officials. In an effort to keep word from spreading, search terms including his name, as well as related terms like 'CGC' and 'the blind man' were quickly blocked by Chinese online censors. But many web-savvy internet users and Chen supporters came up with creative ways to spread the message and to show their support. 'Free CGC' became a slogan attached to this appropriated KFC ad, which features Chen in his signature sunglasses, looking like the archetypal Western hero, Colonel Sanders. The meme proved a powerful way of dodging The Great Firewall, as images, unlike words are not easily searchable (for similar reasons, our favourite giant rubber duck became a subversive symbol this year). It soon went viral on Weibo (China's Twitter) and everybody found out about what happened. Here's the punchline: Chen sought protection from the US Embassy in Beijing, who allowed him to then seek asylum in the US. Ironic, as whistleblower Edward Snowden recently travelled to Hong Kong to seek asylum from US prosecution for similar offences. Bonus Snowden Meme: TURKEY: The Standing Man Throughout June, a protest movement formed in opposition to Turkey's ruling AKP (Justice and Development Party), who announced plans to redevelop the secularly symbolic Gezi Park located in Taksim Square with an Ottoman-era barracks and a mosque. The initial small-scale protest snowballed into nation-wide anti-government demonstrations after a heavy-handed police response left many seriously injured. But following a wave of arrests in an effort to clear out Taksim Square, performance artist Erdem Gunduz, now known as 'the Standing Man', staged an eight-hour silent vigil where he stood in Taksim Square facing a portrait of Kemal Ataturk, the founder of modern, secular Turkey. This simple symbolism inspired hundreds to join him, and has generated "the standing man" meme on social media. It's kind of like planking's cool vertical brother. Some of the images that best illustrate the development of this meme are collected in this Atlantic article. https://youtube.com/watch?v=QMjK0nmwzKU EGYPT: Harlem Shake In February, an Australian teen known on YouTube as TheSunnyCoastSkate, uploaded this averagely amusing 'Harlem Shake' video, triggering a mass of imitation uploads. Within two weeks, YouTube reported around 12,000 Harlem Shake videos had been posted, amassing more than 44 million views. Whilst the vast majority of these videos are by bored university students in need of an excuse to get krunk and semi-naked in their bedrooms, the video meme has also served as an avenue for political expression in Egypt. In March, protestors in Cairo staged a 400-strong flash mob-style Harlem Shake in front of the main office of the Islamic Brotherhood in what has been dubbed a "satiric revolutionary struggle", sending a powerful anti-conservative message not just to president Mohammed Morsi but also reinvigorating the country's weary press-corps. #TweetLikeAForeignJournalist Disappointment high among Kenyans as electoral body denies them chance to rig elections. #KOT — Major Mouz (@mosesmuya) March 4, 2013 KENYA: #tweetlikeaforeignjournalist In 2007, foreign journalists were accused of misreporting the Kenyan elections, exaggerating and presenting inaccurate information for the sake of dramatic narrative. So what did those savvy Kenyans do to combat the threat of misrepresentation in this year's March General elections? They used the hashtag #TweetLikeAForeignJournalist on Twitter to generate satirical election news. The meme spread rapidly amongst Kenya's 12 million Twitter users, with the groundswell catching out the global media to force more balanced reporting. #TweetLikeaForeignJournalist: Peace erupts in various parts of Kenya. The government is asking the international community to assist. — Vicarius Filli Dei (@Vicarius) March 7, 2013 #TweetLikeAForeignJournalist several foreign journalists reported dead from boredom across the country. — Miss Kibui (@rouzieroze) March 7, 2013 AUSTRALIA: Kevin Rudd wins at Game of Thrones Everyone's saying it, Australian politics is the new Game of Thrones, which is sad for Julia Gillard because she used to like Game of Thrones. But let's face it, K-Rudd has returned to the throne. And with him has arrived a slew of punchy memes, cutting through the onslaught of media babble surrounding the spill, poking fun at the ridiculous state of Australian politics. What with all the recent frontbench backbench slaying, we're just glad nobody's memed it with Texas Chainsaw Massacre. Yet. We'll leave you with these.
The past lingers. At the heart of Scrublands, both in its debut season in 2023 and now in its second — aka Scrublands: Silver — history doesn't just fade as time goes by. Portrayed by Luke Arnold (Last King of the Cross), investigative journalist Martin Scarsden witnessed this truth in action in the town of Riversend the first time that this page-to-streaming series based on Chris Hammer's novels hit the small screen. There, the character was chasing a story about a shocking tragedy impacting the entire community. As he met and became closer to bookstore-slash-cafe proprietor and single mother Mandy Bond, as played by Bella Heathcote (The Moogai), he wasn't just watching on from the outside, either. Streaming on Stan from Thursday, April 17, 2025, season two of Scrublands swaps Mandy's hometown for Martin's. In their new coastal surroundings of Port Silver, she isn't free from the past's persistent grasp despite being a newcomer to the close-knit seaside spot; however, her other half is equally haunted. Martin left town as a teenager to pursue his journalism dreams, but not before sparking a scandal. Until the first episode begins, he hasn't been back since. What's meant to be a fresh beginning for a couple already burdened by recent woes soon gets swept in other directions. The murder of Martin's childhood best friend Jasper (Hamish Michael, Apple Cider Vinegar), Mandy being named as the key suspect and Martin using his reporter instincts to try to get to the bottom of another mystery affecting the woman he loves will do that. So will Scarsden's own history bubbling back up. Looking back to the start of their Scrublands journey with Arnold and Heathcote, the pair are both clear that one season was all that they were focusing on when they initially stepped into Martin and Mandy's shoes — even though Hammer's novels about their characters had already notched up three entries thanks to 2018's Scrublands, 2019's Silver and 2020's Trust. That approach was partly pragmatic. "I think having been in this game for a while, you very much try to practice not getting ahead of yourself. And I think we were all in that mode, going 'okay, this would be great. We know the books are there. And so if we do a good job, we might be asked to come back and do some more'," Arnold tells Concrete Playground. "But at first you're just going 'hey, let's try to get through this thing and not screw it up, and then let's see what people think'." "It is always tough when there is this existing property there that people really love — sometimes that can go well, sometimes it can go the opposite way, and you find 'ohh no, you didn't', and it wasn't what the fans wanted or something went awry. So I think first season, we were just trying to do the best we could with that. And then I think the response to the show was so great and kind of beyond what we could have hoped for, so once that happened, things quickly started moving towards coming back for season two." Heathcote was instantly drawn to Mandy when the project crossed her path via Wolf Creek, Rogue and Jungle director Greg McLean, who she worked with on fellow Aussie series Bloom, but the pitch was for a one-and-done project. "Bizarrely, not at the time," she advises when asked about whether season two was ever on her mind to begin with. "I've now drunk the Kool-Aid and now I've read all the books, but in the first season I didn't — because it was pegged as a miniseries, and I thought 'okay, great'. But now I think we're all hooked, on the books and each other. I just want to work with everyone again." "There was something so comforting about coming back to this role, and being back with Luke, and Sarah Roberts [Runt], Toby Truslove [La Brea], taking the band on tour to WA. It feels sort of like coming home." Both Arnold and Heathcote have enjoyed a coming-home journey themselves, as Australian actors who enjoy overseas success tend to. (See also: Jacob Elordi and Odessa Young with The Narrow Road to the Deep North, Ashley Zukerman with In Vitro, and Radha Mitchell and Jesse Spencer with Last Days of the Space Age, to name just a few recent examples). Scrublands' two leads each have the almost-requisite Aussie soaps on their resumes, Home and Away for Arnold and Neighbours for Heathcote — and, for Arnold, four seasons on seafaring American series Black Sails, around gigs in everything from Rush Hour and MacGyver to Lethal Weapon; for Heathcote, a main part in Dark Shadows led to the eclectic likes of Not Fade Away, Pride and Prejudice and Zombies, The Neon Demon, Fifty Shades Darker, Professor Marston and the Wonder Women and The Man in the High Castle. Neither have been absent from Australian fare lately, though, via the likes of Glitch, The End, Preppers, True Colours and Arnold's Home and Away stint, plus Relic, C*A*U*G*H*T and others for Heathcote. With Scrublands, they're both hooked, including as viewers. Indeed, both binged Silver's four parts, texting each other, when they were able to see the finished product. And yet, Arnold wouldn't be bringing Scarsden to the screen at all if he had followed the advice given to him back on his first taste in the business, as assistant sword fight choreographer on 2003's Australian-made Peter Pan more than a decade before playing Michael Hutchence in Never Tear Us Apart changed the course of his career. The person offering those ignored words of wisdom: The White Lotus season three's Jason Isaacs. Heathcote's early experiences also resonate with her now, specifically when it comes to being part of a great cast on Scrublands (The Artful Dodger's Luke Carroll, Good Cop/Bad Cop's Debra Lawrance, Spit's David Roberts, The Twelve's Tasma Walton and Transfusion's Damian De Montemas are among Silver's ensemble). "Oh man, it's everything. I remember early on in my career, just being really terrified of working with some big-name actor — but you're also as good as the actors around you. It's pretty hard to act in a vacuum if the people around you aren't good," she notes. From the process of stepping back into Martin and Mandy's shoes for the second time, navigating complicated emotional journeys and pondering how the past keeps haunting, through to why this Aussie noir hit resonates and whether either of its leads initially dreamed of where acting would take them, we also chatted to Arnold and Heathcote about plenty more. On What Excited Arnold and Heathcote When Scrublands First Came Their Ways Luke: "I hadn't read the books yet. It came through a lovely casting director, Lou Mitchell here in Melbourne — who, back in the day, I used to read for her at auditions for other people. And so when it came through her and I had a look, and because I have in the last few years also been writing — and writing mystery novels, fantasy, mystery stories — being able to play a writer in a mystery show just felt like the perfect fit. There's sometimes a little battle in my head between the writer and the actor, and I was like 'oh, I get to bring both sides of my creative self to this job'. And so from when I put the first tape down, I put it down with my now-fiancée, and out of all the jobs I've ever done, it was the one, she was reading opposite me, she thought it was a done deal from the beginning — and ended up being right. So I think Martin and I were a good fit from the beginning, and it is a very comfortable place for me to be when I get to step into it." Bella: "It did get me excited. It's so funny, because it came about in a really surprising way. Greg McLean and I had a project that we were doing together that fell apart, and I emailed him just checking in about something and he said 'you know what, I'm doing this show, and I feel like you might be right for this role in it'. And it was Mandy. And he's like 'read the scripts and tell me what you think' — the thing that we all say to each other, where it's like 'oh, don't worry if you don't like it'. And I read it and I just ripped through them. And then I was just like 'where do I sign?'. Because I thought she was great, and I loved how spunky she was. And I loved how much — there's something that I do that tat I really share with Mandy, where if she likes someone, she hangs shit on them. If she doesn't like someone, she also hangs shit on them. But if she really likes someone, then she just hangs even more shit on them. And I just loved that interaction that she had with both Martin and Byron [Territory's Jay Ryan in season one], and how quickly it cut through and established these relationships. Particularly the Byron storyline, I was just so impressed at how you could really feel the intimacy between them in such a short period of time. You know that expression 'show don't tell'? I just thought it did that so well, but with the thrill of the crime drama. And yeah, I just thought it was so well done and I loved it." On How the Job and Your Performance Evolves When You're Stepping Back Into a Character's Shoes for a Second Season Bella: "I guess it does evolve, because you're just layering up, aren't you? I get terrified before every job. I maybe erroneously thought that — no, I just know that I get terrified before every job. But this one felt like I put more pressure on myself or I was scared because I loved Mandy in season one, and I didn't want to do her a disservice in season two. So god, I hope I didn't. I guess the circumstances evolve, and you just put that suit back on and hope that you show up and do it justice." Luke: "It's interesting, because it's both much more comfortable and it's nice knowing 'okay, I know to a degree where this guy sits'. I also think sometimes the trap is to get too comfortable in that, and to make sure you're really looking at what the arc of this season is, what the story is. In a lot of ways, there's a lot of things that are completely different between these two seasons. The first season, Martin is the outsider. He is not emotionally or personally connected to this mystery in any way. He's got his own personal journey going on, but he is the somewhat-dispassionate journalist coming in just to tell this story, and everyone else in town has been traumatised and connected to it. This is the opposite. When we when we jump into Silver, it's Martin's old best friend who's been murdered — in a town where a lot of terrible things happened to Martin, but also he did some things that we'll find out he has some regrets, some shame over, potentially. The person who is accused of the murder is his now-partner. So he could not be more personally connected to every aspect of it. So in that way, he's going to approach it completely differently to how he did the mystery in season one. So it's somewhat comfortable, but also a completely new character in some ways." On Whether One of the Challenges of Returning to a Role Is Conveying How a Character Has Grown and Changed Between Seasons Luke: "I think so, mainly in context to Martin and Mandy. The potential relationship is only just blooming by the end of season one. So the whole year has happened for those two. So I think that's the hardest bit of catch-up to do, is to work out 'all right, how close are these two? How established is the relationship? How much trust has been built?'. Because very quickly, going back to Port Silver and the events that happened there, both of them realise that maybe they have to question how much this other person is opening up to them, how much they trust them, how truthful they're being. [caption id="attachment_929182" align="alignnone" width="1920"] Sarah Enticknap[/caption] So I think that is the first thing that we had to consider — what this relationship between Martin and Mandy is, how that year has been between, how established are things, how much do they trust each other? And because it is an ongoing series — but each of these is its own standalone mystery. So in some ways, you want to get that established really quickly so you can get into the real meat of what this season's about." On How Heathcote Approached Mandy's Complicated Emotional Journey in Scrublands: Silver Bella: "I really just went off what was on the page and in the book. Although, you know what comes to mind — and this is a book that has really spoken to me, a book that I've told everyone I know to read and rabbited on about for so long. I don't know if you've ever read it? Any Ordinary Day by Leigh Sales. Oh my god, so just this idea that Mandy — everything that's happening to her is so in the present, but given everything that's happened in season one, it's just like she just has to keep going on, even given everything happened with Byron and with her dad. But she has this son and she has to raise him. And there's all this stuff happening and it's just a trauma that she doesn't have time to process right now because she just has to do the next indicated thing, and she's just so focused on Liam. It's almost like Martin has to try to think of things around the crime and what's going on, because all she can think about is like 'where's my son? I have to go get him. Is he okay? Who is he with right now?. And in some ways, I guess that sort of protects her, insulates her. I feel like if you looked at Mandy five weeks later, she'd be grappling with something different than just what she's dealing with in the shock of the moment." On Navigating the Conflicts Within Both Martin and Mandy — One So Astute in His Work and Yet Awkward in His Personal Life, the Other Fiercely Protective of Who She Loves But Struggling with Trust in Their Relationship Luke: "I think it's the great thing about having the whole story from the beginning — this feeling that 'all right, we've got all these four episodes', and so even before starting, you get to chart some evolution about what can change for him over the course of the story and why. And I think it is knowing that this guy has mostly been on his own, single, bouncing around the world, caring about one thing — which is the story — and believing that is important above all things. That would even mean that in a lot of these situations, while he would be making friends, building relationships, if some of those people are implicit in the story, if they're part of it, that he'd know professionally it's his job to put that aside in the service of the truth. So I think once you know that that is a core part of who Martin is, then it becomes a little easier to play those moments where he could maybe act in ways that are disappointing or upsetting to the people around him. And I do think that's the fun of the season. Every time you do any part, it's always fun to look at 'all right, what are you hoping they learn through the course of this story? So how do we take them a few steps back from that at the beginning?'. And I think it's sometimes the most fun stuff to see when characters are oblivious, when they put a foot wrong — when you hopefully still enjoy watching them, but you can also be frustrated by them as well." Bella: "I think she just loses patience pretty quickly with Martin and his jealousy, Martin and his inability to deal with his past and his family. I think she calls him out on it quite a few times because she just hasn't, doesn't, they don't have time to luxuriate in whatever six months of couples' therapy they need in order to deal with this. It's just like 'get over yourself. Go deal with your family. I'm going to do this thing that's right in front of me. I'm going to deal with the next crisis. I don't have time for whatever nonsense you're bringing to this'." On the Series' Exploration of the Fact That the Past Can Haunt You — Whether You've Tried to Leave It Behind in a New Setting or You're Returning Home Bella: "I don't think you need to dig deep into it because it's true. I mean, it's true for me. I think we're all shaped by our past and whatever traumas we've experienced or whatever loss we've experienced, so I think it's just something that we all carry. We carry the scars of it, hopefully to a lesser extent — or hopefully we are able to do the work so that it doesn't impact our daily life in a way that becomes unmanageable. But I guess I just agree with what Mandy says, because that's been my experience." Luke: "I think what was really great is there were extensive flashbacks in the book, and I think Felicity [Packard, Pine Gap], our writer/producer, and Ben Young [Hounds of Love], our director this season, and everyone else did a really good job of going 'okay, how do we crystallise the ideas, the themes, the character moments in those very broad flashbacks down to something that fits our format?'. And I think they did a fantastic job of that. I think it's really about tying the tragedies of Martin's history here to his own actions, and to the man he is now. And knowing that, yes, some of those blocks he might have emotionally and relationship-wise all have to do with those walls he put up at a very young age, and those decisions he made to go 'no, this is important, what I'm doing is important, so I'm going to go down that road'. So I think it's a theme that pops up with a lot of characters there, but what's fun is I think all those themes, those character moments and the mystery all end up overlapping each other really nicely." On Why the World of Scrublands Resonates with Audiences, Both on the Page and as a TV Series Luke: "This Aussie-noir thing is obviously captivating people here and around the world. It taps into that feeling of Australia I think we all have — I feel like each of these stories so far take place in an Australian small town where some dark things happened, where you've got this tight-knit community. And there is something interesting here, I think, compared to Riversend. Riversend was a place where an awful thing happened that I think really affected the whole community in terrible ways. There's a bit of a different thing going on here with Port Silver, where the change is different — there's some stuff here that happened in the past that compromised everyone and there is still some pain of that, but there's also this gentrification and other shift happening in the town. But I think overall it's that mix of a really good mystery, first and foremost. I think sometimes we can put those darker themes front and centre, and the mystery is somewhat there to support a story that's more interested in theme, in pain, in trauma — and sometimes those stories can be fantastic. But I think this story, for us, especially when we lift it to the screen, we're really trying to tell the mystery first and making sure that we fill it in with all that beautiful texture, but that from scene to scene, we're keeping you on the hook, trying to find out what happened, why and who committed the crime." Bella: "I talk to my dad about this a lot because he loves crime fiction, and it's sort of the only genre he reads. And it tracks because he was a lawyer. I can see why that would be fun for him. But I also I ripped through these books so quickly, and I don't typically read crime fiction. I read them all in two days each — less, maybe. Just couldn't put them down. And I don't know, why is that? They're just delicious and moreish. And you can't, you just want to know what happens. I want to know what happens. I wanted to know what happened watching the show. I was trying to prep this job I'm doing now, and I just thought 'I'll just watch one episode' — and then cut to it's midnight and I'm supposed to be working the next day, and I'm like 'shit, okay, stop watching them'. And I was texting with Luke, and he was still up in Australia because he and his partner had stayed up to watch them. Yeah, they're just moreish." On Scrublands: Silver Taking Aussie Noir to a New Setting in Coastal WA and Helping Expand the Vision of Australia On-Screen Luke: "I think it is the kind of secret weapon of the season, that we could not get over when we were there. This is not a side of Australia people have seen a lot of. Augusta, the town that we shot in, is like the most-southwesterly point of Australia. It's got its own little microclimate. There are humpback whales that you're seeing every day. And funnily enough, there was just this amazing silver sheen over the whole place. Very different to season one, and very different to most things that we've seen in Australia. And I think it is really great. And that just because we're making so much more stuff — and I think we're making so much interesting stuff these days, and enough of it, that we don't feel like what it would have been in the old days, where if you were trying to make a show in Australia that you wanted to export to the world, there's almost an Australian brand. And so you go 'no, don't try and' — like a show like this, you might go 'no, no, no, you buy a show that looks like this from somewhere in Europe. Let's do another McLeod's Daughters or something like that'. Where, because we're exporting so much great stuff these days, we do get to step outside that. We do get to shoot in all corners of the country, and I think it's really exciting for so many reasons. We get to really start showing the world that this isn't just a bunch of beer-drinking — even though, look, we drink a bit of beer in this as well — but it's it's not quite that one image of Australia that we were showing for a very long time." Bella: "My god, I love it — and I love the fact that they let us do it, because I think for most people, Australia, its selling point is the sun-bleached country or the beaches and sunshine and barbecues or something. So to be given — permission is the wrong word, but to be given carte blanche to shoot in winter in WA. And it's so beautiful, it's so breathtakingly beautiful that coast in winter, and the whales and that lighthouse. I just thought it was so idyllic and just really set a certain tone and mood, and I think it's incredible. I'd never been to WA before shooting there, so I'm grateful that we shot there. Because Australia, everywhere you go just feels like it could be its own little universe. They're so different, season one to season two, those settings are so vastly different — and both are so, so special and so beautiful." On What You Learn From Playing Parts Like Martin and Mandy for Two Seasons Bella: "The thing that comes to mind is that you can be tough and sensitive. That you can be tough and vulnerable, and that those things aren't mutually exclusive. I think through so much of my twenties, I thought you were either one or the other, and I feel like Mandy is all of those things all at once." Luke: "I think there's a great window, in both seasons, there's a real window into journalism that I didn't quite know before that's really interesting, and that I had to get my head around then to start playing Martin. Being in the arts, I do think we're often going to the human element first, and are empathy-forward in our ways of how we think about any story. And so just ticking over into not only the mindset of a journalist, I guess, where it's like 'it's about the truth, it's about the facts, that's what's important' — the human element is part of it, but your job as a journalist is to go in and get the truth first, and that's what matters. And I think that's so fun to play. I don't think is a spoiler to say that Toby Truslove as Doug Monkton is back, and so is Sarah Roberts as Beth, so when you get these scenes between the journos, I think that's really, really fun. And that's something that also feels different. We've seen a lot of shows of cops talking and lawyers talking and that kind of thing. I think that the camaraderie and competition between journalists is really fun to play, a whole new window. So I think extending my understanding of that world and getting to play with that is one of my most favourite elements." On Whether Arnold and Heathcote Ever Dreamed of Where Their Careers Have Taken Them Both at Home and Overseas When They Were First Starting Out — Behind the Scenes on Peter Pan and in Australian Film Acolytes, Respectively Luke: "No, of course not. It's funny on that job, being assistant to the swordmaster from Peter Pan. I'm just like everyone watching The White Lotus season three at the moment. And so I was still at high school, really, doing that job — and Jason Isaacs from White Lotus was playing Hook. And on my last day, I went in and had a chat with him, and he was like 'so what are you going to do now?' And I was like 'ohh, I'm going to go to film school, or do a writing course or go to acting school'. And there in his full Hook regalia, he was like 'well, just so you know, writers and directors often have much happier lives than actors'. And I was like 'all right' — and I ended up not taking his advice and went to drama school. And during that time, you're just hoping — like you really get it in your head that 'hey, if I can be a jobbing actor, if I can get to a point where I make most of my money from being an actor, that'll be great'. And that is a kind of dream, and it is tough. It's really hard to do. So then you spend, for a while there, doing a bunch of jobs that are really rewarding but without any — you'd go and do an acting job and then you go back to one of the countless terrible casual jobs that I've done in between. And that felt like 'well, this might be my life'. And then going through those couple of years where I got to do Never Tear Us Apart and Black Sails, obviously that really changed things. Since then, I've just been able to solely work in the creative industries, and I am eternally grateful for it. And there's always a sense that it could change at any moment. But on that, I think as well, that also led me — not to go on a whole big thing, but from that as well, that led to a bit of time where I was spending a lot of time overseas. And I then also had that moment where I was like 'oh, I don't — this isn't the life I want'. It's very easy to get drawn into this feeling of trying to go bigger and further away. And while I'm always open to working overseas, there was a shift even before 2020, when I really, I think, felt really appreciative of the industry we have here in Australia, the great things we do and being able to have this quality of life — working with these people on projects like this was really appealing. So what I'm really most grateful for is that I was able to come back to Australia and really cement myself here, and the work I've been doing the last few years has been some of the most fun and rewarding I've done." Bella: "I suppose that's what you want when you start as an actor, but also I had no concept of really where it could go — because I didn't have anyone in my family who was in this industry. It seemed sort of improbable. But I just didn't want to do anything else, so it's just like 'well, this is what I have to do'. I mean, it's a dream. I still think about that now, like the fact that I've just been able to earn a living doing this thing for the last, jeez, 18 years or whatever it's been now, feels like a small miracle." On What Heathcote Looks for in a New Homegrown Project When Adding to Her Recent Run of Scrublands, Bloom, The Moogai and More Bella: "I guess it's the same thing I'd look for overseas — just a role that speaks to me and creatives that I'm excited by. I mean, The Moogai, for example, I just thought that was a really important story and I'm always fascinated by horror films that are sort of an allegory for something bigger than just horror, genre. And Bloom, I remember just being excited to work with Phoebe [Tonkin, Boy Swallows Universe], and I was in Australia — and I met with Greg and Glen [Dolman, I Met a Girl], the writer, and just thought this would just be a laugh. I also love the comedic element of it, or the situation just felt so ludicrous, to play this old woman, this very uptight old woman, but in a young woman's body. It's giving Freaky Friday. And then Scrublands, I just love Mandy. I just thought she had such spunk. A friend of mine said something once: 'you need two out of three'. And it was pay, creative, location. Sometimes, if you're lucky, you get all three. And I suppose that's how I make most of my decisions." On What Gets Arnold Excited About a New Role in General Luke: "It can go both ways. I think what excites me sometimes is if there's some crazy challenge — where the script is so good and there's some amazing challenge in there that I haven't done yet. And you go 'all right'. And it's going to push me in ways where I can't rely on the things I think I know and the things I've done before, and just launch into something with faith in the people I'm working with and in the process, and get to just stretch myself in new and exciting ways. That's both really exciting — and also what's really exciting sometimes is when I feel like 'oh, I think I'm the right guy for this job'. It's a really rewarding, exciting thing, because there's so much self-doubt here. And every job you do, you always go 'well, everyone's going to think I suck in that'. And every audition you do, you go 'of course, I'm not going to get this'. But occasionally these things come forward where you're like 'I think this is my skill set. I think I know how to do this. And I think I can maybe bring something to this that not every actor could'. And I think, from a kind of craft sense — and just, as we said, how long I've been in this industry — it's a really nice thing when I feel 'oh, I think I could be helpful to this thing'. And that's why there was maybe a sense with Martin that I felt like 'oh, I think my writer's mind will be really useful in this role'. Because when you are in the position where your character is, you are with the audience as you're putting the pieces together, you are part of shaping the story and putting the pieces of that mystery together, I did feel like 'oh, I think I might be the right actor to make this character work'. So I think that is sometimes a great thing, when I can enter into something with a little less self-doubt and a little more excitement to bring all of me to a role." Scrublands: Silver streams via Stan from Thursday, April 17, 2025. Read our review of season one. Images: David Dare Parker / Sarah Enticknap.
If you like watching glitzy Hollywood awards ceremonies that hand out shiny trophies to talented actors and other creative film and TV talents, 2024 has been a particularly dazzling year so far. First came the Golden Globes, as always happens. Next, only a week later, the Emmys have anointed winners. For those thinking that this sounds out of the ordinary, it is. In fact, there'll likely be two Emmys in 2024. This one, as held on Tuesday, January 16, 2024 Australian time, is the 2023 event after being postponed during Hollywood's writers' and actors' strikes. If you like basing your viewing picks on what's been collected prizes, this is clearly a stellar year as well, with a heap of new Emmy-winners now demanding a spot in your streaming queue. Here's seven that you should — and can — watch ASAP. (And if you're wondering what else won, you can read through the full list, too.) 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 bedlam 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, Fingernails) and his colleagues — aka sous chef Sydney (Ayo Edebiri, Bottoms), 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. EMMYS Won: Outstanding Comedy Series, Outstanding Lead Actor in a Comedy Series (Jeremy Allen White), Outstanding Supporting Actress in a Comedy Series (Ayo Edebiri), Outstanding Supporting Actor in a Comedy Series (Ebon Moss-Bachrach), Outstanding Directing for a Comedy Series (Christopher Storer), Outstanding Writing for a Comedy Series (Christopher Storer). Where to watch it: The Bear streams via Disney+. Read our full review. SUCCESSION Endings have always been a part of Succession. Since it premiered in 2018, the bulk of the HBO drama's feuding figures have been waiting for a big farewell. The reason is right there in the title, because for any of the Roy clan's adult children to scale the family company's greatest heights and remain there — be it initial heir apparent Kendall (Jeremy Strong, Armageddon Time), his inappropriate photo-sending brother Roman (Kieran Culkin, Scott Pilgrim Takes Off), their political-fixer sister Siobhan (Sarah Snook, Pieces of a Woman), or eldest sibling and presidential candidate Connor (Alan Ruck, The Dropout) — their father Logan's (Brian Cox, Remember Me) tenure needed to wrap up. The latter was always stubborn. Proud, too, of what he'd achieved and the power it's brought. And whenever Logan seemed nearly ready to leave the business behind, he held on. If he's challenged or threatened, as happened again and again in the series, he fixed his grasp even tighter. Succession was always been waiting for Logan's last stint at global media outfit Waystar RoyCo, but it had never been about finales quite the way it was in its stunning fourth season. This time, there was ticking clock not just for the show's characters, but for the stellar series itself, given that this is its last go-around — and didn't it make the most of it. Nothing can last forever, not even widely acclaimed hit shows that are a rarity in today's TV climate: genuine appointment-viewing. So, this went out at the height of its greatness, complete with unhappy birthday parties, big business deals, plenty of scheming and backstabbing, and both Shiv's husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat) and family cousin Greg (Nicholas Braun, Cat Person) in vintage form — plus an early shock, at least two of the best episodes of any show that've ever aired on television, one of the worst drinks, a phenomenal acting masterclass, a The Sopranos-level final shot and the reality that money really can't buy happiness. EMMYS Won: Outstanding Drama Series, Outstanding Lead Actor in a Drama Series (Kieran Culkin), Outstanding Lead Actress in a Drama Series (Sarah Snook), Outstanding Supporting Actor in a Drama Series (Matthew Macfadyen), Outstanding Writing for a Drama Series (Jesse Armstrong), Outstanding Directing for a Drama Series (Mark Mylod). Where to watch it: Succession streams via Binge. Read our full review. BEEF As plenty does, Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. EMMYS Won: Outstanding Limited Series, Outstanding Lead Actor in a Limited Series or Television Movie (Steven Yeun), Outstanding Lead Actress in a Limited Series or Television Movie (Ali Wong), Outstanding Directing for a Limited or Anthology Series or Movie (Lee Sung Jin), Outstanding Writing for a Limited or Anthology Series or Movie (Lee Sung Jin). Where to watch it: Beef streams via Netflix. Read our full review. THE WHITE LOTUS Lives of extravagant luxury. Globe-hopping getaways. Whiling away cocktail-soaked days in gorgeous beachy locales. Throw in the level of wealth and comfort needed to make those three things an easy, breezy everyday reality, and the world's sweetest dreams are supposedly made of this. On TV since 2021, HBO's hit dramedy The White Lotus has been, too. Indeed, in its Emmy-winning first season, the series was a phenomenon of a biting satire, scorching the one percent, colonialism and class divides in a twisty, astute, savage and hilarious fashion. It struck such a chord, in fact, that what was meant to be a one-and-done limited season was renewed for a second go-around, sparking an anthology. That Sicily-set second effort once again examines sex, status, staring head-on at mortality and accepting the unshakeable fact that life is short for everyone but truly sweet for oh-so-few regardless of bank balance — and with writer/director/creator Mike White (Brad's Status) still overseeing proceedings, the several suitcase loads of smart, scathing, sunnily shot chaos that The White Lotus brings to screens this time around are well worth unpacking again. Here, another group of well-off holidaymakers slip into another splashy, flashy White Lotus property and work through their jumbled existences. Another death lingers over their trip, with The White Lotus again starting with an unnamed body — bodies, actually — then jumping back seven days to tell its tale from the beginning. Running the Taormina outpost of the high-end resort chain, Valentina (Sabrina Impacciatore, Across the River and Into the Trees) is barely surprised by the corpse that kicks off season two. She's barely surprised about much beforehand, either. That includes her dealings with the returning Tanya McQuoid-Hunt (Jennifer Coolidge, The Watcher), her husband Greg (Jon Gries, Dream Corp LLC) and assistant Portia (Haley Lu Richardson, After Yang); three generations of Di Grasso men, aka Bert (F Murray Abraham, Guillermo del Toro's Cabinet of Curiosities), Hollywood hotshot Dominic (Michael Imperioli, The Many Saints of Newark) and the Stanford-educated Albie (Adam DiMarco, The Order); and tech whiz Ethan (Will Sharpe, Defending the Guilty) and his wife Harper (Aubrey Plaza, Best Sellers), plus his finance-bro college roommate Cameron (Theo James, The Time Traveller's Wife) and his stay-at-home wife Daphne (Meghann Fahy, The Bold Type). EMMYS Won: Outstanding Supporting Actress in a Drama Series (Jennifer Coolidge). Where to watch it: The White Lotus streams via Binge. Read our full review of season two. ABBOTT ELEMENTARY The Office did it, in both the UK and US versions. Parks and Recreation did so, too. What We Do in the Shadows still does it — and, yes, there's more where they all came from. By now, the mockumentary format is a well-established part of the sitcom realm. Indeed, it's so common that additional shows deciding to give it a whirl aren't noteworthy for that alone. But in Abbott Elementary, which has aired two seasons so far, the faux doco gimmick is also deployed as an outlet for the series' characters. They're all public school elementary teachers in Philadelphia, and the chats to-camera help convey the stresses and tolls of doing what they're devoted to. In a wonderfully warm and also clear-eyed gem created by, co-written by and starring triple-threat Quinta Brunson (Party Down), that'd be teaching young hearts and minds no matter the everyday obstacles, the utter lack of resources and funding, or the absence of interest from the bureaucracy above them. Brunson plays perennially perky 25-year-old teacher Janine Teagues, who loves her gig and her second-grade class. She also adores her colleague Barbara Howard (Sheryl Lee Ralph, Ray Donovan), the kindergarten teacher that she sees as a mentor and work mum. Actually, Janine isn't just fond of all of the above — she's so devoted to her job that she'll let nothing stand in her way. But that isn't easy or straightforward in a system that's short on cash and care from the powers-that-be to make school better for its predominantly Black student populace. Also featuring Everybody Hates Chris' Tyler James Williams (also The United States vs Billie Holiday) as an apathetic substitute teacher, Lisa Ann Walter (The Right Mom) and Chris Perfetti (Sound of Metal) as Abbott faculty mainstays, and Janelle James (Black Monday) as the incompetent principal who only scored her position via blackmail, everything about Abbott Elementary is smart, kindhearted, funny and also honest. That remains the case in season two, where Janine is newly single and grappling with being on her own, sparks are flying with Williams' Gregory and James' Ava can't keep bluffing her way through her days. EMMYS Won: Outstanding Lead Actress in a Comedy Series (Quinta Brunson). Where to watch it: Abbott Elementary streams via Disney+. BLACK BIRD 2022 marked a decade since Taron Egerton's first on-screen credit as a then-23 year old. Thanks to the Kingsman movies, Eddie the Eagle, Robin Hood and Rocketman, he's rarely been out of the cinematic spotlight since — but miniseries Black Bird feels like his most mature performance yet. The latest based-on-a-true-crime tale to get the twisty TV treatment, it adapts autobiographical novel In with the Devil: a Fallen Hero, a Serial Killer, and a Dangerous Bargain for Redemption. It also has Dennis Lehane, author of Gone Baby Gone, Mystic River and Shutter Island, bringing it to streaming. The focus: Jimmy Keene, a former star high-school footballer turned drug dealer, who finds his narcotics-financed life crumbling when he's arrested in a sting, offered a plea bargain with the promise of a five-year sentence (four with parole), but ends up getting ten. Seven months afterwards, he's given the chance to go free, but only if he agrees to transfer to a different prison to befriend suspected serial killer Larry Hall (Paul Walter Hauser, Cruella), and get him to reveal where he's buried his victims' bodies. Even with new shows based on various IRL crimes hitting queues every week, or thereabouts — including Inventing Anna, The Dropout, The Girl From Plainville and The Staircase, to name a mere few, also in 2022 when this one arrived — Black Bird boasts an immediately compelling premise. The first instalment in its six-episode run is instantly gripping, too, charting Keene's downfall, the out-of-ordinary situation posed by Agent Lauren McCauley (Sepideh Moafi, The Killing of Two Lovers), and the police investigation by Brian Miller (Greg Kinnear, Crisis) to net Hall. It keeps up the intrigue and tension from there; in fact, the wild and riveting details just keep on coming. Fantastic performances all round prove pivotal as well. Again, Egerton is excellent, while Hauser's menace-dripping efforts rank among the great on-screen serial killer portrayals. And, although bittersweet to watch after his passing, Ray Liotta (The Many Saints of Newark) makes a firm imprint as Keene's father. EMMYS Won: Outstanding Supporting Actor in a Limited Series of Television Movie (Paul Walter Hauser). Where to watch it: Black Bird streams via Apple TV+. Read our full review. DAHMER — MONSTER: THE JEFFREY DAHMER STORY Mindhunter might be over, but Netflix isn't done exploring true crimes or serial killers yet — not by far. In 2022, DAHMER — Monster: The Jeffrey Dahmer Story joined the service's hefty list of TV series based on horrific real-life details. It's coming back for a second season, too, turning into an anthology series as Monsters: The Lyle and Erik Menéndez Story. The show's debut outing wasn't an easy watch, as the IRL story was always going to ensure. With WandaVision and Mare of Easttown actor Evan Peters starring as the titular IRL murderer, it told Dahmer's particularly gruesome story; between 1978–1991, he murdered and dismembered 17 boys and men — and there's more to his crimes, including cannibalism. The inherently unsettling first season reunited its lead with American Horror Story creator and prolific TV producer Ryan Murphy, too, this time getting creepy in a different way. Alongside Peters, Netflix's dramatised step back into Dahmer's murders features Richard Jenkins (Nightmare Alley) as the serial killer's father Lionel and Penelope Ann Miller as his mother Joyce, with the full cast including Niecy Nash-Betts (Never Have I Ever) and Molly Ringwald (Riverdale). There's much about the show that's impossible to shake, Nash-Betts' now Emmy-winning performance for Outstanding Supporting Actress in a Limited Series or Television Movie among them. As Dahmer's neighbour Glenda Cleveland, she's shock, concern and outrage personified. Thanks to her portrayal, imagining being in the same shoes — and being that horrified and traumatised — is the simplest thing about DAHMER — Monster: The Jeffrey Dahmer Story. Of course, that isn't easy either, but Nash-Betts couldn't be more of an effortless force in a difficult role and miniseries. EMMYS Won: Outstanding Supporting Actress in a Limited Series or Television Movie (Niecy Nash-Betts). Where to watch it: DAHMER — Monster: The Jeffrey Dahmer Story streams via Netflix. Top image: Andrew Cooper/Netflix © 2023.
If sitting in darkened rooms watching movies on the big screen is your favourite way to fill your spare time, the past couple of years have been trickier than usual, with cinemas closing temporarily and film festivals moving online due to the pandemic. But here's one wonderful silver lining to emerge from the recent chaos: not one but two Sydney Film Festivals in a mere eight months. 2021's fest went ahead in November, after being postponed from June and August. Now, 2022's event is fast approaching, with the event slotting back into its usual midyear timeslot. Following the bumps of the last couple of years, this upcoming festival — SFF's whopping 69th iteration — is set to return to business as usual. That means catching 200-plus movies on silver screens all around Sydney between Wednesday, June 8–Sunday, June 19 (including at the glorious State Theatre, of course). Overseen by Festival Director Nashen Moodley for the 11th time, this year's SFF unveiled its first 22 movies back in April, and has announced a few other details since — such as a retrospective focusing on the documentaries of American filmmaker Frederick Wiseman, plus Pacific First Nations anthology We Are Still Here in the coveted opening night slot. But that was only a taste of the just-dropped entire lineup, which is hefty and impressive as always, and spans 101 features, 53 documentaries and a whole heap of short films from 64-plus countries. (And 27 world premieres as well.) Highlights include the entire Official Competition lineup, aka the movies vying for SFF's big cash prize for films that are "audacious, cutting-edge and courageous". That's where you'll find this year's Berlinale Golden Bear-winner Alcarràs, a family drama from Spain; Blaze, a blend of live-action, puppetry and animation directed by acclaimed Aussie artist Del Kathryn Barton; and supernatural witch flick You Won't Be Alone, which stars Noomi Rapace (Lamb). And, it's home to a number of titles arriving straight from playing Cannes, too — such as Godland from Icelandic filmmaker Hlynur Pálmason (A White, White Day); Close, a teen-focused drama by Girl filmaker Lukas Dhont; and All the People I'll Never Be, about a French woman's quest to discover her Korean roots. Other big-name inclusions across the rest of the program span New Zealand comedy Nude Tuesday, which'll enjoy its world premiere at SFF; Australia's own Seriously Red, a SXSW hit about a Dolly Parton impersonator; One Fine Morning, from acclaimed French filmmaker Mia Hansen-Løve (Bergman Island); the Dakota Johnson (The Lost Daughter)-starring rom-com Cha Cha Real Smooth, which earned plenty of fans at Sundance; and Good Luck To You, Leo Grande, where Emma Thompson (Cruella) plays an older women who hires a sex worker — with 52 Tuesdays and Animals filmmaker Sophie Hyde behind the lens. Or, there's queer comedy Fire Island, about a group of friends on a wild summer holiday; Aubrey Plaza (Best Sellers)-led heist film Emily the Criminal; Cannes 2021 Jury Prize-winner Ahed's Knee, the latest from Synonyms' director Nadav Lapid; time-travel romp Incredible But True, as directed by Rubber and Deerskin's Quentin Dupieux; and One Year, One Night, which features Portrait of a Lady on Fire's Noémie Merlant. Also on the must-watch list: Norwegian action movie The Burning Sea; Finnish thriller The Man Who Didn't Want to See Titanic (which, yes, focuses on a film buff); Hommage, a South Korean mystery starring Parasite's Lee Jeong-eun; Japanese folklore-glam-rock-musical-anime epic Inuh-Oh; and Millie Lies Low, a NZ caper about impostor syndrome. Plus, from the documentary slate, there's Sundance Audience Award-winner Navalny, about the Russian opposition leader poisoned with a nerve agent; Lynch/Oz, which takes a yellow brick road through David Lynch's filmography; Dreaming Walls: Inside the Chelsea Hotel, a step inside New York's iconic Chelsea Hotel; and stranger-than-fiction effort My Old School, where Alan Cumming (Schmigadoon!) lip-synchs to audio recordings of Scottish con-artist Brandon Lee. SFF's full lineup also covers the usual returning favourites among its strands — so its ten-film focus on female directors from Europe is back, as is its selection of movies about music, its weird and wonderful horror and genre flicks, a range of family-friendly fare, a celebration of filmmaking talent with disability, and twelve titles from First Nations creatives. The latter includes all six episodes of Mystery Road: Origins, the new prequel series that focuses on Indigenous police officer Jay Swan, which is one of the fest's massive local highlights. Another: a big-screen showing of the newly restored 4K version of Baz Luhrmann's Strictly Ballroom, arriving just before his new movie Elvis reaches cinemas. The program still goes on, so if you're keen on seeing Park Chan-wook's Oldboy on the big screen again, or the nine Aussie docos competing for the annual Documentary Australia Award, you're in luck. Whatever's now on your must-see roster, you'd best soak in all the sunshine you can during May — because you'll be spending most of June in a cinema. The 2022 Sydney Film Festival will run between Wednesday, June 8–Sunday, June 19 at the State Theatre, Event Cinemas George Street, Dendy Newtown, Palace Central, Palace Norton Street, Hayden Orpheum Picture Palace Cremorne, Ritz Cinemas Randwick, Casula Powerhouse Arts Centre and Art Gallery of NSW. To check out the event's full program, or to buy tickets (from 9am on Wednesday, May 11 for flexipass holders and 12pm for single tickets), head to the festival's website.
Bar Carolina is all sleek lines and warm smiles. You enter through a beautifully light and bright conservatory with terrazzo floors and handmade turquoise lead-light panes, and the staff are quick to greet and seat and make you feel welcome. The bar and kitchen run down one side of the narrow space and the tables down the right. If you keep walking, you'll be amongst the pots of kumquats out the back. A little spritz on a Monday night? Why not. Especially when it's the Bar Carolina version with Capo Capo (a rhubarb and bitter orange aperitivo), homemade raspberry syrup, prosecco and a dash of soda. Then just when you're trying to casually, yet elegantly sip through the double straw —while realising you could probably just have used one of the straws and avoided a large amount of inelegance — the waiter will give you the lowdown on the stuzzichini (starters). It might be the Italian accent, but they sound like poetry. It would be rude not to order the vitello tonnato, given that it's the waiter's favourite dish. Warm mouthfuls of slow-cooked veal are scattered on the plate with tasty tuna sashimi, providing, as our waiter has said, a lovely mix of temperatures and flavours. This is both surf and turf and its complete antithesis. The meat and fish are tender and flavoursome, the tiny pickled mushrooms provide little pinpoints of nutty deliciousness and the anchovy mayonnaise is delicate. And yes, you should also have the zucchini flowers stuffed with soft cod mousse and the crisp pumpkin crochette. Meat and fish are cooked in the Spanish Josper oven and the pasta is (obviously) house-made. The rabbit ragu is delightful — not only for its alliteration — and the beetroot ravioli with goat's cheese is light, yet flavoursome. To end the meal, you have to order the tiramisu — because, a) it's a dome of white chocolate enshrouded in nitrogen smoke and b) you'll be overcome with jealousy when you see one pass by your table. When you crack through the chocolate shell to the coffee jelly, savoiardi and mascarpone, we promise — you won't regret it.
Taylor Swift's latest Down Under era might be over for now, after the pop superstar brought her Eras show to Australia at the end of February, but the still-touring performance will live on via Disney+. The Mouse House's streaming platform will be home to a new version of the Taylor Swift: The 'Eras' Tour concert film from Friday, March 15, complete with extra songs — and this iteration of the flick, aka Taylor Swift: The Eras Tour (Taylor's Version), just scored a trailer. Swifties have known that the blockbuster movie was hitting Disney+ since February, and that it will feature five extra tunes, including 'cardigan' and four acoustic tracks since then as well. Now, the streaming service has unveiled a sneak peek at what it's calling "the concert film in its entirety for the first time", which teases 'Maroon' among the quartet of additional acoustic tunes. You might be dubbing the new version of the flick reason enough to don your friendship bracelets in your lounge room. If your wildest dreams have been about getting in on Taylor Swift's Eras tour since it was first announced, then this is gorgeous and enchanted news — and if you missed out on tickets to the live shows, consider it the next best thing. Look what the world made Swift do: turn her current massive tour into a movie that's also proven a smash, taking in over $260 million at the worldwide box office. The film offers a money-can't-buy view of the 'Shake It Off', 'We Are Never Getting Back Together' and 'Bad Blood' musician's gig, working through her entire career so far by playing tracks from each of her studio albums in a three-hour, ten-act spectacular. [caption id="attachment_922251" align="alignnone" width="1920"] Trafalgar Releasing[/caption] The IRL Eras Tour kicked off in March 2023 in the US, then headed to Mexico and Brazil. Japan and Australia — both around the Super Bowl — as well as Singapore, France, Sweden, Portugal, Spain, the UK, Ireland, The Netherlands, Switzerland, Poland, Italy, Germany, Austria, Canada and a return to the US are all on the itinerary in 2024. "The Eras Tour has been a true phenomenon that has and continues to thrill fans around the world, and we are very excited to bring this electrifying concert to audiences wherever they are, exclusively through Disney+," said Disney CEO Bob Iger, when he announced the film's impending arrival on the service. Check out the trailer for Taylor Swift: The Eras Tour (Taylor's Version) below: Taylor Swift: The Eras Tour (Taylor's Version) will stream via Disney+ from Friday, March 15, 2024. Read our review. Images from Taylor Swift: The Eras Tour (Taylor's Version): © 2024 Disney Enterprises, Inc. All Rights Reserved.
Inspired by the urban grunge of St Kilda's roots, the Newmarket Hotel combines retro funk with modern sophistication. Known for its fairy-light speckled beer garden, fresh take on Australian pub classics, striking interiors and dedicated gig space, this St Kilda resident is one to check out. Having undergone extensive renovations in recent years, Newmarket Hotel has been revitalised from the ground up. Offering a range of pub classics, alongside some Newmarket twists, the menu compliments Melbourne's ever-changing climate. Complimenting the top-notch menu is a wine and beer list to match, with over 17 beers on tap. Plus, like us, the pub believes that even our four-legged friends deserve a decent pub meal. So, every Tuesday the pub is serving up dog-friendly parmas for just $5 a pop. The mini chicken schnitzel comes topped with shaved ham and bocconcini, and is served with a side of 'chips' and 'salad' (well, dog treats and kibble). Humans will find parmas here, too, with the dish available every Tuesday for just $15 (compared to the usual $21) including a side of beer-battered chips and salad. If you rock up between 4–7pm, you'll also be able to score some happy hour drinks, with $5.50 draught beer, house wine and spirits, and $12 cocktails. Newmarket's newly revamped dedicated gig space, the Hummingbird, is host to a genre-tripping lineup of acts, from jazz to soul funk to R&B and even comedy. The intimate band room features a shiny new stage and sound system, hosting a bunch of shows every week.
The Hoodoo Gurus have been one of Australia's most beloved rock bands for the past 40 years, certified as musical royalty on the back of nine ARIA Top 20 Albums and sold-out tours thanks to much-loved tracks like What's My Scene and 1000 Miles Away. Yet one milestone still to tick off involves performing with the full weight of the Melbourne Symphony Orchestra. Well, the time has come to finally make it happen, as the band joins forces with the MSO for one special show at the Sidney Myer Music Bowl. Taking place on Thursday, January 29, 2026, this landmark event will see the Gurus' most classic tunes reimagined with grand arrangements from perhaps the world's most epic backing band. Joining iconic frontman Dave Faulkerm are OG bassist Rick Grossman and guitarist Brad Shepard, with current member Nik Reith on the drums. Meanwhile, Nicholas Buc will conduct the MSO, bringing new life to the band's biggest hits as well as 20 unique orchestral arrangements composed by Australia's own Alex Turley. "Together with Alex, we've chosen a very diverse set of songs that I think will both surprise and delight listeners. If I had to use one word to describe the results, I think "cinematic" comes closest. The Gurus and the MSO will be taking listeners on quite a journey, and I can't wait. It's going to be a very special night indeed," says Faulkner.
Two months, five new Wes Anderson films: that's the maths Down Under in 2023. Asteroid City reached cinemas in August, and September will bring not one, two or three but four brand-new shorts directed by the symmetry-adoring director. The Wonderful Story of Henry Sugar had already been announced, and it now has fellow Roald Dahl-based company. Netflix is bringing the 39-minute The Wonderful Story of Henry Sugar to streaming on Wednesday, September 27, following its recent world-premiere slot out of competition at the Venice Film Festival. So, viewers at home get to see the flick in mere weeks after its big-screen debut. The day after it arrives, The Swan will also drop on Netflix on Thursday, September 28. Next comes The Ratcatcher on Friday, September 29. And, Poison will wrap up this Anderson-meets-Dahl frenzy on Saturday, September 30. All four shorts not only stem from Dahl's pen originally, but cycle through a few core cast members — all of which play multiple roles. Stepping in front of the camera for Anderson: Benedict Cumberbatch (Doctor Strange in the Multiverse of Madness), Dev Patel (The Green Knight), Ben Kingsley (Shang-Chi and the Legend of the Ten Rings), Richard Ayoade (The Souvenir: Part II) and Rupert Friend (Asteroid City). In glorious news for The Grand Budapest Hotel fans, Ralph Fiennes (The Menu) also reteams with the director. Fingers crossed for more line readings that are so completely perfect that they're unforgettable. Now, the stories. The Wonderful Story of Henry Sugar comes from one of the seven tales in Dahl's 1977 book The Wonderful Story of Henry Sugar and Six More, telling of a wealthy man who is so fond of wagering that he comes up with a crafty plan. After discovering a guru who can see without using his eyes, he decides to learn to the same to cheat while having a bet. Running for 17 minutes, The Swan also takes inspiration from a tale in the same book, this time about a small and smart boy being bullied. Clocking in at 17 minutes as well, The Ratcatcher adapts a lesser-known story of the same name — not from the same text this time — which is unsurprisingly about a rodent exterminator. And, running for the same duration, Poison dates back to 1950, focusing on a man finding a venomous snake. In 1958, the same tale was adapted for TV by none other than Alfred Hitchcock, in an episode of anthology series Alfred Hitchcock Presents. All up, that's 90 minutes of new Anderson work that'll be ready to stream by the time that September is out. If you watch them all together rather than day by day, it's basically an anthology feature. There's no trailer yet for The Wonderful Story of Henry Sugar, The Swan, The Ratcatcher or Poison, but you can enjoy the Asteroid City and The Grand Budapest Hotel clips instead in the interim: The Wonderful Story of Henry Sugar will be available to stream via Netflix from Wednesday, September 27. The Swan arrives on Thursday, September 28, then The Ratcatcher on Friday, September 29 and Poison on Saturday, September 30. Images: courtesy of Netflix.
The next time you’re waiting for a train at Flinders Street Station, pay a quick visit to Campbell Arcade. As of this time next week, the historic pedestrian underpass and subterranean shopping mall is getting an injection of exciting new and unconventional artwork, with the City of Melbourne reactivating twelve glass cabinets as a public exhibition space for local creatives. Set into the walls of the underground arcade that connects the railway station with Degraves Street, the cabinets previously housed month-long exhibits curated by Platform Arts Group. The revamp is part of the City of Melbourne’s Creative Spaces Program, and will see the display cases rechristened 'The Dirty Dozen', in what’s been described as ‘a wry nod’ to the arcade’s less than spotless decor. In addition to the name change, the handover will see the space become more accessible to artists. Under Platform Arts, anyone wanting to display work in the cases had to pay for the privilege, whereas they will now be available free of charge. Applications will open on the Creative Spaces website from June 25. The new curators have also indicated an interest in non-traditional artwork, as exemplified by the debut installation from Victoria University’s Skunk Control — an art collective consisting of creatively-inclined scientists and engineers. Each exhibition will run for approximately eight weeks, although December is being reserved for a special holiday-themed installation that will offer an alternative to the Myer Xmas Window display on Bourke Street. Want to apply to exhibit work in one of The Dirty Dozen? Head to the Creative Spaces website, applications open June 25.
The Calile Hotel has gone three for three, making the World's 50 Best Hotels list for the third consecutive year, ranked at 34th. After placing 12th in 2023 and 25th in 2024, the Fortitude Valley five-star stay is the only hotel in the entire Oceania region to make this prestigious grade in every edition since the award's inception. Opening in 2018, the seven-story, 175-room hotel was billed as 'Australia's first urban resort'. While suitably situated among luxe fashion boutiques and high-end restaurants along leafy James Street, the hotel serves as a sun-soaked sanctuary from the outside world. Described by The World's 50 Best as "laid back Aussie spirit meets buzzy Palm Springs and Miami stylings," guests can retreat to siesta by the pool or slink away to private quarters designed for maximum comfort. "To have been selected three years in a row marks a significant affirmation of The Calile's place on the global hotel-industry stage and reinforces our reputation as a desirable destination for international travellers coming to Brisbane, Australia," says Co-Owner Catherine Malouf. However, The Calile experience goes far beyond its dreamy 30-metre centrepiece pool or sophisticated rooms adorned with a "neutral, chic palette of peach, rose and pistachio." Dining and drinks are a serious treat, with Hellenika, Bianca and Lobby Bar adding to Brisbane's burgeoning culinary scene. Plus, the hotel's cultural program is a major highlight, regularly hosting art exhibitions and performances by renowned names, such as the Australian Chamber Orchestra. "Being recognised among the world's best hotels for the third consecutive year is an incredible honour and a testament to our remarkable team. Their professionalism, consistency, and genuine care for our guests define The Calile experience for which we are known," says The Calile Hotel General Manager, Chris Kemlo. As for the rest of the list, Capella Sydney achieved top honours for Australia, debuting on the list at an impressive 12th place. Meanwhile, Rosewood Hong Kong has finally claimed the No. 1 spot, having previously been ranked No. 2 and No. 3. Don't forget to keep an eye out for updates on The Calile's expansion to Noosa Heads, a perfect location for the hotel's tropical look and feel coming in the near future. For the full World's 50 Best Hotels list for 2025, head to the website for more information. Images: Cieran Murphy.
Designer Peter Bristol enjoys playing with our perceptions of everyday objects. First he created the 'cut chair', the legs of which appear as though they've been sliced through, so the seat seems to be hovering in the air. Now, he's designed a bag that looks like a paper clip. 'New scale creates new purpose,' reads Bristol's website. 'The binder icon functions so well as a bag you can almost take it seriously.' Made of wool felt and aluminium tubing, the clip bag was conceptualised in 2007 but has only just been released. Bristol is currently seeking a manufacturing and/or distribution partner, and has put out a call for interested parties to make contact. Any takers will be working with a multi-award winning designer. Since 2005, Bristol has received professional recognition in the form of 24 various awards, including a 2011 Spark Pro Gold Award for his Microsoft Touch Mouse and an IDEA GOLD for his Nanopoint Microfluidics Controller. [Via boing boing]
We have so much to thank the '70s for: P-Funk, The Clash, platform shoes, the advent of modern computing, and, most importantly, the terrarium. Back in the day, you would finish off whatever was in your favourite brandy snifter or plastic bottle, wrap it in your latest macrame creation, throw in a few ferns, and marvel at the fact that you suddenly had a portable piece of nature in your home. During the past few years, the terrarium has come back with a vengeance — and a sophistication with which it wasn't graced, traditionally. An expertly executed terrarium is now considered a work of high art, as demonstrated by the careers of New York's Paula Hayes and Melbourne's Clea Cregan. Even individuals putting together their own "ultimate, low-maintenance garden" at home can create a piece that'd make their mum proud. Whether you're a film buff who wants to see your favourite character immortalised in glass, a nature lover who wants to wear some greenery around your neck or are just looking to add a trendy touch to your home, you're sure to be inspired and surprised by the latest manifestations of the mighty terrarium. It's probably not a bad idea to take Don Burke's advice and keep your creation well-watered. The Hobbit Terrarium Recognise this door? Behind it, you'll find the home of one of fiction's favourite adventurers, Bilbo Baggins. The Hobbit terrarium miniaturises the already teeny-tiny world of Bag End, Hobbiton. The Beetlejuice Terrarium Yes, this really is what you think it is: a one-and-a-half inch model of Connecticut's spookiest house, built to scale. Made of wax, wire, paint and a hairbrush, it perches on a 'hill' of live, growing moss. If genius truly is patience, terrarium artist Rachel Bishop well might qualify. The Star Wars Terrarium Yoda's famous quip "Size matters not" takes on a new dimension here. The 900-year-old Jedi Master stands upon a hand-created 'landscape' surrounded by a glass globe just five inches in circumference. The Australian Open Terrarium CHARD asked Melbourne artist Clea Cregan to create this one for the Australian Open VIP Lounge. Cregan's Miniscapes can be found in all kinds of interesting places in Victoria's capital city. Forensics in the Flora Contemplating inviting friends over for How to Host a Mmurder? This terrarium could be the perfect conversation starter. Surreal Scenes Canadian costume designer Thyrza Segal fills her terrariums with Dali-esque visions. Polymer clay figures — half-human, half-flower — peer out from dreamily arranged, organic foliage. Terrarium in a Tear Drop New York artist Paula Hayes creates scenes of delicate beauty within glass that has been hand-blown into organic shapes. Last year, she installed a large terrarium at Lever House, New York City as part of an exhibition that explored the interaction of human beings with the natural environment. Terrarium in a Light Bulb Blown a light bulb and feeling guilty about throwing it away? Get out your tweezers and devise a world of your own imagining. A Living Necklace Seattle-based artist Courtney creates miniscule universes that you can take with you everywhere you go. Litill Terrariums New York-based artist Lauren Coleman uses succulents, sand and found objects to create unique terrariums of simple, elegant design.
When something on HBO proves a huge hit, the US cable network goes all in. One case in point: all things Game of Thrones, including the just-arrived House of the Dragon, plus the hefty list of other spinoffs also in the works. Another example: Euphoria, with creator Sam Levinson now behind another HBO series that's filled with parties, drugs, attractive actors and plenty of drama — aka The Idol, which keeps dropping teaser trailers. The show itself doesn't have a release date yet, but it has just released its second sneak peek after first giving viewers a glimpse back in July. This time around, the teaser builds on the music industry-set show's suitably wild vibe and spells out the cast list. With both, it isn't holding back. Levinson teams up with Abel 'The Weeknd' Tesfaye on the series, with the latter co-creating The Idol and starring in it. The focus: a self-help guru and leader of a modern-day cult, played by the musician, as well as the up-and-coming pop idol (Lily-Rose Depp, Voyagers that he starts a complicated relationship with. From the two trailers so far, Depp's character clearly gets thrust into a heady new world — and here, as gets mentioned in the latest clip, sex definitely sells. For viewers, a cast that includes Red Rocket's Suzanna Son, Boy Erased's Troye Sivan, Schitt's Creek's Dan Levy, singer-songwriter Moses Sumney, BLACKPINK's Jennie Kim, Only Murders in the Building's Da'Vine Joy Randolph, Hacks' Jane Adams, Bodies Bodies Bodies' Rachel Sennott and Inglourious Basterds' Eli Roth should be a definite selling point, too. Also set to pop up in the series: Hank Azaria (The Simpsons), Hari Nef (The Marvellous Mrs Maisel), Steve Zissis (Happy Death Day 2U), Melanie Liburd (This Is Us), Tunde Adebimpe (Marriage Story), Elizabeth Berkley Lauren (Saved By the Bell) and Nico Hiraga (Booksmart), plus Anne Heche (All Rise) in what'll be one of her last performances. When it was originally announced in November 2021, The Idol was set to span six episodes, all filmed in Los Angeles — with She Dies Tomorrow's Amy Seimetz directing every single one. But back in April this year, it was revealed that Seimetz had left the project and reshoots were underway as a result. How that'll impact the end product is obviously yet to be seen — but the teasers so far should have you intrigued anyway. Check out the latest teaser trailer for The Idol below: The Idol doesn't yet have a release date, including Down Under — we'll update you when one is announced.
Feeling like Kylo Ren but wish you could be as blissed out as Yoda? May the force — and may Headspace's new Star Wars collaboration — be with you. Yes, May the fourth is here for another year, which means celebrating like you're in a galaxy far, far away. Or, thanks to this new range of mindfulness tools, meditating like you're a jedi and falling to sleep to the sound of porgs. Already a go-to for mindfulness and meditation, Headspace has teamed up with the Star Wars franchise to mark the most important date there is for the space-opera saga's fans — and make sure that everyone's cool, calm and collected while doing so. If you're eager to de-stress, these are indeed the breathing exercises and sleepcasts you're looking for. On offer from Wednesday, May 4 — when else? — the one-to-five-minute breathing exercises all feature cute animated clips with either Yoda, Chewbacca, R2-D2 and BB-8. In the Yoda-led exercise, you'll find your focus while watching an X-Wing levitate. In the Chewie version, you'll be transported to his home planet Kashyyyk, and then use your breath to make the forest come to life. The R2-D2 exercise gets the cute little robot flashing as you inhale, recharge and reset — and the BB-8 one gets it rolling in much the same way. (Notice that C-3PO isn't included, because that droid can't help anyone relax.) Prefer banishing the dark side via sleepcasts? You have three options there, all of which use famous sounds that you'll recognise from the Star Wars movies. X-Wing Voyage is rather self-explanatory, taking you on a tour of the Star Wars galaxy in one of the eponymous vessels — and going to a different planet in each chapter. With Tatooine Sunset, you'll hone in on that particular planet instead, exploring everything from its endless sea of dunes to its moisture farms. And via Islands of Ahch-To, you'll fall asleep while visiting the very first jedi temple. If you've seen Star Wars: Episode VII — The Force Awakens, you'll remember that that's where Luke Skywalker ventured off to when he was in seclusion. And yes, you'll hear porgs. Of course you will. To access all of the above, you'll need to sign up for Headspace — but it's doing a limited-time 30-day free trial offer from Wednesday, May 4. And yes, this is answer to the plea you've never uttered: "help me Star Wars-themed Headspace content, you're my only hope for finding some bliss." To access Headspace's new Star Wars content from Wednesday, May 4, head to the service's website or app. Top image: Star Wars: Episode IX — The Rise of Skywalker. (c) 2019 and TM Lucasfilm Ltd.
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 to old favourites, here are our picks for your streaming queue from October's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL CATHERINE CALLED BIRDY When you've catapulted to fame as a fierce child queen in the biggest fantasy TV series of the past two decades, and you're next about to play perhaps the best-known teenage girl from a video-game franchise across the same period — so, when you're in-between starring in Game of Thrones and the television adaptation of the The Last of Us, that is — how do you fill the time? You make a magnificent medieval comedy that's also a coming-of-age film, a frank but irreverent look at history's treatment of women, and the third feature directed by Lena Dunham. That's the path that Bella Ramsey has charted, and she's as much of a delight in the marvellous Catherine Called Birdy as she was in the role that made sure everyone with a screen to stare at knows who she is. The energy that made such an impact as GoT's Lyanna Mormont bursts through here, too, albeit in a cheekier, scampier, bawdier and more humorous mode. That's what this version of Karen Cushman's 1994 novel calls for, and gets — and the end result is an utter charmer. The eponymous Lady Catherine, who prefers to be called Birdy, is the 14-year-old daughter of Lord Rollo (Andrew Scott, The Pursuit of Love) and Lady Aislinn (Billie Piper, I Hate Suzie), and is accustomed to spending her days inciting mischief around their Lincolnshire manor — much to her nurse Morwenna's (Lesley Sharp, Fate: The Winx Saga) dismay. But the family is now broke thanks to Rollo's poor handling of their finances, and only marrying off the reluctant Birdy looms as a solution to their money troubles. It's the done thing in the 13th century, but Dunham directs this tale with a firmly 21st-century mindset and spirit as her titular character does whatever she can to avoid basically being sold off to whichever gentleman of means has the most lucrative offer. The movie's thoroughly modern vibe and outlook doesn't just come through in its narrative, themes and lively lead performance, or its witty narration and all-round attitude, but with smatterings of pop songs on the soundtrack — Piper's own 'Honey to the Bee' included. If Girls was set eight centuries back, was about a teen, and also featured Joe Alwyn (Conversations with Friends) as a favourite uncle, this'd be the dream end result. Catherine Called Birdy streams via Prime Video. GUILLERMO DEL TORO'S CABINET OF CURIOSITIES Whether he's dallying with vampires, haunted houses, creepy carnivals, eerie orphanages, rampaging kaiju or romantic amphibious creatures, Guillermo del Toro has thoroughly proven himself an avid collector. You don't amass a resume like his without actively endeavouring to curate an on-screen compendium — with his movies stuffed full of ideas, themes, motifs and images that just keep fascinating the acclaimed filmmaker. So far, the proof has beamed into theatres for cinema-goers to revel in; however, new TV horror anthology Guillermo del Toro's Cabinet of Curiosities is a natural addition to his filmography. Across eight chapters helmed by eight other directors — including The Babadook and The Nightingale's Jennifer Kent, Mandy's Panos Cosmatos, A Girl Walks Home Alone at Night and Mona Lisa and the Blood Moon's Ana Lily Amirpour, and Cube's Vincenzo Natali — del Toro keeps compiling, curating and and dissecting the unsettling, unnerving, mysterious and curious, whether Cabinet of Curiosities is getting grim and cautionary, stomach-churningly gory and grotesque, sporting soulful restraint, unleashing a stunning display of phantasmagoria or delighting in being off-kilter. Boasting a cast spanning everyone from Harry Potter's Rupert Grint and I'm Your Man's Dan Stevens to Mythic Quest and Moon Knight's F Murray Abraham and RoboCop's Peter Weller, there are no disappointing drawers in this Alfred Hitchcock Presents-meets-The Twilight Zone series; the tone varies, but del Toro and his colleagues are committed to contemplating what scares us and why. In Lot 36 by Guillermo Navarro, cinematographer on six of del Toro's features, that means a dark rumination on xenophobia — and while Amirpour's The Outside is noticeably lighter than its counterparts, squeezing out a satirical, The Stuff-esque, Christmas-set satire on consumerism, conformity and beauty, it too is sinister and disquieting. Other standouts include the show's two most grisly episodes: Natali's Graveyard Rats and David Prior's (The Empty Man) The Autopsy, both of which have descriptive titles. Or, there's Cosmatos's The Viewing, a wild, dazzling, synth-scored trip in the best possible way — and Kent's The Murmuring, reuniting her with The Babadook's Essie Davis for another stirring and striking haunted-house tale about grief and motherhood. Guillermo del Toro's Cabinet of Curiosities is available to stream via Netflix. Read our full review. THE FIRE WITHIN: A REQUIEM FOR KATIA AND MAURICE KRAFFT The twin film phenomenon strikes again — so if The Fire Within: A Requiem for Katia and Maurice Krafft gives you a hefty dose of déjà vu, there's a reason for that. You may indeed have seen a movie about the French volcanologists already this year, and with a similar title, all courtesy of big-screen release Fire of Love. If you did catch that also-stunning flick, then you've glimpsed plenty of the imagery showcased here as well. Keep it all coming, please. However many documentaries that however many filmmakers want to craft about the Kraffts, their lives, work and impact — and using their sublime footage from decades spent surveying lofty and dangerous peaks, too — audiences should lap each and every one up. Of course, this particular doco hails from the great Werner Herzog (Fireball: Visitors from Darker Worlds), who already showed Katia and Maurice ample love in 2016's Into the Inferno, so it was always going to be a must-see. Narrated with his distinctive tones and inimitable perspective on existence, The Fire Within: A Requiem for Katia and Maurice Krafft truly feels like the movie that the iconic German director (and one-time Parks and Recreation star) was born to create. Whether undulating hypnotically with red lava flows or inciting gut-wrenching terror with towering, billowing grey explosions projecting into the heavens, the imagery captured by Katia and Maurice is mesmerising, revealing and astonishing — no matter how many times you watch it. It's little wonder, then, that Herzog states from the outset that his aim with The Fire Within isn't to give the world another Krafft biography (because plenty of those already exist) but to do justice and pay tribute to their recorded materials. His voiceover still provides the necessary basic details for first-timers to the pair's story, however, including beginning with visuals from the 1991 Mount Unzen eruption in Japan that claimed their lives. But Herzog knows what anyone who's ever come across the Kraffts before knows, and everyone watching this movie quickly learns: that their otherworldly footage makes a helluva impact all by itself, including inspiring thoughts about nature, humanity, how humbled the latter is by the former, the earth's longevity, life's oh-so-brief run, passion and the importance of doing something you love. Herzog's own observations are a fantastic bonus, though. The Fire Within: A Requiem for Katia and Maurice Krafft streams via Docplay. THE MIDNIGHT CLUB New year, new spooky season, new Mike Flanagan series. Yes, that's as great a tradition as any. It hasn't quite happened every 12 months since 2018's The Haunting of Hill House — 2019 is the outlier — but 2020's The Haunting of Bly Manor, 2021's Midnight Mass and now 2022's The Midnight Club have kept the trend going, serving up a fresh dose of frights from the filmmaker also behind Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep. Co-created with Bly Manor alum Leah Fong, The Midnight Club offers a bit of a departure, however, this time going down the teen-centric route. Happily nodding to The Breakfast Club but shifting to a decade later and an evening hour, the series hails from the books by author Christopher Pike, and takes its name from a group of cancer patients getting treatment at a fancy hospice centre. After dark, they secretly meet to share spooky stories, and try to freak each other out. But there's another caveat attached to their tale-telling: whichever one of the terminally ill teens passes away first, they have to promise to try to contact the rest of the cohort from the other side to let them know what it's like. While The Midnight Club's moniker directs its focus away from its setting, another eerie abode is at the heart of the show — so, yes, it's classic Flanagan. Also thoroughly in the writer/director's wheelhouse: pairing chills, thrills, bumps and jumps with fleshed-out characters, and musing on the power of horror, the terrors of mortality and the inevitably of death in tandem. The cast should all use the series as a launchpad, too, especially Iman Benson (#BlackAF, Alexa & Katie) as Ilonka, the newest arrival at Brightcliffe Home. After being diagnosed with thyroid cancer just as she's preparing to go to college, the bright student finds the hospice online, researches its past and is determined to use it as a path to actually having a living future. If the narrative was that straightforward, there wouldn't be a series, though — and if you're hanging out for Flanagan's 2023 effort The Fall of the House of Usher, this'll fill the gap nicely. The Midnight Club streams via Netflix. WEREWOLF BY NIGHT Running for 53 minutes, Werewolf by Night is more a standalone Marvel Cinematic Universe special than a movie. It's the first release of its type for the sprawling comic book-to-screen behemoth, and it makes the case for more like it. In fact, if you've been feeling fatigued by average big-screen MCU releases lately, it also makes the case for more variety and experimentation in the Marvel blockbuster realm in general — because when the usual mould gets tinkered with in a significant way, and not just with a goofy vibe like Thor: Love and Thunder, something special like this can result. The mood is all horror, in a glorious throwback way, complete with gorgeous black-and-white cinematography. The focus: hunting for monsters, which does, yes, involve bringing together a crew of new characters with special traits. Thankfully, that concept never feels formulaic because of how much creepy fun that Werewolf by Night is having, and how much love it splashes towards classic creature features. That monochrome look, and the shadowy lighting that comes with it, clearly nods to the ace monster flicks of the 1930s and 1940s; composer-turned-director Michael Giacchino (who provided Thor: Love and Thunder's score, in fact), must be a fan, as we all should be. His filmmaking contribution to the MCU takes its name from comic-book character Werewolf by Night, which dates back to the 70s on the page — but if you don't know that story, let the same-titled flick surprise you. The plot begins with five experienced monster hunters being summoned to Bloodstone Manor following the death of Ulysses Bloodstone, and told to get a-hunting around the grounds to work out who'll be the new leader (and also gain control of a powerful gem called the Bloodstone). That includes Jack Russell (Gael Garcia Bernal, Station Eleven), plus Ulysses' estranged daughter Elsa (Laura Donnelly, The Nevers). Everything that happens from there — and before that — instantly makes for pulpy and entertaining viewing. Werewolf by Night streams via Disney+. HELLRAISER Horror remakes and sequels are a bit like Halloween itself: even if you're not a fan, they always keep coming. First, a key rule about giving beloved old flicks a do-over or a years-later followup: the originals always still exist, no matter how the new movies turn out. Now, a crucial point about Hellraiser circa 2022: it's never going to be the OG picture, but it's still visually impressive, eager to get gory in bold and inventive ways, well cast and also happy to muse thoughtfully on addiction. And yes, there's a note of warning included in that above assessment of a film that arrives 35 years after Clive Barker's first stab at the series, and following nine other sequels. Directed by The Night House helmer David Bruckner, the new Hellraiser is stylish with its violent, bloody imagery, but it also still loves ripping flesh apart — and serving up a grisly nightmare. For newcomers to the Hellraiser fold, beware of puzzles. The moving box here is oh-so-enticing — that's how it gets its victims — but it's also a portal to a hellish realm. That's where demonic, frightening-looking beings called Cenobites dwell, and they're eager to haunt and terrorise the living. (Yes, that includes the ghoulish Pinhead, whose aesthetic really is all there in the name.) Accordingly, this Hellraiser movie kicks off with millionaire Roland Voight (Goran Visnjic, The Boys) obsessed with the box, and his lawyer Menaker (Hiam Abbass, Ramy) luring in new people to get torn to pieces. Then, six years later, recovering drug addict Riley (Odessa A'zion, Good Girl Jane) and her boyfriend Trevor (Drew Starkey, The Terminal List) find the cube in their possession. When it claims the former's brother Matt (Brandon Flynn, Ratched), she's determined to work out what's going on — and, while never full of narrative surprises, the brutal imagery sears itself into viewers' memories. Hellraiser streams via Binge. MASS Two couples, one church, six years of baggage and two absent children. That's one of the equations at the heart of Mass. Here's another: four phenomenal performances, one smart and affecting script that tackles a difficult subject in a candid and thoughtful way, and one powerful directorial debut by actor-turned-filmmaker Fran Kranz. Best known for on-screen roles in Dollhouse, The Cabin in the Woods, Homecoming and Julia, the latter guides gripping portrayals out of Reed Birney (Home Before Dark), Ann Dowd (The Handmaid's Tale), Jason Isaacs (Operation Mincemeat) and Martha Plimpton (Generation) — and crafts a harrowing yet cathartic drama out of the aftermath of a far-too-familiar tragedy, too. The reason that Richard (Birney), Linda (Dowd), Jay (Isaacs) and Gail (Plimpton) are in the back room at a place of worship, discussing their kids with heartbreak etched across their faces? Richard and Linda's son Hayden was a school shooter, killing Jay and Gail's son Evan in his spree, then turning the gun on himself. What can anyone say in that situation? Kranz, who both writes and directs, keeps his screenplay simple — but as loaded with emotion as the scenario obviously requires. He keeps his filmmaking flourishes just as restrained as well; that's a craft in itself, but the cast rather than the technique is the focus here. At first, they utter loaded lines with weighty awkwardness, aka the kind that fills and silences a room. Then, each in their own way, they unleash the hurt, anger, regret, sorrow, misery and more that's festering inside their characters, and that no amount of talking can ever completely capture. Mass is a musing on that very fact, too: that even the most spirited of dialogues, slinging about both carefully chosen and heatedly spur-of-the-money words, can't fix, explain or do justice to the pain that Richard, Linda, Jay and Gail are going through. The end result would make an exceptional, albeit unshakeably distressing, double with We Need to Talk About Kevin, The Fallout or Vox Lux, or even Elephant or Polytechnique as well. Mass streams via Stan. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK THE WHITE LOTUS Lives of extravagant luxury. Globe-hopping getaways. Whiling away cocktail-soaked days in gorgeous beachy locales. Throw in the level of wealth and comfort needed to make those three things an easy, breezy everyday reality, and the world's sweetest dreams are supposedly made of this. On TV since 2021, HBO's hit dramedy The White Lotus has been, too. Indeed, in its Emmy-winning first season, the series was a phenomenon of a biting satire, scorching the one percent, colonialism and class divides in a twisty, astute, savage and hilarious fashion. It struck such a chord, in fact, that what was meant to be a one-and-done limited season was renewed for a second go-around, sparking an anthology. That Sicily-set second effort once again examines sex, status, staring head-on at mortality and accepting the unshakeable fact that life is short for everyone but truly sweet for oh-so-few regardless of bank balance — and with writer/director/creator Mike White (Brad's Status) still overseeing proceedings, the several suitcase loads of smart, scathing, sunnily shot chaos that The White Lotus brings to screens this time around are well worth unpacking again. Here, another group of well-off holidaymakers slip into another splashy, flashy White Lotus property and work through their jumbled existences. Another death lingers over their trip, with The White Lotus again starting with an unnamed body — bodies, actually — then jumping back seven days to tell its tale from the beginning. Running the Taormina outpost of the high-end resort chain, Valentina (Sabrina Impacciatore, Across the River and Into the Trees) is barely surprised by the corpse that kicks off season two. She's barely surprised about much beforehand, either. That includes her dealings with the returning Tanya McQuoid-Hunt (Jennifer Coolidge, The Watcher), her husband Greg (Jon Gries, Dream Corp LLC) and assistant Portia (Haley Lu Richardson, After Yang); three generations of Di Grasso men, aka Bert (F Murray Abraham, Guillermo del Toro's Cabinet of Curiosities), Hollywood hotshot Dominic (Michael Imperioli, The Many Saints of Newark) and the Stanford-educated Albie (Adam DiMarco, The Order); and tech whiz Ethan (Will Sharpe, Defending the Guilty) and his wife Harper (Aubrey Plaza, Best Sellers), plus his finance-bro college roommate Cameron (Theo James, The Time Traveller's Wife) and his stay-at-home wife Daphne (Meghann Fahy, The Bold Type). The White Lotus streams via Binge. Read our full review of season two. THE PERIPHERAL For four seasons on Westworld so far, viewers have been asked to ponder humanity's potential future with robots and simulations. A key question driving the hit film-to-TV HBO series: how might the years to come unfurl if people use mechanics, artificial intelligence and elaborately fabricated worlds as playthings and playgrounds? In The Peripheral, a similar query arises, also musing and hypothesising on what lies ahead — and how flesh, machines, the real and the digital might coexist. The latest question, in another twisty series, as fronted by Chloë Grace Moretz (Mother/Android): what happens if robots and virtual reality become humanity's conduit through time? Bringing Westworld to the small screen and now executive producing The Peripheral, Jonathan Nolan and Lisa Joy clearly have a niche. Indeed, if you didn't know that the latter series comes from the same minds as the former — adapting a 2014 book of the same name by cyberpunk pioneer William Gibson, and with Scott B Smith (The Burnt Orange Heresy, A Simple Plan) as its showrunner — you'd easily guess while watching this new tech-, robot-, avatar- and dystopia-obsessed effort. When storytellers speculate on what the upcoming years might hold, they theorise about choices and ramifications. The Peripheral has many to ruminate upon. In the process, it also serves up two visions of the future for the price of one, both riffing on aspects of life circa 2022 that could easily evolve as predicted. When the series begins in 2032, 3D print shop worker Flynne Fisher (Moretz) simply decides to assist her military-veteran brother Burton (Jack Reynor, Midsommar) by slipping into his avatar to make cash in a VR game — which she's better at than him, but sexism in the industry still reigns supreme. Then, when he's tasked by a Colombian company with testing a new virtual-reality headset that looks lower-tech, doesn't come with a glasses-like screen but exceeds the competition in its realism, she does the honours again. Flynne hasn't just plugged into a better simulation, though. Via data transfer, her consciousness is time-travelling to the future — to 2099, and to London — and inhabiting the robot body that gives the series its title while on an industrial-espionage quest. The Peripheral streams via Prime Video. Read our full review. INTERVIEW WITH THE VAMPIRE When Louis de Pointe du Lac met Lestat de Lioncourt, his life forever changed. His death did, too. That's the story that Interview with the Vampire tells and, by committing it to the page in 1976, Anne Rice's existence was altered for eternity as well — although not quite in the same way, naturally. The author has been known for her Vampire Chronicles series ever since, and its debut entry was adapted into a Brad Pitt- and Tom Cruise-starring 1994 movie before getting a do-over now as a television series. Obviously, the late Rice doesn't share her characters' lust for blood, or their ability to thwart ageing and time. Still, her famed works keep enticing in both readers and viewers — and this latest novel-to-screen version is a gothic series worth sinking your teeth into, especially thanks to its willingness to take on race, to embrace queer themes, to get playful and humorous, and to splash a sweepingly rich iteration of its now well-known tale across streaming queues. If you've seen the film, you'll know Interview with the Vampire's basic gist, although there has been some tweaking. Nonetheless, Louis (Jacob Anderson, aka Game of Thrones' Grey Worm) and Lestat (Sam Reid, The Drover's Wife The Legend of Molly Johnson) meet in New Orleans, where they're both drawn to each other — and soon the former joins the latter in sleeping in coffins, avoiding daylight and (reluctantly) feeding on people. The series has the titular chatting happen in today's times, however, as a continuation of the movie's first conversation. Yes, this version of Daniel Molloy (Eric Bogosian, Succession) has been there and done this before. That didn't turn out so well for him, so he's reluctant about a repeat discussion, this time in Dubai. But Louis still has quite the story to unfurl, including covering been a Black man trying to make his way in the bayou at the turn of the 20th century, what it's meant to join the undead, his complicated relationship with Lestat, and the arrival of Claudia (Bailey Bass, Psycho Sweet 16) as part of their bloodthirsty family. Interview with the Vampire streams via AMC+. 2022 CINEMA HIGHLIGHTS WORTH CATCHING UP WITH AT HOME RED ROCKET It might sound crazy, but it ain't no lie: Red Rocket's *NSYNC needle drops, the cost of which likely almost eclipsed the rest of the film's budget, provide a sensational mix of movie music moments in an all-round sensational picture. A portrait of an ex-porn star's knotty homecoming to the oil-and-gas hub that is Texas City, the feature only actually includes one song by the Justin Timberlake-fronted late-90s/early-00s boyband, but it makes the most of it. That tune is 'Bye Bye Bye', and it's a doozy. With its instantly recognisable blend of synth and violins, it first kicks in as the film itself does, and as the bruised face of Mikey Saber (Simon Rex, Scary Movie 3, 4 and 5) peers out of a bus window en route from Los Angeles. Its lyrics — "I'm doing this tonight, you're probably gonna start a fight, I know this can't be right" — couldn't fit the situation better. The infectiously catchy vibe couldn't be more perfect as well, and nor could the contrast that all those upbeat sounds have always had with the track's words. As he demonstrates with every film, Red Rocket writer/director/editor Sean Baker is one of the best and shrewdest filmmakers working today — one of the most perceptive helmers taking slice-of-life looks at American existence on the margins, too. His latest movie joins Starlet, Tangerine and The Florida Project on a resume that just keeps impressing, but there's an edge here born of open recognition that Mikey is no one's hero. He's a narcissist, sociopath and self-aggrandiser who knows how to talk his way into anything, claim success from anyone else's wins and blame the world for all his own woes. He's someone that everyone in his orbit can't take no more and wants to see out that door, as if *NSYNC's now-22-year-old lyrics were specifically penned about him. He's also a charismatic charmer who draws people in like a whirlwind. He's the beat and the words of 'Bye Bye Bye' come to life, in fact, even if the song wasn't originally in Red Rocket's script. Red Rocket streams via Binge and Prime Video. Read our full review. AMBULANCE Following a high-stakes Los Angeles bank robbery that goes south swiftly, forcing two perpetrators to hijack an EMT vehicle — while a paramedic tries to save a shot cop's life as the van flees the LAPD and the FBI, too — Ambulance is characteristically ridiculous. Although based on the 2005 Danish film Ambulancen, it's a Michael Bay from go to whoa; screenwriter and feature newcomer Chris Fedak (TV's Chuck, Prodigal Son) even references his director's past movies in the dialogue. The first time, when The Rock is mentioned, it's done in a matter-of-fact way that's as brazen as anything Bay has ever achieved when his flicks defy the laws of physics. In the second instance mere minutes later, it's perhaps the most hilarious thing he's put in his movies. It's worth remembering that Divinyls' 'I Touch Myself' was one of his music-clip jobs; Bay sure does love what only he can thrust onto screens, and he wants audiences to know it while adoring it as well. Ambulance's key duo, brothers Will (Yahya Abdul-Mateen II, The Matrix Resurrections) and Danny Sharp (Jake Gyllenhaal, The Guilty), are a former Marine and ostensible luxury-car dealer/actual career criminal with hugely different reasons for attempting to pilfer a $32-million payday. For the unemployed Will, it's about the cash needed to pay for his wife Amy's (Moses Ingram, The Tragedy of Macbeth) experimental surgery, which his veteran's health insurance won't cover — but his sibling just wants money. Will is reluctant but desperate, Danny couldn't be more eager, and both race through a mess of a day. Naturally, it gets more hectic when they're hurtling along as the hotshot Cam (Eiza González, Godzilla vs Kong) works on wounded rookie police officer Zach (Jackson White, The Space Between), arm-deep in his guts at one point, while Captain Monroe (Garrett Dillahunt, Army of the Dead), Agent Anson Clark (Keir O'Donnell, The Dry) and their forces are in hot pursuit. Ambulance streams via Binge and Prime Video. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August and September this year. You can also check out our running list of standout must-stream 2022 shows so far as well — and our best 15 new shows from the first half of this year, top 15 returning shows over the same period and best 15 straight-to-streaming movies up until June.
Comforting colours are here to stay, at least for another year. For its Colour of the Year for 2025, the Pantone Colour Institute has gone with "a soft, warming brown" as its chosen hue — a tone that it says symbolises thoughtful indulgence, harmonious comfort and feelings of contentment. That shade: Mocha Mousse. Before every new year hits, the institute's colour experts select a hue for the 12 months ahead — the shade that you can expect to see popping up around the place, including in fashion and accessories, home decor, design and beauty, and more. For 2024, it also opted for a calming shade with Peach Fuzz, choosing for a tone between pink and orange. Now, it's going all in on mellow brown. Obviously given its pick, expect to see this hue in food and drink as well. "Underpinned by our desire for every day pleasures, Pantone 17-1230 Mocha Mousse expresses a level of thoughtful indulgence. Sophisticated and lush, yet at the same time an unpretentious classic, Pantone 17-1230 Mocha Mousse extends our perceptions of the browns from being humble and grounded to embrace aspirational and luxe," said Pantone Colour Institute Executive Director Leatrice Eiseman, announcing 2025's pick. "Infused with subtle elegance and earthy refinement, Pantone 17-1230 Mocha Mousse presents a discrete and tasteful touch of glamour. A flavourful brown shade, Pantone 17-1230 Mocha Mousse envelopes us with its sensorial warmth." This is the 26th year that Pantone has chosen a shade to encapsulate the year to come, and this time took cues from cacao, coffee and chocolate, as well as humanity's desire to connect to the natural world. "The everlasting search for harmony filters through into every aspect of our lives including our relationships, the work we do, our social connections and the natural environment that surrounds us. Harmony brings feelings of contentment, inspiring a positive state of inner peace, calm and balance as well as being tuned in with the world around us. Harmony embraces a culture of connection and unity as well as the synthesis of our mental, spiritual and physical well-being," Pantone Colour Institute Vice President Laurie Pressman expanded. "With that in mind, for Pantone Colour of the Year 2025 we look to a colour that progresses our embrace of the feeling of our Pantone Colour of the Year, Pantone 13-1023 Peach Fuzz, into another dimension, extending further into our desire for comfort, and the indulgence of simple pleasures that we can gift and share with others." The new shade follows not only 2024's Peach Fuzz, but also 2023's Viva Magenta, 2022's Very Peri, and 2021's Ultimate Gray and vibrant yellow Illuminating before that. In 2020, Pantone went with Classic Blue, while 2019's colour was Living Coral, 2018's was Ultra Violet and 2017's was Greenery. To find out more about Mocha Mousse — and to check out all of the previous Colours of the Year — head to the Pantone website.
Walking around Tokyo at night should rank high on everyone's travel bucket list. The glittering lights, the towering buildings, the hustle and bustle in busy streets and tiny alleyways, the sprawling city that seems to go on forever: they're all at their best when the sun goes down. And, that's when the Japanese capital's futuristic aesthetic shines brightest too — as Australian photographer Tom Blachford has captured in his new series, Nihon Noir. Across his array of images, Tokyo gleams with a sci-fi-like sheen, cloaked in shades of blue and red. It's part of a project with Asahi, with the Melbourne-based photographer aiming "to communicate the feeling that struck me the first time I visited Tokyo, that somehow you have been transported to this advanced and amazing parallel universe," as he explained to Wallpaper. Blachford cites Blade Runner as inspiration, which is gorgeously apparent in every image, as well as the distinctive visuals of Drive, Only God Forgives and The Neon Demon filmmaker Nicolas Winding Refn. The photos are the result of six nights straight spent scouring the city and showcase the striking architecture on offer, as seen both from afar and up close. And, they'll make you want to book a Japan trip asap, of course. Via Wallpaper. Images: Tom Blachford.
Come on Barbie, let's go party. Let's go to the real world, too. In the second sneak peek at Greta Gerwig's Barbie, the eponymous doll (Margot Robbie, Babylon) and her also-plastic beau Ken (Ryan Gosling, The Gray Man) are living life in Barbie Land, which is meant to be perfect. If you like pink and pastel hues aplenty, which the film splashes through its frames heavily and happily, it'd clearly be a dream. But that supposed bliss brings an existential crisis for the movie's main figure, plus ample everyday angst for its central Ken. Marking Gerwig's third solo stint behind the camera after Lady Bird and Little Women, scripted by the actor-turned-director with fellow filmmaker Noah Baumbach — her helmer on Greenberg, Frances Ha, Mistress America and White Noise, and real-life partner — and boasting a cast that's a gleaming toy chest of talent, Barbie might be the most anticipated toy-to-film release ever. There's that pedigree, of course. There's also the picture's patently playful vibe, which first shone through in an initial teaser trailer that parodied the one and only 2001: A Space Odyssey, and beams just as brightly in its just-dropped next look. Here, there are Barbies everywhere, with Rae (Insecure) as president Barbie, Dua Lipa (making her movie debut) as a mermaid Barbie, Emma Mackey (Emily) as a Nobel Prize-winning physicist Barbie, Alexandra Schipp (tick, tick... BOOM!) as an author Barbie and Ana Cruz Kayne (Jerry and Marge Go Large) as a supreme court justice Barbie — and Nicola Coughlan (Bridgerton) as diplomat Barbie, Kate McKinnon (Saturday Night Live) as a Barbie who is always doing the splits, Hari Nef (Meet Cute) as doctor Barbie, Ritu Arya (The Umbrella Academy) as a Pulitzer-winning Barbie and Sharon Rooney (Jerk) as lawyer Barbie. There's also a whole heap of Kens, including Simu Liu (Shang-Chi and the Legend of the Ten Rings), Kingsley Ben-Adir (One Night in Miami), Ncuti Gatwa (the incoming Doctor Who) and Scott Evans (Grace and Frankie). And, Michael Cera (Arrested Development) plays Alan, Emerald Fennell (The Crown) plays Midge, Helen Mirren (Shazam! Fury of the Gods) is the narrator, America Ferrera (Superstore) and Ariana Greenblatt (65) are humans, Jamie Demetriou (Catherine Called Birdy) is a suit, Will Ferrell (Spirited) wears a suit as Mattel's CEO and Connor Swindells (also Sex Education) is an intern. Barbie brings all those characters to the screen across its dream house-filled Barbieland and its version of the real world, as its main doll seems to realise that life in plastic mightn't be so fantastic after all. The new trailer provides more of a storyline than the first did, while also teasing the film's sense of humour — largely around Gosling's Ken, whether he's insisting that him and Robbie's Barbie are boyfriend and girlfriend, fighting with Liu's Ken about "beaching" each other off or sneaking into the Barbie convertible with his rollerblades ("I literally go nowhere without them") when Barbie is driving off to reality. What happens from there, and whether this'll be the best figurine-to-film adaptation yet in a mixed field that also includes the Transformers series, Trolls, The Lego Movie and its sequel, Battleship and the GI Joe films, will all be pulled out of the toy box in cinemas on July 20 Down Under. And no, there's still no signs of Aqua's 'Barbie Girl' on the trailer's soundtrack; however, you'll likely get it stuck in your head anyway just thinking about this movie. Check out the latest trailer for Barbie below: Barbie releases in cinemas Down Under on July 20, 2023.
There are many delightful tidbits and details about Sparks, aka "your favourite band's favourite band" as they're often described, including in Shaun of the Dead and Baby Driver filmmaker Edgar Wright's exceptional documentary The Sparks Brothers. One of the latest: that siblings Russell and Ron Mael currently begin their live sets with 'So May We Start'. The song kicked off Annette first, the second of the two films that had everyone talking about the duo in 2021. In the Adam Driver (65)- and Marion Cotillard (Extrapolations)-starring movie, it ushers in as distinctive a big-screen musical as you'll ever see, marionette children and all, as helmed by Holy Motors' Leos Carax and penned by Sparks with the director. At the band's gigs since, it commences an onstage dance through more than 50 years of bouncily, giddily, deeply influential tunes, each one of them gloriously infectious classics. "All pop music is rearranged Sparks," offers Jack Antonoff in Wright's doco. He isn't wrong. Australian concertgoers can experience the truth behind that statement live this spring, when 'So May We Start' no doubt begins Sparks' first visit to Australia in more than two decades. As part of their biggest world tour ever — a feat aided by The Sparks Brothers and Annette introducing them to new fans — they're playing four Aussie dates: solo shows at the Sydney Opera House, Melbourne's Palais Theatre and Fortitude Music Hall in Brisbane; and as part of the packed roster at Adelaide's Harvest Rock II festival alongside Beck, Jamiroquai, Nile Rodgers and Chic, and more. Beck was another of Wright's gushing interviewees, because the list of people singing Sparks' praises is as huge as their back catalogue. The Maels didn't write 'So May We Start' with that prestigious spot on their setlist in mind. "It just seemed like a really cool touch for the story to have something that was outside of the actual story that was about to happen, but with all the cast and characters, but not yet in their roles that they're going to assume," Russell tells Concrete Playground ahead of Sparks' arrival in Australia. "They were just mere actors assembling before the production starts. So we really like that as a conceit." "We like starting a set — I mean, it just seems perfect, obviously, lyrically — but also starting with a song that isn't even from a Sparks album, in a certain way, that it is from an outside source," adds Ron. "Even though it's a film that we wrote — and so it's really fun for us to do it." [caption id="attachment_818979" align="alignnone" width="1920"] Focus Features[/caption] Fun has always been an apt term for Sparks' genre-hopping songs and vibe from their late-60s beginnings through to their latest release, with 2023's The Girl Is Crying in Her Latte their 26th studio album. This is the art-pop duo with an album named Gratuitous Sax & Senseless Violins, an earworm of a song called 'Dick Around' and another track that largely repeats the words "my baby's taking me home", after all — and a band that once staged a 21-night spectacular to play their then 21-album discography in full as well. It's also the group that has worked with everyone from Giorgio Moroder to Faith No More and Franz Ferdinand. And, Sparks now have Cate Blanchett starring in the video for their newest record's eponymous single, fresh from earning her eighth Oscar nomination for Tár. How did that latest collaboration come about? After half a century of ace tunes, what has the renewed attention of the last few years, including their tunes soundtracking everything from Yellowjackets to Justified: City Primeval, been like? Where do they keep finding inspiration for such smart, witty tracks that are both ace as songs and cleverly amusing? Are more movies in their future? Who would they most like to collaborate with? Russell and Ron chatted with us about all of the above and more. [caption id="attachment_923022" align="alignnone" width="1920"] Shot for Dive In Magazine.[/caption] ON GAINING NEW FANS THANKS TO THE SPARKS BROTHERS AND ANNETTE — AND PLAYING BIGGER SHOWS AS A RESULT Russell: "In a certain way, it's just really pretty unique that a band with 26-album-long history is now finding this kind of new and diverse kind of audience after this long of a career. It's not the typical career path for someone to take, where a band that's had a long history now finds itself in the position where things are more on the upswing, and we're playing the bigger audiences. Australia will be the last stop on world tour that we've done through Europe and North America and Japan, and now Australia. And the shows have been bigger and bigger. We've played the Hollywood Bowl in Los Angeles. We did a couple of nights at the Royal Albert Hall in in London, and Glastonbury. And now to be able to come to Australia and play places like the Sydney Opera House, for us it's really special, but it's also really kind of mind-boggling that, at this late stage in a career, to have this kind of acceptance and re-examination of what Sparks is." Ron: "Even the movie thing is strange because we've tried for decades to get a film musical made. Then to have two films, and they both, just by happenstance, came out around the same time — the Edgar Wright documentary, but also Annette, the musical. So it became a concentrated thing even with the films that we were involved in." ON AGREEING TO A SPARKS DOCUMENTARY Ron: "We were really thrilled because he isn't the first director that's approached us, it's happened from time to time earlier, but we were always really hesitant to do a documentary. We always felt that what we were doing as a band really spoke for how we wanted ourselves to be represented in a biographical way, and we felt that it was needless to have a documentary. But then Edgar came along, and part of it was just his enthusiasm, but also our respect for him as a director — and then the fact that within the documentary, he said that he felt personally that all of our different eras were equal in a creative sense, if not necessarily, obviously, in a commercial way. But it wasn't like there was a golden age. So we immediately said yes. We were hoping that the documentary wouldn't just be a dry 'and then this happened' kind of documentary. We wanted it to be like an Edgar Wright film, even though he had never really done a documentary before — and we were thrilled at how it turned out." [caption id="attachment_923021" align="alignnone" width="1920"] Gavin Ross[/caption] ON SPARKS SONGS POPPING UP EVERYWHERE ON-SCREEN SINCE THE SPARKS BROTHERS AND ANNETTE Russell: "I think it has opened up the perception of the band, especially for people in television and in the film world — maybe they've been there all along, but now they've been given more permission to speak out and actually take a stance by putting a Sparks song in their TV series or films. It is really something that's opened up a lot more avenues for us, and even to the point that we're working on another movie musical now because we had such a great experience with Annette. For us, that's something that's really special, showing that Sparks songs aren't just for a certain niche audience — that they can be utilised in ways that are accessible if you want them to be accessible. Just by exposing them to more people, they become accessible. I think that's what Edgar helped to do with the documentary. He just said, 'well, what Sparks is doing needs to be heard by a bigger audience'. And he said, 'if no one else is going to do it, I'm going to be the one that's going to do that for the band'." ON MAKING ANNETTE WITH HOLY MOTORS DIRECTOR LEOS CARAX Ron: "We originally had thought of it as being our next album, and we were going to present it live on stage with just Russell and myself, and then a soprano — just the three of us on stage, and that would be the next Sparks project, and it would be an album. Then just by circumstance, we were at the Cannes Film Festival a little over ten years ago for other reasons, and we were introduced to Leos Carax. We were just chatting with him, and we got along with him really, really well, just in a general sort of way. So we got back to LA and Russell thought, 'why don't we just send Leos the Annette project?' — never having thought that this was a film. And so he read it and listened to all the music and all that was done. He said, 'let me think about this, I really think I might want to direct this'. We were stunned, because we have really great respect for him as a director, but we had never considered this to be a film project. Then couple weeks later, he said 'I would like to direct this'. So it did take eight years from that point to have the film made, but we were more than willing to go through that process because we felt so strongly about it. And to Leos' credit, he was totally committed to making that film. Hollywood directors always have ten, 20 other projects going along at the same time, but he doesn't work that way. It's only one thing, and so for him to focus on, and put just everything that he had, just taking a chance on that one project, it meant so much to us." ON MAKING ANOTHER MOVIE MUSICAL Russell: "Well, we can't really talk too much about the content of it. But the distribution company Focus Features, that released the documentary, approached us and asked if we had anything new that we were working on because they liked Annette a lot. So we told them we did have a new project, and they told to go away and do the screenplay, do all the music for it, and they'd be excited. It's not giving you too much of a clue, but they said that it's an epic musical. Whatever that elicits in in your mind, that's what they're saying it is. We're just really excited to have another project, because we think that the perception of the band, like we just talked about, is seen differently when Sparks music, for whatever reasons, we've had periods that have been commercially successful and less commercially successful. But then we found out that having these other ways of exposing what Sparks does, that it's really helped then to reflect back on Sparks music itself. Doing a movie musical, people that saw it that didn't know the band, then they were curious to examine what Sparks is. And the same with the documentary, the people that weren't aware of the band to that degree, then they went back and rediscovered our back catalogue of music. So it's a way for us to channel what we're doing musically, but in other ways — and then in turn, it helps to also put Sparks in a bigger picture." ON FINDING SONGWRITING INSPIRATION ACROSS HALF A CENTURY OF MAKING MUSIC Ron: "At the beginning, you get some inspiration from outside sources — not so much in a general way, but from musical outside sources. We were influenced by British bands that were the more flashy ones, like The Who and The Kinks, and The Move and all. That was really the source of the inspiration for us, even when we were in Los Angeles before moving to London in the middle 70s. But since that time, the inspiration is just hard to pinpoint where that comes from. I think we're just inspired knowing that we're doing things that we want to hear, and so we haven't kind of reached the point where we run out of those ideas. Things don't just come to us. You have to pursue them. So there has to be just that motivation to do things where there might not be a payoff that particular day, but that you have the faith that at some point it will." ON MAKING MUSIC THAT YOU CAN DANCE TO, AND ALSO LAUGH WITH Russell: "Obviously it's always a challenge, and the more the more albums you have, it becomes more of a challenge to come up with stuff that both excites you and that you think isn't kind of rehashing what you've done in the past. To have humour in a song, but where it's not the sole element of the lyrical slant, that it's just funny — we like to think that things can have humour, but also have a balance to them where there's another side to it that might be deeper or more emotional, too. Things don't have to be black or white, or 'ohh it's funny' or 'it's serious'. There could be some other shade to it. That for us is really exciting — to be able to come up with stuff that that is in that grey area." ON GETTING CATE BLANCHETT TO STAR IN VIDEO FOR 'THE GIRL IS CRYING IN HER LATTE' Russell: "We met her at the César Awards in Paris two years ago. We were there performing and nominated for a bunch of awards for Annette, and we performed 'So May We Start' at the César Awards as well. We were the only act doing a live song performance at the Césars, which was really exciting on its own. And then it turned out we also won for best music, and the film won a whole bunch of awards as well. Cate had come to our dressing room and introduced herself, and were floored that Cate Blanchett would even know who Sparks was, let alone say that she was a fan of the band since she was growing up in Australia. And we remained in touch, and we've become friends. So it came time to do the first video for this album, and so we thought 'let's call Cate' and 'surely Cate will have an idea' where we didn't know exactly where we wanted the video to be heading. Then she heard the song. She really responded to the song — really, really loved it, and said 'yes, I would like to be in the video'. We didn't even discuss what she would be doing. We just said just 'do what you want to do and we're sure it'll be great.' That's open-ended, but she came up with that dance that she does, and the thing of it, her just being immobile for a lot of it, and then all of a sudden kicking into her dance during the chorus parts of the song — that was all 100-percent Cate." [caption id="attachment_923020" align="alignnone" width="1920"] Gavin Ross[/caption] ON THE DREAM COLLABORATION THAT SPARKS WOULD LOVE TO DO NEXT Ron: "We played a festival in Spain probably about eight years ago, and Public Enemy were playing there. We were bold enough to go up to Chuck D and then shyly drop the idea, 'you know, if you ever wanted to collaborate on anything, we're definitely open to it'. I'm not sure whether he was just being polite, but he seemed to show some interest and gave me the telephone sign. So we're hoping at some point that could happen. It might not be obvious from our music, but we're both huge fans of Public Enemy, and just their live show is in incredible, just the sound of their music and the intensity of it. So we're hoping at some point — I mean, that would be a dream collaboration for us." Sparks tour Australia in October and November 2023, playing solo shows at Melbourne's Palais Theatre (on Thursday, October 26), the Sydney Opera House (Tuesday, October 31), and Fortitude Music Hall in Brisbane (Thursday, November 2) — and as part of the packed lineup at Adelaide's Harvest Rock II festival (on Sunday, October 29). For more information and tickets, visit the Harvest Rock website and the Secret Sounds website. Top image: Munachi Osegbu.
For anyone born after 1978, it's impossible to imagine a world without Jamie Lee Curtis playing Laurie Strode, grappling with the ultimate movie boogeyman and being one of the OG final girls. Forty-four years ago, the then film first-timer slipped into the role and battle of a lifetime, taking on Michael Myers in John Carpenter's initial, iconic and now-highly influential October 31-set slasher Halloween. The picture, and the part, both launched and defined Curtis' career — and she's returned as the Haddonfield, Illinois babysitter-turned-survivor six more times since. Curtis' on-screen resume doesn't lack in other highlights, of course. Reteaming with Carpenter in The Fog, riding the scream queen wave in Prom Night, winning a BAFTA Award for 80s comedy Trading Places and scoring another nomination for A Fish Called Wanda: she'd managed all that before the 90s even hit. Since then, Curtis has tangoed into action-hero territory in True Lies, dispensed motherly advice in the My Girl movies, swapped bodies with Lindsay Lohan in Freaky Friday, joined Veronica Mars on the big screen, gotten her murder-mystery on in Knives Out and sported hot dog fingers in Everything Everywhere All At Once. Laurie Strode and Laurie Strode only, she definitely isn't. Still, Curtis and Laurie will always be synonymous. When you keep stepping into a character's shoes for four-plus decades — and when that character is one of the most famous there is in horror movie history, too — that's going to happen. Now, however, the unthinkable is also occurring. Curtis will always be Laurie, but she's also saying goodbye to the constant target of Michael Myers' slash-happy rampages. Yes, Halloween Ends has the perfect moniker for that turn of events. The 13th entry in the Halloween franchise, Halloween Ends is also the third in a trilogy that started in 2018, brought Curtis back to the fold after a 16-year gap and has clearly been working towards closure ever since. Indeed, in this iteration — as directed and co-written by David Gordon Green (Stronger, The Righteous Gemstones), and produced by Jason Blum — Laurie has weathered the pain of being Michael Myers' prey, and worn that survivor's PTSD as firmly as her silver hair. She's prepared to face him down again. She's tried and thought she's won, only for the mask-wearing murderer to re-emerge. She's lost friends and family to the monster, and seen how deeply Michael's mayhem has affected her home town. In other words, she's been as fascinating a horror-film final girl as any movie, franchise, actor or audience can hope for, and she's earned her farewell. With Halloween Ends releasing in cinemas Down Under on October 13, we chatted with Curtis about the series, her legendary character, and what it's meant to earn a part as a teenager and leave it half a lifetime later — plus being not just the final girl, but the final woman. ON THE HALLOWEEN FRANCHISE'S MASSIVE SUCCESS — AND HUMBLE BEGINNINGS "No one knew. If anyone knew, we'd be in Vegas today and we'd be betting money on something because we'd have some prescient idea of knowing about the future. No one knew anything about anything. We were young filmmakers. The oldest person was 30. We were a crew of about 15 people. It was made in 17 days, shot fast and furiously, and it turned into something quite magical. But that's the art of the movies. That's what happens once in a while. I did a movie this year called Everything Everywhere All At Once, which was the same thing. A group of people getting together, 38 days in an abandoned office building in Simi Valley, California — and what came out was this phenomenon, this beautiful movie. No, nobody had any idea." ON RETURNING TO LAURIE FOR THIS TRILOGY AFTER A 16-YEAR GAP "Honestly, the last thing I ever thought I'd do was another Halloween movie. And the phone rang, and it was Jake Gyllenhaal. I was in my house up in the mountains, and Jake said 'my friend David Gordon Green would like to talk to you about a Halloween movie'. And I said 'okay'. He called me, and what drew me back was that David had written a script about really what happens to somebody 40 years after that level of violence and trauma happens to them, and I felt it was very realistic. It was everything I'd hoped H20 could've been, and wasn't. For me it just was truth. It felt like it was truthful. It felt like it honoured victims. It gave a truth to really what happens. How many times do we see a disaster happen, all the news cameras, everybody's camping out on people's lawns — coverage, coverage, coverage, coverage — and then they go away? Then what remains are all these people whose lives have been ruined, and we never see a story about what happens to them ever. I felt like that was what David wrote — a story about what really happens to people who suffer that level of violence." ON EVOLVING FROM FINAL GIRL TO FINAL WOMAN "I represent something as Laurie Strode, the survivor of Michael Myers, for all these years. I take it very seriously. I commit to it. It's very important. She's, by the way, not only the final girl, not only the final mother, not only the final grandmother — ultimately, as you said, she's the final woman. This is a woman in full possession of her own life, and facing fear head on in that a way that I think people admire and respect, and people have certainly loved Laurie over the years for that fortitude. And I owe them. The gravity of the way I approach this work is due to them. If I was sitting here joking with you about how fun it was, and how I'm friends with the guy who's in the mask, and it's all light and easy, then what the fuck am I doing? Then why am I here? It has to be with this level of gravity and respect for Laurie Strode, who is a real person to many, many, many, many, many people. And I am Laurie Strode." ON MAKING A NEW HALLOWEEN TRILOGY WITH SOMETHING TO SAY "It wasn't a trilogy to begin with. We didn't start it out a trilogy. That I found out after the fact. But more importantly, I think also what this movie really explores is how we victim-shame, how we start to blame the actual victims of the crime because of the communal experience. The town is without resources to process their grief and who do they turn it against? Laurie Strode. Look at how we do this all day long. Look at how we use social media. Look at Twitter. Look at these portals of hatred and vile antagonism that we use in the spirit of free speech and all of the rest of it. It's terrible. The movie explores that in a very big way." ON FAREWELLING LAURIE — AND WHAT IT'D TAKE TO COME BACK "I think it'd be hard to come back now. I can't imagine a world where a filmmaker is going to come up with a scenario that explores Laurie Strode's journey and her conflict with Michael Myers in any better way than David Gordon Green has done with these three films. But I never say never, because there are great filmmakers today, and who knows? Maybe Guillermo del Toro will come up with a plan for it, or a filmmaker who's brand new will come up with some breathtaking story that can figure out a way to weave a version of Laurie's story. Who knows? But from my practical standpoint — I'm a very practical person — I can't imagine it. It's been a very emotional trip, this tour of talking and meeting fans, and really talking about the import of Laurie Strode on their lives. I have tried to receive it all, and it's a lot. It's just a lot. It's going to be hard. But I also am very joyful. I have a lot of creativity because of Laurie Strode. I now have all sorts of creative stuff I get to do. So it's not that I'm never going to get to act again — quite the opposite, I get to do that more now than I ever got to before. I get to produce things in a way I never did before. I get to direct things in a way I never did before, all because of this 2018 trilogy. So I'm sad to say goodbye to fans, for sure. But I'm happy for the opportunities that Laurie has given me, absolutely." Halloween Ends releases in Australian cinemas on October 13. Read our full review.
