Little monsters, get excited: Lady Gaga is coming to Australia. Been watching with envy as the music superstar has locked in dates on The MAYHEM Ball tour everywhere from Las Vegas, New York and Toronto to London, Stockholm, Berlin and Paris? You can now start making plans to see Stefani Joanne Angelina Germanotta on her next Down Under visit, with shows confirmed for Melbourne, Brisbane and Sydney. Lady Gaga is heading this way in December 2025, with three gigs announced: on Friday, December 5 at Marvel Stadium in Melbourne, then Tuesday, December 9 at Suncorp Stadium in Brisbane and Friday, December 12 at Sydney's Accor Stadium. When the 14-time Grammy Award-winner takes to the stage at the trio of massive concerts, she'll not only play her first Australian shows in 11 years — she'll do her first-ever Australian stadium concerts as well. [caption id="attachment_998819" align="alignnone" width="1920"] Frank Lebon[/caption] The tour kicks off in Las Vegas in July, after Lady Gaga headlines Coachella — which everyone worldwide can livestream across both of the Californian festival's two weekends on Saturday, April 12–Monday, April 14 and Saturday, April 19–Monday, April 21 Australian time. Before The MAYHEM Ball tour begins, she's also doing shows in Mexico City, Singapore and Rio de Janeiro. Given that this is Gaga's first Aussie visit since 2014's ArtRave: The ARTPOP Ball gigs (with the Joanne and Chromatica Ball tours bypassing this part of the world), expect tickets for the local leg to go fast. When she added 13 new dates to the initially announced first shows on the tour, they all sold out swiftly. As the name makes plain, Germanotta is touring on the back of MAYHEM, her latest album — and seventh in a row to go to number one on the Billboard 200. It also debuted in the top spot on Australia's charts, and gave Gaga her biggest streaming week ever by notching up 240-million streams on its first week alone. As well as MAYHEM tracks such as 'Disease', 'Abracadabra' and 'Die with a Smile', fans can likely look forward to hits from across the artist's career, such as 'Poker Face', 'Bad Romance', 'Paparazzi', 'Born This Way' and 'Rain on Me' — plus, of course, seeing Gaga live onstage, rather than getting your fix via her film work in recent years in A Star Is Born, House of Gucci and Joker: Folie à Deux. Lady Gaga's The Mayhem Tour Australia 2025 Dates Friday, December 5 — Marvel Stadium, Melbourne Tuesday, December 9 — Suncorp Stadium, Brisbane Friday, December 12 — Accor Stadium, Sydney Lady Gaga is touring Australia in December 2025, with ticket presales starting at 10am on Monday, April 14 and general sales from 12pm on Thursday, April 17 — with times varying per city. Head to the tour website for more details. Live images: Raph PH via Flickr.
Just seven months in, 2021 has already been a big year for Marvel. Not one, not two, but three streaming series have hit Disney+, and Black Widow is currently both streaming and in cinemas. More silver-screen releases are coming before the year is out, too, courtesy of both Shang-Chi and the Legend of the Ten Rings and Eternals. Also big news right now, although it won't actually come to fruition in 2021: a second season of Loki. The third of Marvel's Disney+ series for this year to focus on characters from the sprawling Marvel Cinematic Universe, this show about the franchise's favourite trickster instantly stood out from its sibling programs. Having Tom Hiddleston (Avengers: Endgame) step back into the God of Mischief's shoes will do that, of course. With WandaVision, Marvel gave the world a nodding, winking sitcom that morphed into an engaging but still quite standard entry in its ever-growing on-screen realm. With The Falcon and the Winter Soldier, it opted for an odd couple action-thriller that hit every mark it needed to, but rarely more. But, across its six-episode first season — which just wrapped up yesterday, Wednesday, July 14 — Loki has proven far more willing to toy with its premise and have fun with its central character. It's now going to do exactly that during a second season as well. News of Loki's second batch of episodes was dropped in the credits for its latest episode, thanks to a stamp that says "Loki will return in season two". That's all the information that's been revealed so far — but if you're a fan of the figure, Hiddleston or both, it's a welcome development. Across its first season, Loki's charms didn't solely radiate from its leading man. He's as charismatically wily as ever (as he's always been in his scene-stealing big-screen appearances in the Thor and Avengers films), but this series has also been helped immensely by its aforementioned playfulness, and also by the great cast surrounding its star. Teaming up duos is obviously currently Marvel's thing, but Loki pairs its eponymous trickster with a time cop played by Owen Wilson (Bliss), gets them palling around in buddy cop-meets-science fiction territory, and also throws in Sophia Di Martino (Yesterday) as a character that's best discovered by watching. The setup: thanks to his previous actions with the Tesseract, Loki finds himself in a bit of trouble. The TVA — that'd be the Time Variance Authority — is on his case, which is where Wilson's Mobius M Mobius comes in. But, that's just where the show starts. Here, viewers came for the usual Hiddleston mischievousness, and stayed for everything this quickly involving series built around him — all while charting what happens when Loki is forced to face the consequences of his past actions. The new season of Loki, whenever it arrives, will join the long list of other upcoming shows that are in the works at Disney+. That includes Ms. Marvel, Hawkeye, She-Hulk, Moon Knight, Secret Invasion (about Samuel L Jackson's Nick Fury), Iron Heart, Armour Wars, I Am Groot, a Guardians of the Galaxy Holiday Special and a series set in Wakanda. Check out the full trailer for Loki's first season below: https://www.youtube.com/watch?v=SUwwdj6AlBA The first season of Loki is available to stream via Disney+ now. Exactly when the second season will arrive is yet to be announced — we'll update you with more details when they come to hand. Top image: ©Marvel Studios 2021. All Rights Reserved.
Hate to see food going to waste? Saving your favourite treats from the bin and scoring a great deal in the process is now easier than ever, as Too Good to Go launches in Queensland. Following successful launches in Sydney, Melbourne and Perth, the world's largest marketplace for surplus food connects local businesses with customers, allowing for excess stock to go where it belongs — in someone's mouth. With the app having helped over 600,000 users save more than 400,000 meals, food-conscious consumers in Brisbane, the Sunshine Coast, Goldy and beyond are invited to explore what cheap goodies await in their area. While the app only launched in Australia in August 2024, it has already grown to include over 1,300 partners, with more than a few names you know and love using the app daily to offer 'Surprise Bags' filled with assorted goods. "Expanding our footprint to include Queensland is an important step in our goal to help halve Australia's food waste by 2030," says Joost Rietveld, Too Good to Go Australia Country Director. "Queenslanders are known for appreciating fresh food, and we are eager to empower Brisbane and greater Queensland locals to take meaningful action and contribute to a more sustainable future." Eateries like Bakers Delight, Muffin Break, Jamaica Blue, Sushi Sushi and Roll'd are all active on the platform, with delicious food available at a significantly reduced price. While most people are aware that food waste is an issue, the scale of the problem might spark surprise. Each year, 7.6 million tonnes of food is discarded, with over two-thirds still edible. As food loss and waste account for around 10 percent of global greenhouse gas emissions, the issue is a seismic one. Forming a neat part of the solution, Too Good to Go's model is win-win-win. Food businesses can recover costs on food that would otherwise be wasted, app users snag great food for an even better price, and the process has a tangible impact on greenhouse gas emissions. With more than 100 million users across 19 countries, the app's expansion in Australia highlights how locals are keen to do their bit. "We have seen an incredible response from Australians so far, with more than half a million people joining our community to save food from going to waste," says Rietveld. "There has never been a better time for food businesses to start saving food with Too Good To Go instead of seeing the food they have created with pride and joy ending up in the bin." Too Good to Go is available for download on the App Store and Google Play. Head to the website for more information.
It's been just over ten years since the streets of Hawthorn and Kew started slowly but surely transforming from quiet suburbs to trendy neighbourhoods complete with specialty cafes, independent homewares stores, and cool fashion boutiques. The two areas share a border and it's impossible to mention the growth of one without citing the development of the other — particularly as both boast an abundance of local owned shops and businesses that deserve your attention. To help you navigate these gems in Melbourne's east, we've teamed up with American Express and curated a go-to guide for the best small businesses in both Kew and Hawthorn. Discover a thrilling page-turner for your summer break, find the perfectly kitsch gift for your bestie, or get comfy in your favourite new local cafe, all with a tap of your American Express Card.
There's never been a show on TV quite like Kevin Can F**k Himself — or on streaming, where the series is now available in Australia via Amazon Prime Video. But, there have sadly been far too many programs over the years that resemble one half of this clever and cutting dark comedy. Even if you aren't a fan of the fare this newcomer riffs on, you know the type. For too long, screens have been littered with sitcoms about families, and about specific kinds of couples and their kids. Accordingly, a different one probably springs to mind for each of us. You might've started thinking about Home Improvement, or Everybody Loves Raymond — or, thanks to Kevin Can F**k Himself's title, you could've just remembered all the shows starring Kevin James. Kevin Can F**k Himself's moniker does indeed conjure up the words many of us have thought to ourselves after stumbling across awful sitcoms led by James. Here, Kevin McRoberts (Eric Petersen, Sydney to the Max) is the obnoxious manchild of a husband, while Allison (Annie Murphy, Schitt's Creek) is his put-upon wife — and whenever they're together, generally at home, she's clearly in a sitcom. The lights glow brightly, her house resembles every other cosy abode in similar shows about comparable characters, and multiple cameras capture their lives. Also, canned laughter chuckles whenever something apparently amusing (but usually just cringeworthy) occurs. And, that source of terrible humour tends to be Kevin, who skates through his days with the arrogance and obliviousness of a white thirty-something man who has always been told he can do no wrong. Helping to reinforce that mindset, he always has his ever dimwitted best pal and neighbour Neil (Alex Bonifer, Superstore) by his side, gushing over his every move. Also frequently hovering around: Neil's one-of-the-guys sister Patty (Mary Hollis Inboden, The Righteous Gemstones) and Kevin's own ever-present dad (Brian Howe, Chicago Fire). We've all seen this setup before, and Kevin Can F**k Himself's creator Valerie Armstrong — who also worked on the excellent, underrated, cancelled-too-soon Lodge 49 — definitely knows it. She isn't trying to recreate these abysmal sitcoms for fun, though. Instead, she knows that Allison and the women who've been in her place are devastatingly miserable, and she's determined to give them their time in the spotlight and explore what happens when they're not supporting player to a man they don't even want to be with. That's where the twist comes in, and it's oh-so-savvily handled. (It's also laid bare in the show's first episode, because it's that important to the series' premise.) So, whenever Kevin Can F**k Himself's leading lady is blissfully free of her horrible hubby, her life becomes a premium cable drama. Murkier tones and a much more realistic vibe kick in, just one camera films her struggles, and no one is giggling. Also, Allison starts trying to do something about her soul-crushing marriage. The visual and tonal contrast between the show's two halves is big, stark and obvious. It hits you over the head. It's meant to. On paper, the creative decisions behind Kevin Can F**k Himself stem from a high-concept gimmick, and purposefully so — but the show's central idea is also exceptionally smart. This series needs to be as blatant as it is in contrasting Allison's time with Kevin with her experiences whenever he's not around. It needs to make flagrant moves to illustrate how the world still sees marriages like theirs as bright and inviting, even when Allison endures a grim struggle. Subtlety isn't usually the best way to make a statement, after all, and that applies when you're calling out how an entire genre of TV has long treated women; that its instantly recognisable toxic tropes have become not just accepted, but imitated; and that real-life relationships based on this dynamic aren't healthy or happy. These notions bubble away throughout Kevin Can F**k Himself, including when over-lit scenes of Allison putting up with Kevin segue into dark-hued shots as soon as she's out of his presence. Usually, the change kicks in because she's walked into the kitchen and left him on the couch with his pals, or she's gone to work while he gets up to standard sitcom-style hijinks; however, Allison is desperate to make a permanent change. The series follows not just her efforts to leave Kevin, but her quest to ensure that she'll be free of him forever. You could say that she breaks bad, but she's doing good — just for herself for once. Allison's path forward is messy, naturally, and only gets more chaotic the more she commits to achieving her Kevin-free new life. Her high-school crush Sam (Raymond Lee, Made for Love) moves back to town, too, while Patty becomes an unexpected ally. Soon, the two women have a police detective (Candice Coke, Indemnity) snooping around their lives as well. Everything Allison faces could've easily fuelled a drama that didn't include sitcom-savaging segments, but the show is all the better for embracing its gimmickry. It pulls back the curtain on the glossy way that its protagonist's existence is presented to the world, exposes the reality and finds ample ways to interrogate why this sitcom fantasy has proliferated for so long. Thanks to weighty key performances by Murphy and Inboden, it also dives deep into the internalised miseries that women who've been caught in the orbit of men like Kevin keep navigating — and, episode by episode, it grows and fleshes out the pair's complicated friendship as well, and unpacks the "cool girl" archetype Patty initially represents. In the process, amidst all of its layers and switches, Kevin Can F**k Himself quickly becomes one of the best new shows of 2021. Thankfully, it has already been renewed for a second season, too, so more of its incisive charms and astute social commentary — and Murphy and Inboden's stellar work — awaits. Check out the trailer for Kevin Can F**k Himself below: The first four episodes of Kevin Can F**k Himself's first season are available to stream via Amazon Prime Video, with new episodes dropping weekly. Images: Jojo Whilden/AMC.
While the Great Ocean Road has long been a favourite destination for Victoria's beach-bound visitors, a journey around the other side of Port Phillip Bay harbours just as much gold for adventurous weekenders. Just a few clicks beyond the outer Melbourne suburb of Frankston lies the Mornington Peninsula, with its diverse mix of sandy shoreline, vineyard-dotted hills and picturesque national parkland. Thanks to its reputable wine industry and burgeoning food scene, the area has become much more than just a summer destination, luring city dwellers year-round to feast on its many varied offerings. Together with our Victorian road trip partner RACV, we've put together a guide to a perfect weekend on the eastern side of the bay. And don't forget — if you're planning on having a drink, make sure there's a designated driver to keep you safe on your travels. STAY Sitting pretty in the heart of the Mornington Peninsula's wine region is the stunning Jackalope. Set on a picture-perfect vineyard, this 45-key luxury hotel has been one of Victoria's most sought-after stays since opening in 2017 thanks to its rooms that feature private terraces, king-sized beds, rain showers and the option of deep-soak Japanese baths. If you do leave your room, you'll find a 30-metre infinity pool overlooking the property's 28-acre vineyard and immersive culinary experiences that include a two fine-dining restaurants, a winery, cellar door and sleek cocktail bar. Its location in the middle of the Peninsula also means that the region's beaches, golf courses, hiking trails and wineries are all within easy reach. [caption id="attachment_580662" align="alignnone" width="1280"] Sandpiper at Blue Moon Cottages[/caption] If the beach is calling, you can opt for a seaside stay, putting down anchor at the likes of Rye's Blue Moon Cottages. Just a 250-metre stroll from the sand, this luxury accommodation features an assortment of quaint cottages, though couples will especially love the Sandpiper. With its log cabin styling, crackling wood fire and spa bath, this self-contained, one-bedroom beauty is dressed to impress. [caption id="attachment_580670" align="alignnone" width="1280"] Foxeys Hangout, Liza-Jane Snowden via Instagram[/caption] EAT AND DRINK Journey along the winding, woodland roads of Red Hill and Balnarring, and you'll find yourself in a paradise for both wine lovers and foodies alike, with enough cellar doors, wineries, farm gates and restaurants to fill your weekends for the next year. But you've got to start exploring somewhere, right? A visit to Quealy's informal cellar door at its Balnarring vineyard will get things off to a good comfortable start, with the winemakers more than happy to team your tasting with a healthy side of knowledge. Pick their brains and learn a thing or two about the local grape scene, while you sample the winery's own Italian-influenced stable of wines. This one's a must-visit for any pinot grigio fan, as winemaker Kathleen Quealy's been pioneering the variety since the '90s. Armed with the lowdown, make the short drive west to Red Hill's Foxeys Hangout, where you can team some more wine tasting with one of the winery's famously fresh, flavour-packed lunches. Here, you'll sample some of the cold-climate expressions that Michael and Tony Lee craft so well, including pinot noir, pinot gris and chardonnay, as well as a select range of the boys' sparkling wines. And since these guys are big believers that wine is made to be enjoyed alongside food, there's no chance of leaving hungry. Lunch at the cellar door involves a parade of seasonal small plates, designed to perfectly complement the wines you've been sipping. Opt for the changing chef's menu and you'll get yourself a taste of the very best in seasonal local produce. [caption id="attachment_580673" align="alignnone" width="1280"] Polperro[/caption] Just around the corner, the folks at Polperro are equally big champions of that intuitive relationship between vineyard and kitchen. Here, they're plating up a menu that's nothing short of stunning, with huge respect for seasonality, local produce and technique. Grab a seat in the designer dining space and indulge in dapper dishes — the current menu features the likes of gazpacho andalouse with crayfish, kale and cashew cheese martabak and tea-smoked Aylesbury duck breast. Cap off your long lunch with a tasting at the cellar door, where you'll get to sample the best this single vineyard label has to offer. [caption id="attachment_580675" align="alignnone" width="1280"] Merchant & Maker[/caption] The Peninsula's coastal stretch holds even more in the way of gastronomic delights, with beachside cafés and eateries aplenty. McCrae's Merchant & Maker is a spot for indulging all sorts of foodie cravings. The cheery beachfront café and bar turns out top-notch specialty coffee from Mornington's own Commonfolk, alongside tempting brunches and home-style lunch and dinner dishes. Here, you can start your day with an espresso and a medley of sautéed mushrooms with an umami sauce, ponzu gel, goat's cheese, kale and a poached egg, or finish it with a delightful nasi lemak bowl, teamed with a local boutique wine. Over in Dromana, you'll find another burst of freshness at Pier Street Kitchen. This buzzing eatery serves up a produce-driven menu of Middle Eastern-accented comfort food that's sure to impress. Tuck into the kitchen's signature shakshouka, unwind with a drop from the regional wine list, and grab a few of the tasty take-home meals for later. [caption id="attachment_580678" align="alignnone" width="1280"] Peninsula Hot Springs[/caption] DO If, for you, no weekend getaway is complete without a spot of pampering, then you've really come to the right place. The award-winning Peninsula Hot Springs is Victoria's first natural hot springs and spa centre, and it's sure to go down a real treat after a long day cruising the cellar doors. You'll be spoilt for choice with a huge array of bathing experiences and spa treatments to indulge in, from a traditional Turkish steam bath to icy-cold plunge pools and ancient healing stone experiences. But however you choose to luxe out, be sure to cap it off with a visit to the hilltop pool, where you can soak away all your troubles while enjoying 360-degree views across the Peninsula. [caption id="attachment_580704" align="alignnone" width="1280"] Bridgewater Bay[/caption] After something a touch more energetic to balance out all the wine quaffing and culinary indulgences of your weekend? The Peninsula also boasts over 30 bike tracks and countless more walking trails, from captivating coastal paths, to rugged bushland tracks. At its very tip, you'll find Point Nepean National Park – 560 hectares of prime walking, cycling and exploring territory. Don some sturdy shoes and take in as much of it as you like, from the old quarantine station to the Pearce Barracks site and the Harold Holt memorial located at the park's highest point. Of course, you're surrounded by water, so a swim is always on the cards. Jump off the rocks into the calm bay waters at Mouth Martha, throw yourself into the washing machine that is Portsea Back Beach (seriously, this is only for surfers and strong swimmers) or take your umbrella and make a day of it in the rockpools at Bridgewater Bay in Blairgowrie. [caption id="attachment_580698" align="alignnone" width="1280"] Fernando de Sousa via Flickr[/caption] LET'S DO THIS: GIVE ME THE DETAILS The Mornington Peninsula is about a one hour drive from Melbourne along the Mornington Peninsula Freeway. It starts at Mount Eliza and, surrounded by Port Phillip Bay, Bass Straight and Western Port, encompasses the towns of Dromana, Portsea, Flinders, Fingal and Hastings, among others. Road tripping this summer? Make sure you're covered with RACV. Top image: Polperro.
Dom Dolla just keeps making history. Back in December 2023, the Australian DJ and producer notched up a hefty achievement, playing his biggest-ever hometown show in Melbourne at the Sidney Myer Music Bowl. Then, come 2024, his national tour became the largest ever by an Australian electronic artist, selling 170,000-plus tickets in four cities. What does 2025 hold, then? Oh, only the Grammy-nominee doing his first-ever Aussie stadium show and biggest headline gig ever. He's played Coachella, Lollapalooza, Wildlands, Spilt Milk and more — including soldout Madison Square Garden gigs with over 30,000 attendees, plus Ultra Miami and EDC Las Vegas. When Europe's summer hits, he's doing a ten-week residency at Hï Ibiza. Then, on Saturday, December 20, 2025, Dom Dolla will head home in a massive way, headlining Sydney's Allianz Stadium. The three-time ARIA-winner (and 16-time ARIA-nominee) also has something else sizeable to add to his resume in 2025: with 'No Room for a Saint' featuring Nathan Nicholson, he's making his film soundtrack debut. The movie: the Brad Pitt (F1)-starring F1. Also this year, Dom Dolla has released two other tracks: 'Dreamin' featuring Daya and 'Forever' with Kid Cudi. On his 2024 Aussie tour, the venues weren't small, given that he played Melbourne's Flemington Racecourse, Sydney's Domain, Brisbane's Riverstage and Perth's Wellington Square. But making the leap to a headline stadium gig is no minor feat. Only the sole Allianz Stadium show has been announced, so if you're keen to head along and you're outside of the Harbour City, you'll also want to make travel plans. Dom Dolla is playing Allianz Stadium, Sydney on Saturday, December 20, 2025. You can sign up for ticket presales from 11am AEST on Monday, May 19, then buy presale tickets from the same time on Thursday, May 22, with general sales from 12pm on Friday, May 23. Head to Dom Dolla's website for more details. Images: shevindphoto / Beyond the Valley, Chloe Hall.
If anyone knows how to live la dolce vita, it's the Italians. And Melbourne owes much of its famous food culture to the country of pizza, pasta, salumi and formaggi. We may have been a little slow to catch on, but we've also inherited an essential part of the Italian lifestyle: aperitivo. Comprised of an aperitif, usually Aperol, vermouth or a negroni, paired with little snacks known as cicchetti, it's the Italian way to shake off the post-work blues and prepare your appetite for the fare to come. Whether you're catching up with pals or bonding over booze with workmates, any of these Melbourne haunts will offer good vibes, killer drinks and moreish snacks.
Inimitable frozen dessert guru Nick Palumbo is responsible for making gelato the hottest thing in Sydney served below 0°C. His revered Gelato Messina sets the benchmark for gelato in Australia, taking a traditional Sicilian craft (everything is made from scratch using raw, natural ingredients) and carefully folding in an avant-garde approach towards flavours (there are six to seven specials released each week, with even the most deceptively unassuming beige ones accumulating Facebook likes in the hundreds). Now he's been tasked with the duty of finding one Australian craftsman blending tradition with inspiration. Ketel One has snagged Nick to sit on the judging panel of their Modern Craft Project, which you might remember us talking about here and which you should probably enter if you have a traditional craft, an entrepreneurial spirit and a partiality towards $100,000 cash prizes. Before the competition kicks off we stole a few minutes out of Nick's busy schedule to get the scoop on his idiosyncratic approach to artisan gelati. Concrete Playground (CP): Why gelato? Nick Palumbo (NP): In Messina, Sicily (where we are from) there is a huge culture of gelato and I wanted to create a brand that used traditional craftsmanship but was flexible in the sense that there is no limit to how creative you want to be. CP: What flavours did you launch Gelato Messina with back in 2002? NP: We only had 20 basic flavours back then but there was always a focus on quality. The innovation started to come in about two years later once we gained the trust of our customers. Coconut lychee, which sounds boring now, was our first "experimental flavour" back then. CP: Why did you decide to do the Gelato Messina Lab? NP: Because in the gelateria, we thought we had taken the quality side of things to quite a high level and all we had now was innovation of flavours. We wanted to push the boundaries a bit and marry in the world of high end patisserie with gelato, and saw it as a huge challenge and something that, to our knowledge, no one had done before. CP: The cakes are incredibly intricate — which one is the most satisfying to assemble? NP: The Black Forest, there are lots of components and the end result looks amazing. CP: They also incorporate many ingredients that aren't normally found in frozen desserts. Which ingredient poses the most problems? NP: All the jellies, they are hard to make soft at -18°C! CP: How do you come up with new flavours? NP: Basically we look for inspiration everywhere, especially from the world of patisserie, but it's also about continually finding flavours that work together. CP: What flavour has been the biggest surprise for you in terms of popularity? NP: Salted Caramel and White Choc Chip. It's now our best seller yet but when it first came out I actually heard a few people saying they didn't like it. Now those same people love it. CP: Obviously coming up with flavours must involve a lot of trial and error. What have been some of the errors? NP: Tomato sorbet. CP: I read a story about the frontman of Amy Meredith turning to his Facebook fans to demand the return of this favourite flavour (Elvis the Fat Years, which was then reborn as Christian Skinny Jeans). Is there anyone else you would like to reincarnate as gelato? NP: My three-month-old boy! The Milky Bar Kid. CP: Why did you want to become involved with the Ketel One Modern Craft Project? NP: Because Ketel One is an amazing brand full of history, which is my dream for Messina, and because there is not much in the way of support in this country for young people with a passion to do good things so anything that will help support artisans is something I'd like to be a part of. CP: What is next for Gelato Messina? NP: We open in Bondi in the middle of next year and we open in China (Hangzhou) in April next year. CP: And finally, cup or cone? NP: Silly question, CONE!
It might have been kicking on for close to three decades and an army of fans to its name, but it seems even that's not enough to save the legendary Lounge from extinction. The long-standing Swanston Street live music haunt and nightclub has called last drinks, announcing via Facebook that it'll shut its doors for good come April. According to Bookings and Marketing Manager Liam Alexander, Lounge's operators have been given little choice but to close, following their landlord's decision not to renew the lease. It's unclear what's planned for the site, but many would guess a redevelopment is on the cards for 243 Swanston Street. The Facebook post touched on the venue's long-running legacy and revealed plans for some hefty farewell celebrations. From January, Lounge will be rounding out its 29 years of operation with a special run 29 shows. The program features a mix of local and international artists who've been a part of the Lounge family over the decades, as well as return appearances by some of the parties and club nights from the days of old. Prepare to revisit former favourites like Butter Sessions, Pleasure Planet, Bunker, Technoir, Lucid and loads more. Across its colourful history, Lounge has seen an impressive lineup of artists walk through its doors, including Nick Cave, Björk, Kylie Minogue, Gil Scott-Heron and Jeff Buckley. It's known for its diverse programming, covering DJ sets, live acts, art installations, performance pieces, short film screenings, live radio streams, multi-day parties and everything in between. So it's safe to say it'll be missed by Melbourne's arts community. Lounge will throw its last party at 1/243 Swanston Street, Melbourne on Thursday, April 18. Entry will be $20 — find more details here. Updated: April 11, 2019.
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, No Sudden Move), their political-fixer sister Siobhan (Sarah Snook, Pieces of a Woman), or eldest sibling and now-presidential candidate Connor (Alan Ruck, The Dropout) — their father Logan's (Brian Cox, Remember Me) tenure must wrap up. He's stubborn, though. He's proud, too, of what he's achieved and the power it's brought. Whenever Logan has seemed nearly ready to leave the business behind, he's held on. And if he's challenged or threatened, as three seasons of the Emmy-winning series have done again and again, he shows no signs of ever letting go. Succession has always been waiting for Logan's last stint at global media outfit Waystar RoyCo, but it's never been about finales quite the way it is in its fourth season, which starts streaming from Monday, March 27 Down Under (including via Foxtel, Binge and Foxtel On Demand in Australia, and on Neon in New Zealand). This time, there's a ticking clock not just for the show's characters, but for the stellar series itself. In late February, in an interview with The New Yorker a month out from season four's premiere, Succession's creator and showrunner Jesse Armstrong advised that this is its last go-around. Nothing can last forever, not even widely acclaimed hit shows that are a rarity in today's TV climate: genuine appointment-viewing. So, this one is going out at the height of its greatness — yes, its final batch of episodes begins out that strongly — which is how Logan should've always wanted to as well. That Succession won't be tearing into its ultra-rich squabblers again after these ten episodes casts a shadow over the new season, unsurprisingly. That said, given that it commences with the Roys as fractured as ever in the aftermath of 2021's season three — with Kendall, Roma and Shiv all estranged from and actively working against their dad, who has badged them "rats" with his usual venom — there's a higher sense of tension, greater stakes and a firmer feeling of finality anyway. This bickering brood has split, backstabbed, betrayed, undermined and reunited many times before. They've overcome health scares, accidental killings, high-strung weddings, legal troubles, hostile attempted takeovers, dark scandals, political scrutiny and more. Armstrong and his writing team could've kept the cycle going, but there's an unshakeable sense of hurt to this round of tussles that feels like the last the Roys can endure. In season three, Waystar went from trying to buy streaming service GoJo to entertaining a buyout from it — and from its tech visionary Lukas Matsson (Alexander Skarsgård, The Northman) — instead. And, as Kendall, Roman and Shiv kept trying to lock in their futures, Logan found a way to cut them out that couldn't have cut deeper. Accordingly, when season four kicks off with Logan's birthday just as season one did, a party that he's characteristically miserable at, only Connor shows up among his kids. The other three are busy trying to secure financing for The Hundred, the new media venture they're pitching as "Substack meets Masterclass meets The Economist meets The New Yorker". What they really want to do, of course, is stick it to their old man above all else. Money, which the Roys have much more of than most, aren't afraid to splash about and are always chasing, sure can't buy a reprieve from good old-fashioned pettiness. That's always been a glaring truth at the heart of the series, just like its fantasy equivalent Game of Thrones, because boasting immense control and hefty fortunes can't make anyone a decent person. No one watches this takedown of unfettered power, wealth and entitlement for hugs and smiles, but for Shakespearean dramedy and tragedy that rips brutally and ravenously into the one-percent. However it concludes and whoever thinks they've won — make no mistake, Succession is always a battle — no one is likely to be living happily ever after, or even managing to be content enough with where things wind up. Still, Roman will probably be smirking, Shiv shooting a steely glare and Kendall wearing the intense gaze that never wholly masks his inner sadness. They all sport exactly those expressions to begin season four, all while building their plans to simultaneously cement their next step and topple Logan. As sycophantic grins beam noxiously around his birthday, he's as caustic as ever even in just his eyes — more so with Shiv's husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat) playing middleman in a crucial deal, and when cousin Greg's (Nicholas Braun, Zola) love life taints the festivities. Yes, the more that things change in Succession, the more that they stay the same, including with general counsel Gerri (J Smith-Cameron, Fleishman Is in Trouble), CFO Karl (David Rasche, Swallow) and vice-chair Frank (Peter Friedman, She Said) hovering around while looking like they'd rather be anywhere else. Family malaise is a dime a dozen on TV, and workplace struggles as well. Succession is so sharp and scathing — so devastatingly well-cast and delicious with its incisive insults, too — that it's in a stratosphere of its own. With this compelling ensemble and the cracking dialogue they're gifted, the show's directors could just point cameras at the former in glass-walled rooms as they spout the latter and the series would gleam from every angle. That isn't how the handsomely staged and executed effort fills its episodes, but both its actors and writers remain at the top of their games. Indeed, watching Succession in such savage vintage form in everything from Strong's concentration to Culkin's way with witty slights, plus Braun's cluelessness and episode-one helmer Mark Mylod's (The Menu) tonal mastery, viewers will never want it to end. There'll be much to miss when the show severs its final ties at the end of May, glorious episode titles included (the fourth season's opener is aptly called 'The Munsters'). It's going out how it's always gone on, though — without losing its bite, or its taste for blisteringly dark, pointed and funny family-feud chaos. Logan is pondering farewells again, too. Succession hasn't lost its ability to astonish, and its fearsome white-haired patriarch waxing lyrical about whether death is just an abyss over a diner dinner with his chief security guard is one such delight. There'll certainly be a chasm left in the show's wake but, like its most formidable figure won't stop doing, audiences will just have to make the most of it while it's here. Check out the full trailer for Succession season four below: Succession season four starts streaming from Monday, March 27 Down Under, including via Foxtel, Binge and Foxtel On Demand in Australia and Neon in New Zealand. Check out our review of season three. Images: Claudette Barius, Macall B Polay / HBO.
After an unseasonably warm winter, anyone who has been outside this month will have noticed the trend continuing, with Sydney's weather seeming to forget that spring comes before summer. Indeed, fresh from experiencing one of the hottest winter days on record, the city has just hit the same milestone when it comes to September evenings. Earlier this week, Weatherzone predicted that the temperature would reach sweltering heights this weekend, and they weren't wrong. Overnight, the mercury didn't dip below 26 degrees, ready for a high of 33 degrees today. The Sydney Morning Herald reports that when the temperature did make it to 25.7 minimum this morning, it still eclipsed the September record by 3.7 degrees. And, the records keep coming. The September high for the entire state was broken yesterday according to the ABC, with temperatures topping out at 40.5 degrees in Wilcannia in western New South Wales. With White Cliffs and Bourke, the town became the first in the state to venture over 40 degrees during September. Just over the border, Mildura hit the highest temperature ever recorded in Victoria during September, making it to 37.7 degrees. https://twitter.com/weatherzone/status/911539706302676993 Things are expected to cool down on Monday, for those in need of a reprieve — aka everyone. For now, total fire bans are in place across large parts of the state. And if you're feeling some anxiety about global warming, and what the rest of the year holds in store, that's completely understandable. We've said it before and we'll say it again: best grab a fan now; it's going to get quite the workout. By Sarah Ward. Via ABC / Sydney Morning Herald.
When the Goodwill Bridge, then the Neville Bonner Bridge, then the Kangaroo Point Bridge each opened in Brisbane, helping pedestrians get around the River City on foot was high among each structure's aims. Brisbane Festival 2025 clearly applauds that idea. The Queensland capital's major annual arts fest is not only embracing the concept, but is also building upon it. How does an event in a city that adores constructing more and more bridges work that reality into its program? By turning those three aforementioned river crossings into art installations — and featuring them in an art trail. Walk This Way is one of Brisbane Festival's big 2025 highlights, in what marks the last year of six at the helm for Artistic Director Louise Bezzina. Brisbane art and design duo Craig Redman and Karl Maier, who are globally known as Craig & Karl, have been given the task of transforming the Goodwill, Neville Bonner and Kangaroo Point bridges with large-scale art. With this free part of the fest's program, you'll not only see these structures as you've never seen them before and, of course, mosey along them; you'll also follow the path around the city to other iconic sites. Craig & Karl have an exhibition at Griffith University's Art Museum, celebrating where they first met, on the Brisbane Festival 2025 as well. [caption id="attachment_1008628" align="alignnone" width="1920"] Craig & Karl[/caption] Across Friday, September 5–Saturday, September 27, Bezzina has plenty more in store for the city — 106 productions and 1069 performances, in fact, featuring contributions from 2260 artists. A huge 21 events in the program are world premieres, while more than 39 percent of the lineup is free. How does Bezzina describe it? "This year's program is a love letter to Brisbane — bold, joyful, and created with and for the city," she advises. "My final festival is a celebration of everything Brisbane Festival has become: a world-class event with a fiercely local heart. From world premieres to deeply resonant community works, this year's program is ambitious in scale and grounded in storytelling, deeply connected to the people and places that make this city so special. As the city comes alive this September, I welcome everyone to take their place in the story." [caption id="attachment_1008620" align="alignnone" width="1920"] Laurent Philippe[/caption] Here's some of the other ways that Brisbane Festival 2025 is showing its affection for its hometown: with after-dark experience Afterglow among those global debuts, filling the Brisbane City Botanic Gardens with fire sculptures and candlelit installations — and also with The Great Gatsby-themed show and pop-up club GATSBY at The Green Light, which is heading to Twelfth Night Theatre to celebrate 100 years since F Scott Fitzgerald's book first hit shelves. Two of the fest's other huge drawcards stem from the world of dance. Thanks to Gems, which was commissioned by French luxury house Van Cleef & Arpels, Brisbane will witness three specific pieces by acclaimed choreographer Benjamin Millepied and LA Dance Project staged together for the first time ever. And courtesy of Baleen Moondjan, First Nations artist and Bangarra Dance Theatre founder Stephen Page is back home in Brisbane with a production that explores the link between baleen whales and Country — and, fittingly, will be performed in a barge featuring whale bone sculptural elements on the Brisbane River. Another must-attend Brisbane Festival show pays tribute to one of the city's beloved Indian restaurants, with A Place in the Sultan's Kitchen not only featuring Joshua Hinton chatting about his family's eatery, but cooking his grandmother's chicken curry live. [caption id="attachment_1008619" align="alignnone" width="1920"] UAVS[/caption] Fellow standouts include yet another dance must-see in Bad Nature, with Australasian Dance Collective and the Netherlands' Club Guy & Roni teaming up; TINA — A Tropical Love Story's tribute to Tina Turner; the solo debut of Josh Taliani, who is behind House of Alexander; Shake & Stir giving A Midsummer Night's Dream a pop makeover as The Lovers; and Back to Bilo bringing Priya and Nades Nadesalingam and their family's tale to the stage for the first time. Plus, AMPLIFIED: The Exquisite Rock and Rage of Chrissy Amphlett is an ode to its namesake, Milestone is William Yang's latest presentation, 100 Guitars gives 2025's festival its mass-participation performance and Community Choir: The Musical does indeed show the love for everyday voices. [caption id="attachment_1008618" align="alignnone" width="1920"] Stephanie Coombes[/caption] Roma Street concert series Night at The Parkland has a heap of Aussie talent on its bill, such as ICEHOUSE, Lime Cordiale, Jack River, Xavier Rudd, Amy Shark, Grinspoon and Cut Copy. To catch Odd Mob, CW Stoneking, Wolters, Phantastic Ferniture and more, head to Tivoli in the Round, which is shaking up its stage setup. And, Wunderhorse, Winston Surfshirt and Sarah Blasko are also on Brisbane Festival's program, as are Brisbane Serenades' outdoor concerts at Brisbane Powerhouse, Manly, Moorooka at St Lucia. It wouldn't be a Brisbane Festival without Riverfire, which will light up Brisbane's night sky with fireworks on the event's opening weekend. Also getting everyone looking up, Skylore will be back with another First Nations traditional story taking to the air via 400 drones. [caption id="attachment_1008616" align="alignnone" width="1920"] Children of the Revolution[/caption] [caption id="attachment_1008625" align="alignnone" width="1920"] Lachlan Douglas[/caption] [caption id="attachment_1008564" align="alignnone" width="1920"] Mellumae and Sean Dowling[/caption] [caption id="attachment_1008461" align="alignnone" width="1920"] Daniel Boud[/caption] [caption id="attachment_1008622" align="alignnone" width="1920"] JD Lin[/caption] [caption id="attachment_1008621" align="alignnone" width="1920"] George Gittoes[/caption] [caption id="attachment_1008624" align="alignnone" width="1920"] Joseph Mayers[/caption] [caption id="attachment_1008617" align="alignnone" width="1920"] Laura Du Ve[/caption] Brisbane Festival 2025 runs from Friday, September 5–Saturday, September 27 at various venues around Brisbane. Head to the festival's website for tickets and further details. Top image: Craig & Karl, Dirty Puppet and Jared Hinz.
Beau was afraid. In Ari Aster's third feature — another excellent and unforgettable film after Hereditary and Midsommar — Beau was anxious and unsettled and agitated and knocked off-kilter, too. Sheriff Joe Cross is all of these things also, with Joaquin Phoenix (Joker: Folie à Deux) again taking on a key role for a writer/director responsible for some of the best movies, and viewing experiences, of the 21st century. Along with the filmmaker's initial two pictures, Beau Is Afraid earns that description, as does Eddington, Aster and Phoenix's mid-2020-set, COVID-era-probing, brilliant and chilling and equally very amusing latest collaboration. Its focus: a small New Mexico spot struggling when normality as everyone knew it just months prior has vanished and seems as if it might never return. The Sevilla County official at Eddington's centre is as much a man interrupted, as his community is — but the Cross way of coping is to flout and defy anything that doesn't match his preferred status quo. His dislike of incumbent Mayor Ted Garcia's (Pedro Pascal, The Fantastic Four: First Steps) way of handling the pandemic, aka respecting social-distancing restrictions and mask mandates, inspires the Sheriff to take action, entering the race to lead the town (population: 2345) himself. Eddington is a western, as well as being an unnerving thriller and a hilarious dark comedy; Aster has Cross and Garcia headed for showdowns and standoffs more than once. With a Best Actor Oscar for Joker to prove it, Phoenix has been enjoying a recent stint of playing characters who are fixated, obsessed, unyieldingly determined and driven to act of late — since before the outstanding You Were Never Really Here, but that's firmly a recent example prior to his time as Arthur Fleck and now Joe Cross. He hasn't necessarily noticed that trend, he tells Concrete Playground, or recognised that anything particularly draws him in that direction. "I've never thought of it that way, but you say that and I go 'I don't even know what the last two movies I made are'," Phoenix advises. "But maybe you're right. I don't know why. I think I'm always just — it is an instinct. I either react to something that I'm reading it or I don't. And I don't really analyse why." Eddington is easy to spot trends and parallels in and around. Given that it peers into very recent history, to a period forever seared and scarred into memories — and has the era's paranoia and polarisation in its sights, spotting how neither have subsided since — that's by design. Another piece of mirroring comes via Aster's filmography. Chatting with Concrete Playground in 2018 when Hereditary released, he described his debut as "a family tragedy that curdles into a nightmare". Grief over a mother and grandmother begets worse in the feature that won Toni Collette (Mickey 17) a deserved Best Actress Gotham Award — in a movie, too, that cemented itself as an instant horror great. That "curdling into a nightmare" idea resides in each of his features, Eddington included. "I think that could be one way of describing this film," Aster tells us. "I would say that this is a film about a bunch of people who are all very paranoid, and who have very clear but kind of oppositional ideas of what is happening. And everybody's picture of the world is pretty sinister. Then, by the end of the film, the film itself becomes gripped by this paranoia — and so the movie too becomes paranoid." He continues: "and in that way, the film goes off the rails in a way that I like. It's got a long, sustained climax, which I like, especially in a genre film. It's easy to make this film, in an interview like this, sound like eating your vegetables — but it's supposed to be fun, even though what it's talking about is no laughing matter. But the film is about the circus of America, and the tilt-a-whirl goes faster and faster until the teacups start flying off." Cross' blatant and inescapable acrimony for Garcia, Joe's depressed wife Louise (Emma Stone, Kinds of Kindness) embracing online conspiracy theorists and becoming particularly enthralled by the charismatic Vernon Jefferson Peak (Austin Butler, The Bikeriders), local teens staging Black Lives Matter rallies to share their anger over the death of George Floyd, tech company SolidGoldMagikarp's plans to build a data centre on Eddington's outskirts, doomscrolling feeding the pervasive sense of distance between townsfolk: these all help that rotating ride spin. As the whirring of conflicting attitudes and opinions that's unbalancing its setting gains speed, Aster's film digs into America's contradictions, patently, as well as conservative-versus-liberal clashes. Internet hokum's easy spread, our immensely tech-reliant lives and AI earn attention; giving up power to the powerful without realising it, too. Anti-fascist activism, performative bandwagon-jumping, ignoring health-protection rules when folks are dying, not knowing how to cope with this chaos: they're also among the swirl. Aster doesn't see it as a horror movie; however, Eddington is as perceptive a portrait of 2020 and the times since as had reached screens so far, and as disquieting yet clear-eyed. The path to the feature started with an old idea predating the pandemic, which also came up while talking to the director, as did piecing the narrative together, living in a world where no one agrees on what's true anymore, reteaming with Phoenix and more — alongside chatting with Phoenix about that repeat collaboration and reuniting with filmmakers of late, interrogating fear and anxiety with Aster, what he recognised in the script, and bringing humanity and humour to Cross. On How Aster Following His Instincts in the Early Days of the Pandemic, and Picking Up an Old New Mexico-Set Idea, Lead to Eddington Ari: "Well, I feel like we're living in a very, very weird time. And the human capacity for adaptation is amazing, and everything becomes normal very quickly, and things that might be obvious become less so once they become ambient. And I just found that I wanted to pull back as far as I could, and try to describe this new reality that we're living in as well as I could — which is that everybody is living in a different version of reality, and we totally distrust anybody and anything that falls outside of our little bubble of certainty. And we've become unreachable to each other. So I wanted to make a film about that. And I'm from New Mexico — and that's really what the project was that had already been there waiting for me, which is that I have just been wanting to make my New Mexico movie. And I wanted to make a western. And it felt like the right framework for this." On Whether Returning Collaborations with Directors, Such as Ari Aster Here, Todd Phillips on Joker: Folie à Deux and Ridley Scott on Napoleon, Help Phoenix Challenge and Extend Himself as an Actor Joaquin: "I think that's what you would hope for, right, because it's almost like a long relationship, just the value of growing with somebody and changing — and somebody that learns to read you better after time. We all put our best foot forward when we first meet people and are working with them, and I think after some time we start really showing ourselves and there's real value in mining that. With Ari, it's weird, because I had one of those experiences where when I first met him, when I first just talked to him on the phone, I instantly knew that he was — I don't know, a friend just doesn't even sound like it's enough. I just knew that we were going to be working together closely, and I knew that he was somebody that I loved the way that he talked. And I understood him, like I felt like I really understood. And I think he understood me. And so there's real value in that — and I hope, I think, that he did and does challenge me in ways that are really beneficial to me and helpful." On When Aster Realised That He Wanted to Reteam with Phoenix on Eddington Ari: "After working with Joaquin on Beau Is Afraid, I really wanted to work with him again. Before Beau, he was one of my favourite actors and somebody that I very seriously wanted to work with. But when I was writing Eddington, at least the first pass of it, I hadn't worked with Joaquin yet, didn't know him yet, and so I didn't really have anybody in mind. But after we shot Beau, then I rewrote Eddington and spent a lot of time in New Mexico, travelling around, going to different small towns and meeting different people, public officials, Sheriffs of different counties, police chiefs, Mayors — went to different pueblos — and tried to get as broad a picture of the political climate of New Mexico as possible. And then once I had incorporated all of that and I had a script, it was clear to me that I wanted to at least try Joaquin again and see if he was interested. And happily he was, and I really think he does something really special with this character, Joe Cross, the sheriff of Eddington — or the sheriff of Sevilla County. Eddington is a town in Sevilla County. These are made-up places. But I think what he does here is really wonderful. He brings so much humour and humanity to this character. And I think part of the trick of the film — or I don't know if it's a trick, or if it's just something that is important to the film working — is that you have to kind of like this guy, whether you have his politics or not. There's something winning about him. And then, of course, as the film goes on that should get more complicated — our relationship to him should change." On Whether There's Something Unique to Digging Into Fear and Anxiety with Aster Joaquin: "I don't think he's exploring these traits because they're good for a character, for a movie, but it feels like it's a genuine curiosity for him. And maybe it's part of his experience, or maybe it's the experience of people that he knows. I don't know why he has that curiosity — or I don't know if it's an obsession — but definitely it's a curiosity to explore those feelings, and I don't know where it comes from. I've never asked him 'is that your personal experience, or ... ?'. I think oftentimes writers obviously observe things in others and become fascinated by it. So there's definitely a real drive and curiosity. And so I think when you're — there's not a standard way of playing that for Ari, right? It always has to be something very detailed and specific. And I'm struggling with trying to come up with an example, probably because there's so many and they're all running together. But I wish we could come up with an example of a scene. Like even in the scene where I'm — it's such a brief moment, you may not even remember — but I go back to the police station and somebody that was in the police station that was locked up is no longer there. It was really this very quick scene that's in the midst of the most-manic moment. And it was a long process for us that went throughout the day, as we discussed all the possibilities of what would be going through the character's mind and then how that is translated to somebody else as he speaks or whatever actions he takes. And so I think with Ari, it always feels that we are trying to find something that feels very specific and unique to that character in that moment — versus a blanket approach to anxiety or fear." On the Crucial Elements to Create a Film About Living in a World Where No One Can Agree on What's Real Anymore Ari: "For me, the most-important thing was to pull back as far as I could, because what I wanted to talk about was the environment, right — and I feel like we've become so atomised, and things have become so complicated and so intensely partisan, that it felt very important to move back and just try to get a picture of the landscape. And to see just how many of those particles were floating around not actually meeting each other. And then it's a genre film, and so it's built on conflict. And so the question then became 'well, what happens when these atoms start bumping up against each other? What comes out of that?'. And the answer is almost always violence, because there's nothing in the ether to hold anybody together anymore. And so that was, I guess, the challenge, but also the thing that felt necessary." On Phoenix Seeing Himself and Reality in Eddington When Aster First Sent the Script His Way Joaquin: "My first reaction was 'I recognise so much of myself and my family and my friends and my neighbours in all of these characters, and that makes me uncomfortable at times. But I'm laughing and I can't stop laughing'. That was my first reaction. And then I think I was like 'oh yeah, it's us'. And as ridiculous as we were, we were scared. Like, everyone was scared. Whether they should have been scared or whether we overreacted, it doesn't really matter. In that moment, it was kind of like waking up from a nightmare and they're like 'yeah, in the moment, it really felt like that monster was going to get me and I was scared. And all the things I did in that that moment, it was just how I reacted. I couldn't help it.' And I think in some ways, it made me just have a lot of forgiveness and understanding for how we behaved." On Putting the Pieces of Eddington Together — Including the Societal Landscape, America and Western Society's Pervasive Polarisation, and COVID-19 — in a Western-Meets-Thriller That's Also Darkly Humorous Ari: "First of all, the film is set in 2020. It's a period piece, set in June 2020, and so it helps to have something as specific as that, right, because then you're asking 'okay, what is happening right now? Who are the players here?'. And of course, I would have liked to have included far more characters, but I jammed as many people as I could into the film without sacrificing coherence or narrative clarity. But it all felt pretty intuitive that we begin with the arguments of the day, the most popular ones, which had a lot to do with masking and personal freedom versus public safety and health. And from there, things start unraveling and spinning out. And then you have these more fringe figures coming in. And I think what's interesting about this moment, even right now in 2025, is that this counterculture had been building up in America for a long time that the prevailing culture at the moment wasn't aware of. And that counterculture meanwhile was being fed and agitated, and was growing. And now that counterculture has kind of taken over. And it's all become very, very distorted and strange. It's so interesting that the right kind of adopted the language of 1960s–70s radicalism. Everything has become — I want to use the word farcical, but none of this is any laughing matter. It's feels pretty catastrophic, what's happening. And it's also why the western felt right, because it is about the building of America and forging new societies. And it feels like right now we're living through the collapse of something — we're on the cusp of something, something new. And I think everybody's feeling it and there's a lot of anxiety and a lot of fear. And for some people, a lot of excitement. I wrote this film in a state of anxiety and fear." On Whether Trying to Convey the Humanity of Joe and Also Bringing Humour to the Part Helped in Stepping Into His Shoes Joaquin: "Nothing ever feels easy. You just feel that — yeah, it doesn't feel easy, but it seemed like very much from the beginning, I could not create any separation between me and Joe. Like, that if I at any point stood above him in judgment, I would lose it, I would lose him. And so it just felt important to humanise him as much as possible. I wanted to surprise anybody that might have a preconceived idea of what conservative Sheriff in a small town might be like, and so that definitely felt like my directive. But what helped me, probably most of all, was meeting with real Sheriffs. Ari and I went on a trip together in New Mexico and spent some time, and there were a few people that I met that I really connected with that seemed like great examples of who Joe could be. So it felt to me that as much as there's something very humorous and absurd about so much of this film, I wanted to make sure that Joe was really grounded and that he was recognisable to people that actually know a Sheriff like Joe." On Whether Aster Considers Eddington to Be a Horror Film — and What's at the Heart of the Film That Scares Him, Be It Humanity's Embrace of Existential Risks, Including Not Just Health But Also AI, or Stopping Questioning the Powerful Ari: "No, I don't consider it a horror film. No. But, I do think it's talking about something that scares me. There's a lot that scares me. I'm scared that the people who are leading us don't seem to believe in the future. You mentioned AI, and I would say if you asked me to say in one sentence what this film was about, I might tell you it's about a data centre being built. And that's happening on the periphery of the film, but it's really pretty central. And all these stories are really just data for this giant wooden wheel — to churn into what? What is coming? The film is about people navigating a crisis, but all the while, there's this other crisis that's incubating in a lab over here. And who knows, the utopian dream of what this thing could bring might be true. It might come to pass. But we really don't know what's coming. And yeah, I think that what's happening all over the world — and it's happening in the United States, but it's happening everywhere — it's something that's already happened to us, which is that we've been fortressed off. And I think that's very scary that we're completely unable to reach each other, and we're living out an experiment that has already failed badly. And it doesn't seem like anybody at the levers has any interest in slowing this thing down. It feels like, on the contrary, it's only accelerating." Eddington released in cinemas Down Under on Thursday, August 21, 2025.
One of Melbourne's favourite ice cream establishments, Pidapipo, has launched a range of signature, limited-edition flavours. The sweet new scoops will only be available during the month of April, so don't wait to try them. Pidapipo is loved for its perfectly creamy Italian gelato, churned fresh daily in-store, and for its blend of tradition and innovation in its flavours. House favourites include Nutella swirl, hazelnut, salted caramel, vegan dark chocolate, and vanilla and honeycomb. This month, the special flavours reflect the change of seasons, as we move from the long, luscious summer into the cosy warmth of autumn. There are several fruity flavours to try, as well as creamy and indulgent scoops that'll have you wishing they were available all year round. For those wanting something fresh and exciting, try the rockmelon cream with rockmelon jam, or the creme fraice with passionfruit curd. The strawberry and choc combo, which blends strawberry cream with chocolate cookies and berry jam, is a must-try this season. The ricotta, fig and almond croccante creation is creamy yet light, and if you need a hit of caffeine, try the coffee special with caramel and white chocolate ganache. It'll be hard to go back to a boring long black after a taste of that. Images: Supplied. The limited-edition April specials are now available in all Pidapipo stores until April 30. If you're craving a sweet treat, check out the best scoops of ice cream around Melbourne.
In Patricia Piccinini's mind, bulbous creatures float through the sky. In her imagination, automobiles may as well be animals, and the line between humans and other critters is razor thin. It all sounds like something out of a science-fiction movie (or several), but the Australian artist's output isn't just confined to a screen. Across a variety of media, Piccinini explores the way that nature and technology, people and animals, and the unusual and the sublime all combine — and, more than that, she finds ways to make their weird and wonderful blend appear, feel and seem real. With Piccinini's body of work spanning from figures that look so naturalistic you'll expect them to start moving, to looping short film installations that bring strange beings to life, to paintings and sculptures made with actual human hair, wandering through her creations is like wandering into another realm. At Brisbane's Gallery of Modern Art until August 5, that's exactly what's on offer. Taking over the entire ground floor of the building — and filling the place with more than 70 sculptures, photographs, videos, drawings and large-scale installations, including both exisiting favourites and newly commissioned pieces — Patricia Piccinini: Curious Affection transforms GOMA into a pleasingly intriguing playground. Indeed, if Piccinini's famous animal-shaped hot air balloon, The Skywhale, literally unleashed her unique sensibilities out into the world, then Curious Affection does the opposite: it invites everyone into the acclaimed artist's mind and lets them roam around. Inside, visitors get a peek at not-quite-human lovers cosying up in a caravan, walls filled with alien-like mushrooms, and a vast array of peculiar yet beautiful creatures. And, in an exhibition designed to make you ponder what it means to be human, that's just a fraction of its treasures. In short: entering the otherworldly showcase is an experience like few others, crafted by an artist who has taken her visibly distinctive sensibilities everywhere from the Venice Biennale to Japan's skies to galleries around the world over the past two decades. Discovering exactly what her imagination has brought forth is part of the fun, but here are five things to look out for along the way — and, whether you're a Brisbanite keen on an arty staycation or you're travelling from interstate to see the exhibition, we've found you somewhere to stay as well. [caption id="attachment_667357" align="aligncenter" width="1920"] Installation view 'Patricia Piccinini: Curious Affection' at Brisbane's Gallery of Modern Art, 2018, featuring The Field 2018. Photograph: Natasha Harth, QAGOMA.[/caption] WANDER THROUGH A FIELD OF OTHERWORLDLY FLOWERS The Field isn't the first thing you'll see at Curious Affection, but this darkened room will stay with you long after you've left GOMA. It's the exhibition's main attraction for a very good reason: there's nothing quite like walking into a cavernous hall filled with more than 3000 flower-like sculptures, lightly bouncing along the spring-loaded floors and finding out that nothing's really as it seems. Each individual stem is a feat of astonishing artistry that'll make you think about the real meaning of beauty, not to mention the kind of creations that sci-fi filmmakers like Ridley Scott (Alien) and David Cronenberg (The Fly) would be proud of. When you're not staring into their hypnotic expanse, the four larger-scale sculptures — two of mothers with children, two of curious creatures — scattered around the gallery are just entrancing, not to mention perfectly on-theme. [caption id="attachment_667360" align="aligncenter" width="1920"] Patricia Piccinini, Australia VIC. b.1965. Pneutopia 2018. Ripstop nylon, shed, air. Courtesy the artist, Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Hosfelt Gallery, San Francisco.[/caption] ENTER A GARDEN SHED — AND LOOK UP Maybe you saw The Skywhale float through the sky back earlier this decade. Maybe you just wished you did. Either way, if you ever wondered what it looked like inside, then inflatable installation Pneutopia almost has the answer. It's not Skywhale 2.0, but this custom-built blow-up creation comes close — just confined within GOMA's huge two-storey hallway rather than roving free on the wind. Roam around either the ground or second level, and you can feast your eyes on the outside of this billowing orange and pink structure. Enter the ordinary-looking garden shed underneath, however, and you'll peer through a window into the heart of the balloon. [caption id="attachment_664391" align="aligncenter" width="1920"] Installation view 'Patricia Piccinini: Curious Affection' at Brisbane's Gallery of Modern Art, 2018, featuring The Young Family 2002. Photograph: Natasha Harth, QAGOMA.[/caption] GET UP CLOSE AND PERSONAL WITH CURIOUS CREATURES In one corner, a girl sits with an owl flapping over her shoulder. At several other points around the exhibition's first few rooms, kids reach out to strange critters, or cradle them in their arms, or find them laying on their backs. On a leather platform, a pig-human chimera feedings her suckling offspring. In a life-sized bed, a toddler stands shoulder-to-shoulder with a creature that could've stepped out of her dreams (or nightmares). There's more where they came from, representing some of Piccinini's best-known sculptures, and they really are the best introduction to the artist's work that you can get. Each attention-grabbing piece makes a statement, whether about natural evolution, genetic experimentation, the open mind that comes with child-like wonder, or the fine line between horror and empathy. As the exhibition's explanatory text describes, it's a collection that's "startling but rarely fearsome". [caption id="attachment_664396" align="aligncenter" width="1920"] Installation view 'Patricia Piccinini: Curious Affection' at Brisbane's Gallery of Modern Art, 2018. Photograph: Natasha Harth, QAGOMA.[/caption] MOSEY THROUGH A STRANGE PATCH OF GREENERY In the last corner of the exhibition, GOMA becomes a forest — but you don't usually see creatures called 'tyre lions' and 'butthole penguins' in a standard patch of greenery. Yes, that's their actual name, and they're bizarre but delightful, like figures from an offbeat animation you now definitely wish existed. Piccinini arranges these pieces as if she's arranging a display in a natural history museum, which only adds to their uncanny allure. It's the final piece in a gallery-wide puzzle that presents an assortment of seemingly familiar figures, animals, scenes and objects, but shows that they really couldn't be less ordinary. [caption id="attachment_667355" align="aligncenter" width="1920"] Installation view 'Patricia Piccinini: Curious Affection' at Brisbane's Gallery of Modern Art, 2018. Photograph: Natasha Harth, QAGOMA.[/caption] KEEP YOUR EYES ON THE SCREENS As well as Piccinini's eye-catching sculptures, installations and other pieces, GOMA's walls are lined with multiple screens playing her video works. Each runs on a loop, ranging from 90 seconds to a couple of minutes in duration — and if you're keen to dive even deeper in the artist's mind, they're all well worth your time. Gaze at Ghost, aka a hairy chicken-like creation hanging from the ceiling, for example, then watch In Bocca Al Lupo, a mesmerising short film filled with similar critters. If you only make time for one, however, then head to an adorably odd effort called The Seedling's Dance. It runs for less than three minutes, and it's playing on a cinema-sized screen that you you really won't be able to miss. COMING FROM OUT OF TOWN OR INTERSTATE? Can't get enough art? Not quite ready to re-enter reality after wandering through Piccinini's intriguing creations? Heading in from out-of-town and looking for a suitably creative place to stay? Brisbane's Art Series Hotel The Johnson fills its walls, halls, rooms and suites with abstract works from its namesake artist, Michael Johnson, offering the closest thing you'll find to sleeping in a gallery. And, for the duration of Curious Affection, the boutique hotel has a stay-and-see deal that includes one night's accommodation and two tickets to the GOMA exhibition. When you're not marvelling at Piccinini's work, you can look through the in-house art library, watch the dedicated in-room art channel, or get a dose of outdoor splendour while you're taking a splash with a view in the 50-metre pool or lazing around on the luxe deck. Patricia Piccinini: Curious Affection exhibits at Brisbane's Gallery of Modern Art until August 5, and includes a film screening series and Friday night art parties throughout June and July. For more information, head to the gallery website. Patricia Piccinini: Curious Affection images: Natasha Harth, QAGOMA.
St Kilda may be known for its backpacker-filled pub crawls, but we get more excited about the Fitzroy Street precinct's annual restaurant crawl — spending a night sipping and snacking around the neighbourhood's top eateries. This year, 18 local venues have banded together to put on Around the World in One Night, which takes place from 6–9pm on Wednesday, September 18. Restaurants championing cuisines from across the globe — including India, Italy, West Africa, Thailand, France, Scotland and China — are each creating two small dishes for the night that you can pick up and eat as you move from venue to venue. Every snack costs $5.65, and needs to be ordered ahead of time — so the kitchens know how much food to make. That means you'll need to plan your restaurant crawl route ahead of time, picking up your pre-ordered food as you go. [caption id="attachment_908470" align="alignnone" width="1920"] Louey's[/caption] These dishes will be served as takeaway bites, but some venues will let you dine in if you buy a bev. Otherwise, you'll eat it as you wander around the Fitzroy Street precinct, catching some live music and entertainment in the streets as you go. Basically, think of it as a restaurant crawl and a block party all in one. You'll find all 18 participating restaurants' menus on the event's website, but you can expect West African spiced wings from Akwaaba Restaurant & Bar; Himalayan prawn dumplings from Babu Ji; steak tartare from Bistro Voliere; pad grapow from Derby Thai; empanadas from La Bodega; chicken tikka from Mukka; scallops with black pudding from The Cross; and pumpkin and blue cheese arancini from Louey's Bar & Kitchen at The Espy. According to the crew who ran last year's Around the World in One Night, four to five tasters are about enough to fill you up, but we suggest getting a few more just to be safe. [caption id="attachment_926672" align="alignnone" width="1920"] Mukka[/caption]
Get lost in a maze of mirrors at NGV International where a brand new installation work has just been unveiled. Premiering earlier this week, Semicircular Space is a new piece by Berlin-based Danish artist Jeppe Hein, and consists of dozens of polished steel pillars more than 2.5 metres tall. Erected in a labyrinthine pattern, the work aims to distort the observer's perception of reality and call into question the way they view the world. The maze-like sculpture has been installed in Federation Court in the foyer of the NGV building, where it can be accessed by the public without charge. Point is, if you've ever wanted to run through a hall of mirrors like the hero and/or villain in a Saturday morning cartoon, this is your chance. You can visit Semicircular Space at NGV International until Friday September 16. It's the latest in a series of contemporary art commissions for Federation Court, made possible by the support of the Loti & Victor Smorgon Fund.
What would you do if you were a little less freaked out by consequences? Would you talk to more new people, fear a bit less, dance a little more like FKA Twigs, or quit your desk job and start that business you've always wanted to give a red hot go? Some sparkling young Australians are already flinging their inhibitions into a ziplock bag and seizing this little ol' life with both hands. Concrete Playground has teamed up with the Jameson crew to give you a sneak peek into the lives of some of the country's boldest characters who took a big chance on themselves. They've gone out on a limb and rewritten their path, encapsulating 'Sine Metu', the Jameson family motto which translates to 'without fear' — getting outside your comfort zone and trying something new. After all, we only get one shot at this. Take notes. Having dabbled in his fair share of pulse-quickening activities as a youngster, Sydney street artist and skateboarder Sid Tapia is no stranger to the concept of overcoming big fears. In a career that started at age ten, he's hung out of train doors to tag them, skateboarded at a pro level and even founded his own label, Crown St. rediscover a passion he thought he'd lost forever. FUEL THAT FIRE IN YOUR BELLY Sid got cracking on his creative pursuits pretty early on, recalling being captivated by his mother's old handwriting textbooks at the age of four. Soon after that, Sid began recreating the characters in his life: the faces of friends and family. "I'd spend ages trying to do what I saw," he says. "I would see someone or something that I thought was beautiful and be like, 'I want to do that on paper'." It's an interest that would eventually lead him into the graff scene, swapping out paper and pens for trains, walls and spray paint. Meanwhile, Sid's older brother Walker was offering his own brand of influence, introducing him to alternative music genres, hip-hop culture and, ultimately, the street art movement. "He was like my mentor-slash-father figure growing up," Sid explains. "He really taught me a massive step in being able to overcome not just challenges, but confrontations as well." NEVER STOP LEARNIN' At around age ten, Sid discovered the world of graffiti, and he was instantly hooked on this risky, yet exhilarating form of creative expression — especially the risky sport of train tagging. The fact that he could lean out of a train, paint his name up and others would see it was both scary and adrenaline-pumping (not to mention highly illegal). But just a few years later, Sid's flirtation with locomotive art was rattled, after his friend was injured in a serious train accident, reminding him (very bluntly) of the elephant in the room: mortality. "Graffiti was never the same after that," Sid says. "It was nerve-wracking — it was scary." And so he gave up graff. Having come so close to paying the ultimate price for his passion, Sid diverted his attentions to skateboarding — and despite being discouraged from the sport by his family, it was clear he had some serious skills. "My grades were really bad, but I knew that my skating was really good," he says. "And I was like, 'I'm gonna do this thing.'" Skating was a passion that continued well into his twenties, landing him sponsorship deals and a heap of recognition on the Sydney scene. He was even profiled in the awesome 1997 short film by Warrick Thornton for SBS's Eat Carpet. Like many twenty-somethings, at the time it looked as though Sid had, in his own words, "everything sorted" — but he was really "a wreck". So he turned to an old friend to navigate through it: books. "To understand what it is to overcome, what it is to get through a challenge, what's needed — and a lot of the time what's needed is knowledge." TACKLE THE CHALLENGES AND GET BACK IN THE DAMN GAME 23 years later, Sid was still shaken by that train accident — and his own decision to run away. "I had to live with that for a long time," he admits. "I knew I ran away from something massive that could have helped her out. I was just too scared. But about a year ago, I thought: 'I have to face up to this'." So he located his former friend and reached out to her on social media, laying down the emotional apology that had been such a long time coming. "I was in tears…it was heavy," Sid says. "That was a fear I had to overcome by literally confronting it…having to just man-up and be emotional and apologise." Like the big cats he spray paints on his walls, Sid was finally fierce in approaching the situation, and moved forward regardless of harboured fears. And in doing so, he not only opened up a positive new relationship with his old friend, but a newfound positive relationship with his art. Sid's back doing the graffiti thing again — only this time around, it's in a much more holistic (and completely legal) capacity. Working on both commissions and his own pieces, his striking large-scale murals grace walls across Sydney, from the skate park at Bondi Beach to countless buildings in Stanmore, Camperdown, Newtown and the inner west. His lettering and illustration work is equal parts mind-blowing and mindful. He's a highly sought-after, full-time working artist now, running the odd class with Work-Shop and the Museum of Contemporary Art, and working with Marrickville Council's 'Perfect Match' program pairing residents with street artists. All those setbacks? Turns out he didn't let them set him back at all. "I love that I'm able to get what I do and bless people with it. I want to put something out that's going to inspire, or encourage… spark a little bit of wow in someone's life." Want to experience a little bit of 'Sine Metu' yourself? Thanks to Jameson and The Rewriters, one extremely fortunate Concrete Playground reader (and their even more fortunate mate) will get the chance to 'fear less' and go on a big ol' adventure to Ireland. In addition to two return flights departing from your choice of Sydney, Melbourne or Brisbane, this epic giveaway comes with five night's accommodation and $500 spending money you can use to paint the Emerald Isle red. ENTER HERE. For more about how 'Sine Metu' influenced John Jameson's journey visit Jameson's website. Images: Sid Tapia.
Over the span of the universe, ten years is the blink of an eye. In a human lifetime, a decade can zip by unnoticed. In the realm of public works (a realm so dense that all previous laws governing time and space break down around it) ten years is, in practice, a millisecond. Projects can drag on for eternity before we see a single blade of grass (hell, in six seasons of Parks and Rec they only managed to fund one weeny little park). So you can understand why people may secretly believe Leslie Koch, president and CEO of The Trust of Governors Island in New York City, to be some kind of time-travelling magician. Since her instatement in 2006, she's worked with city government and private sector alike to transform a flat, derelict military island off Manhattan into a thriving public space with nearly half a million visitors each summer. Under Leslie's guidance, the first phase of the master plan, including 12 hectares of parkland, was opened to the public in May 2014. The second phase (named The Hills for the rolling Teletubbyland-esque vista and 360 degree panoramic views of New York City) is slated to open in July, a year ahead of schedule. And the next phase for Governors Island is even more ambitious: a 13.4 hectare innovation incubator and public campus to service the growing startup culture in New York. Leslie's flying in to Sydney to appear as one of the keynote speakers for REMIX Sydney 2016, so we found a tiny window in Leslie's obviously jam-packed schedule to sit down and talk big. [caption id="attachment_572737" align="alignnone" width="1280"] The Hills, Governors Island.[/caption] THE PESKY PROBLEM OF HAVING MORE IDEAS THAN EMPLOYEES Revamping Governors Island as a startup haven is a superhuman feat in itself, but let's backtrack for a moment. America is in a bind: the age of manufacturing has passed and technological innovation is now the hot economic commodity to sink graduates into. Tech startups are bread-and-butter for the emerging generation of computer scientists. However, there's a gaping crevasse between practice and education theory. The tech industry waits for no one, particularly not one who spends four years and a small fortune on a tertiary education only to emerge and find the skills they've learned are not the skills employers want — nor, often, are they even relevant anymore. "I was meeting with a very successful serial entrepreneur the other day and he said, 'Look we actually can't hire enough people for the ideas that we have'," Leslie Koch muses "There's no shortage of ideas, there's a shortage of people." The solution, she believes, begins with physically merging private sector components into the education model, eliminating the lag between industry practice and educational canon. It's an inevitable direction, considering our career path structure is changing — everyone's a freelancer, untethered by company loyalty, each in possession of a long resume dotted with short tenures. If you want to stay employable in a competitive marketplace rocked to and fro by the all-powerful internet and all her resplendent memes, you've got to freshen up your skills every now and then. ON BUILDING THE SILICON VALLEY OF THE EAST COAST Governors Island represents more than a green lung to New York City's concrete playground. In its second phase it will become an incubator for innovation, the Silicon Valley of the east coast and, as Jack Donaghy would say, 'innoventually' develop a solution to the human capital crisis in the tech industry in NYC. But just what is so magical about Silicon Valley that's worth mimicking? Does innovation bubble up from the very ground water? General consensus is the Valley works for two reasons. First, early in the game, big companies collaborated with educational institutions (to mould their chickens before they hatched). Second, a close physical proximity, as well as a focus on innovation, encouraged knowledge convergence and cross-fertilisation between tech startups. The underlying lesson here? Physical space organisation is incredibly important for knowledge sharing (there's a reason why open-plan offices are everywhere, and it's not just to keep you off Facebook during work hours). ON CREATING AN 'INNOVATION INCUBATOR' ON THE ISLAND The next stage for Governors Island is to build an 'innovation incubator'. It may sound like jargon, but the articulation of an 'incubator' draws on those ideas that people, and young startups in particular, hugely benefit when they physically share space with their contemporaries. "[A technology incubator] gives companies flexibility in leasing and acts as a social space, a cross-fertilisation space, that you wouldn't have in a conventional 'I'm going to rent my office, hire my people and I'm never going to interact with the other companies in my building' model," says Leslie. The needs of early stage technology startups go beyond infrastructure and financial support — expertise and knowledge must be shared freely to the benefit of all. WHY NEW YORK CITY GENERATES A DIFFERENT KIND OF STARTUP TO CALIFORNIA The Silicon Valley of New York (coming soon to Governors Island!) won't actually be all that similar to the Californian model. The startups coming out of New York (such as Tumblr, Kickstarter, Etsy) are an intrinsically different breed than the West Coast startups (Facebook, Google, Apple) — they're flavoured by the city. Leslie is very aware of this. "The second chapter of my career was in technology on the West Coast. I worked at Microsoft and, like its analogist companies in the Valley, it started in the suburbs and there were a few of us who commuted out to Redmond, Washington. What you're now seeing is companies recognising that to innovate, there's something about being in a city rather than isolated. When you create campuses with an urban flavour, that really makes sense for innovation." A city, unlike the 'burbs, is a cluster model in itself. The Governors Island incubator model will perhaps not be a scaled down version of Silicon Valley but of NYC itself, with educational institutions and private sector components physically merged instead of adjacent. "High-tech companies move to the city because of the messiness of the city and the interactions you have with all kinds of people and different kinds of industries… I personally believe that cities are the place where innovation takes place," she says "What I couldn't have planned for was the amount of emotion that New Yorkers have for Governors Island. We made a place people have embraced, have come to love, even though it's a place no-one has ever spent the night and it's never been open for more than 120 days a year." Australia has only 10 percent the urban density of America so notions of space can be a tricky to wrap your head around; space is a nuisance most of the time. But the cluster model is starting to take hold in Sydney and it works, no doubt in part, thanks to the mapping done on the front lines in the US. [caption id="attachment_572738" align="alignnone" width="1280"] The Hills, Governors Island.[/caption] WHAT'S NEXT? Sadly, Leslie recently announced she'll be stepping down as CEO after the Hills opens to the public. "This is a natural inflection point and when you run a seasonal recreation destination, you're on-duty every weekend so the thought of having my first summer off in 11 summers was just too good to pass up." And what a hard-earned summer it'll be. You can catch Leslie speaking at REMIX Sydney from June 2-3 at Sydney Town Hall. Your mates Concrete Playground will be there too, introducing you to Sydney's most successful entrepreneurs — the businesses we couldn't write fast enough about — with a special curated session on 'How Long Does It Take to Become an Overnight Success?'. More info right here. Top image: Iwan Baan/Governors Island.
Footscray is getting a brand new watering hole from the team behind Laneway Festival, Ponyfish Island and St Jerome's – The Hotel. Dubbed Back Alley Sally's, the bar is located in a previously abandoned, multi-storey warehouse, and is the latest venture from Jerome Borazio's Get Notorious Group. Opening next week on Yewers Street just a few minutes' walk from Footscray Station, Back Alley Sally's will be a "CBD-inspired bar" (whatever that means) with "modern-day industrial elements," including exposed brick walls, high ceilings and a large, central bar area. Patrons can sit at the bar or cosy up in a booth, while indoor garden beds should help soften up the otherwise mechanical decor. 4 Yewers Street, Level 1. Doors almost open. #backalleysallys A photo posted by Back Alley Sally's (@backalleysallys) on Feb 4, 2016 at 8:45pm PST Beverage options will include wine, craft beer and cocktails, while food will be taken care of by their ground floor neighbours Slice Girls West. As the name suggests, they specialise in pizza, although they also do toasties, nachos, salads and a tasty looking cheese kransky dog. Back Alley Sally's is located upstairs at 4 Yewers Street, Footscray. They're opening hours are 4pm to 10pm Wednesday to Saturday and 2pm to 9pm Sunday. For more information visit www.backalleysallys.com.au, or check them out on Facebook.
Opened by renowned chef Scott Pickett (Estelle, Matilda, Pastore and Longrain), Chancery Lane resides in the historic Normanby Chambers site at 430 Collins Street. The space is kitted out with moodily lit dining zones, curved banquettes and arched windows framed in dapper black steel, while the Euro-accented bistro serves up fare that's at once timeless and unafraid of modern technique. The expansive seafood selection features a range of caviar served by the gram or the tin, alongside bites like prawn cocktails with apple and cantaloupe. A rich chicken liver parfait with pineapple on brioche makes for a decadent snack, as does the king dory with Cafe de Paris — surely a cult favourite in the making. Deeper in, you might find yourself tucking into a local snapper with turnip and sauce bois boudran or a Westholme wagyu flank. And while the cheese selection features an impressive, global lineup, prepare to be more than little swayed by lush desserts like the lemon and rum baba. A grand, globe-trotting wine cellar rounds out the fun at Melbourne's Chancery Lane, including a pick of top-shelf wines displayed artfully in a former safe within one of the dining room walls. Images: Tania Bahr Vollrath Appears in: The Best French Restaurants in Melbourne for 2023
Paradise Alley is the latest addition to Collingwood's multi-faceted dining warehouse on Easey Street. The shared space includes a microbrewery, deli, art gallery, motorbike shop and, now, a 150-seater public bar and pool hall. Hospo vet and owner Laura Twomey (ex-City Wine Shop) maintains the warehouse's roots in this massive open space with polished concrete floors, original stained glass windows and exposed brick walls, along with eclectic furniture and a gorgeous handmade blonde timber bar. A separate pool room features a red table surrounded by hard-backed booths and the laneway doubles as a 35-seater beer garden, complete with potted plants and large-scale street art across every wall. The bar is serving up a rotating tap list of Australian craft beer, along with a small specialty cocktail menu and natural wines. For food, they're collaborating with neighbour Little Latin Lucy, who also resides in the warehouse and serves up Latin American street food with a Californian twist. Dishes can be ordered from the bar and include chipotle pork or smoked duck tacos topped with charred pineapple, lamb ribs and grilled whole fish. The bar also hosts weekly charity meat raffles and regular wine tastings. The co-op type space is also shared with Backwoods Gallery and Casati's Deli, the latter of which has begun brewing their own beer from the warehouse's microbrewery — which is visible from Paradise Alley and will make its way onto their taps soon enough. Images: Eduardo Vieira.
From vending machines lining the streets to combinis (that is, convenience stores) taking up real estate on every corner of Tokyo, it's clear Japan is a nation puts a lot on emphasis on convenience. The Japanese attitude to fast food is no different — except in Japan, convenience doesn't have to mean compromising on quality. From curry houses filled with salarymen, ubiquitous heartwarming hamburgers and contemporary takes on traditional Japanese meals that will set you back less than $5AUD a pop, this is where to get real fast food in Japan. [caption id="attachment_629778" align="alignnone" width="1920"] Lucy Dayman[/caption] SUKIYA No matter how long you spend in the country, Sukiya (すき家) is one sight you'll become familiar with fast. With over 1600 stores dotted throughout the nation, the store's red, white and gold logo is a staple on the Japanese urban landscape. The 24-hour restaurant delivers no fuss, classic Japanese dishes, though their most iconic dish is gyudon, which translates to 'beef bowl'. What you'll get is shredded beef served over rice accompanied with topping of your choice. What's great about Sukiya is the chain's dedication to experimentation and perfection, with additions and modifications being made to the menu — so no matter how many times you've visited, there will be something new to try. A meal will set you back about ¥500-800 ($6-10AUD). [caption id="attachment_629781" align="alignnone" width="1920"] cathykid via Wikimedia Commons.[/caption] OOTOYA Ootoya might be a little steeper in price than beef bowl outlets like Yoshianoya and the aforementioned Sukiya, but it's worth the extra yen. Plus, with the average price hovering around ¥800 ($9-10AUD) it's still cheaper than anything in Australia. Ootoya specialise in classic Japanese teishoku 'meal sets'. Though a meal set sounds like something you'd get in a retirement village or jail, it's actually the best way to appreciate carefully curated Japanese cuisine. It will usually include rice, miso soup, and a main dish, which might be fish, or soba noodles. At Ootoya the sets are seasonal, so you won't be stuck eating the same thing over and over. [caption id="attachment_629779" align="alignnone" width="1920"] Lucy Dayman[/caption] HIDAKAYA RAMEN It's impossible to speak about Japanese fast food — or just Japanese food, for that matter — without giving time to the nation's most internationally loved culinary creation: ramen. In Japan, ramen is as diverse as it is popular; every prefecture, city, restaurant and even chef has a different take on the dish. In Tokyo the ramen options are almost excessive, so, if you do your research, you can definitely find the most perfect bowl for your palate. However, if you're after consistently good, cheap, filling and easy-to-access ramen, you can't miss Hidakaya. This generally 24-hour outlet is the perfect place to rest your weary body and dive into a warm comforting bowl any time of the day or night. Most meals will cost you little more than your pocket change at ¥500 ($6AUD) and, if you want to drink, booze options start at ¥270 ($3AUD). [caption id="attachment_629782" align="alignnone" width="1920"] Dick Thomas Johnson via Flickr.[/caption] UOBEI GENKI SUSHI Like ramen, you sushi is incredibly diverse in terms of options, price points and specialties — but as a little local tip, Uobei Genki Sushi is kind of special. Cheap and always delicious, the crew at Genki Sushi have reinvented the concept of conveyor belt sushi. Rather than constantly rotating dishes, the Genki Sushi use the conveyor belt method to deliver specifically ordered dishes right to you. With touch screen menus, all you have to do is select what you feel like and, within moments — like some strange futuristic dream — the sushi will take a ride on a little delivery plate stopping right in front of your face. With dishes costing around ¥100 ($1.20AUD) and simple English ordering, there's really no excuse not to go. [caption id="attachment_629783" align="alignnone" width="1920"] Hunter Nield via Flickr.[/caption] MOS BURGER It's impossible to speak about fast food in Japan without acknowledging the country's growing love of western cuisine. Like so many things here, Japan has turned appreciation into full-blown obsession and somehow managed to improve the already perfect. Though from the outside it seems like an average burger joint, MOS Burger is a not-so-little takeaway restaurant with a connection to the land: M.O.S stands for 'mountain, ocean, sun'. With over 1700 stores across the country, the store's mission is to "make people happy through delicious food". In a time where other burger chains are constantly unveiling artery clogging Frankenstein-style creations to garner publicity, Mos' humble attitude to producing made-to-order, well-crafted hamburgers is pretty refreshing. Depending on how fancy you want to go a MOS Burger will cost between 200- ¥600 ($2.50-8AUD) [caption id="attachment_629784" align="alignnone" width="1920"] kici via Wikimedia Commons.[/caption] COCO ICHIBAN Though the icon status goes to ramen and sushi, curry is actually the most popular dish in the country. With over 1200 locations sprinkled throughout Japan (and more internationally), Curry House Coco Ichibanya are the local curry kings. Traditionally, Japanese curry is a more mild take on the Indian dish and it comes in a variety of forms. From curry with udon noodles, 'curry pan' (that's curry-filled bread) and the classic karē raisu (aka curry rice), this dish is a lot more Japanese than you anticipated. What makes Coco Ichiban so exciting is your freedom to fully customise your order. The amount of rice, spice and all those toppings are so nice that it means you're never going to get a mass-produced run-of-the-mill plate here. Depending on your order you can easily get a serious meal for less than ¥700 ($8AUD).
Whether you watch television programs on your laptop, phone or TV set (or a combination of the above, depending on your mood and situation), the small screens in your house got quite the workout in 2020. That's a definite side effect of this strange year, with everyone spending more time on the couch than normal. You don't need us to tell us that, of course — but, thankfully, there was no shortage of things to watch. Checking out the latest seasons of your favourite shows probably helped while away some of the hours. More than a few, we're guessing. Restreaming classics likely did the same as well, because everyone likes some comfort viewing in tough times. But if you were looking for something new and exciting to fill your time in 2020, the various networks and streaming platforms all did their part. Stunning new dramas, savage historical comedies, engaging miniseries — they all made their debut over the past 12 months, and we've picked the ten best of the year that you should check out if you haven't already. https://www.youtube.com/watch?v=DTjlurdbNnw I MAY DESTROY YOU Newly returned from a working trip to Italy, struggling to write her second novel after her first struck a sizeable chord and pushing up against a draft deadline just hours away, Arabella (Michaela Coel) takes some time out from an all-nighter to procrastinate with friends over a few drinks in a couple of London bars. The next morning, the Twitter-famous scribe is shaky, hazy and feels far from her normal self — and across the next 11 episodes of this instantly blistering 12-part series, I May Destroy You delves into the aftermath, as Arabella realises that she was raped that evening. Not only created and written by the unflinching and captivating Coel, but inspired by her own real-life experience with sexual assault, the result is as bold, raw and frank as it is sensitive and affecting. It also feels personal at every single moment. An immensely powerful series that intimately interrogates power on multiple levels and features an unsurprisingly potent performance by Coel, I May Destroy You is easily this year's number-one must-see show — and its absolute best. I May Destroy You is available to stream via Binge. https://www.youtube.com/watch?v=ODYjA9H4qcw NORMAL PEOPLE When Sally Rooney's Normal People first hit bookshelves in 2018, it thrust readers into a disarmingly relatable love story, following the amorous ups and downs of an on-again, off-again couple from Sligo, Ireland. Teenagers Marianne and Connell have known each other for years, as tends to happen in small towns. And although she's aloof, intense and considered an acerbic loner, while he's outgoing and popular, a torrid and tumultuous secret romance blooms. That's just the beginning of the Irish author's novel, and of the both tender and perceptive TV series that brings the book to the screen. As it dives deep into a complex chronicle of first love, it not only charts Marianne (Daisy Edgar-Jones, Cold Feet) and Connell's (newcomer Paul Mescal) feelings for each other, but details the recognisable and realistic minutiae of being a high schooler and then a uni student. This is first and foremost a romance, and a passionate and intimate one at that; however, the series can't tell this complicated couple's story without touching upon everything else that pops up along the way. Normal People is available to stream via Stan. Read our full review. https://www.youtube.com/watch?v=ZI0q-jFWx-s LOVECRAFT COUNTRY Viewing US race relations and the nation's treatment of its black residents through a horror lens has long been Jordan Peele's jam, dating back to his Key & Peele days. Anyone who has seen Get Out and Us, the two films he has directed thus far, also knows this — and it is evident in Hunters, the TV series he executive produced earlier this year, as well. So Lovecraft Country, HBO's new horror drama based on the 2016 of the same name, was always going to be in Peele's wheelhouse. He's an executive producer again, and he's firmly in his element. Set in the 50s in America's south, this extremely well-executed series follows returned soldier Tic Freeman (Da 5 Bloods' Jonathan Majors), his uncle George (Project Power's Courtney B Vance) and his friend Leti Lewis (Birds of Prey's Jurnee Smollett) as they set off on a road trip to both find Tic's missing dad and locate African American-friendly places for George's Green Book-style guide. Their journey takes them to a part of the country where famed real-life sci-fi and horror writer HP Lovecraft found inspiration for his tales, too — and the results are smart and unnerving on multiple levels. Lovecraft Country is available to stream via Binge. Read our full review. https://www.youtube.com/watch?v=1htuNZp82Ck&feature=youtu.be TALES FROM THE LOOP If Black Mirror set all of its bleak futuristic tales in one small town, followed interconnected characters and sported a low-fi, retro sheen, the result would be Tales From the Loop. This patient, beautiful, poignant and incredibly moving sci-fi series is actually based on a series of paintings by Swedish artist Simon Stålenhag — and even if you didn't already know that fact while you were watching, you'd notice the show's distinctive aesthetic. The title refers to a mysterious underground machine, called The Loop, that's designed to explore and unravel the mysteries of the universe. For the folks living above it, their lives soon take strange turns. Anchoring jumps and pauses in time, body swaps, giant robots and more in everyday situations and emotions (such as being envious of a friend, falling in love, betraying your nearest and dearest, and trying to connect with your parents), Tales From the Loop is as perceptive as it is immersive and engaging. And, its eight episodes are helmed by an exceptional array of fantastic filmmakers, including Never Let Me Go's Mark Romanek, WALL-E's Andrew Stanton, The House of the Devil's Ti West and actor-turned-director Jodie Foster. Tales From the Loop is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=t8klax373ds DEVS Radiating unease from its very first moments, yet sporting both a mood and a futuristic look that prove simultaneously unsettlingly and alluring, Devs is unmistakably the work of author-turned-filmmaker Alex Garland. His first jump to the small screen, it instantly slots in nicely beside Ex Machina and Annihilation on his resume — and it's just as intriguing and involving as each of those excellent movies. The setting: Amaya, a US technology company that's massive in size yet secretive in its focus. When Sergei (Karl Glusman) is promoted to its coveted, extra clandestine Devs division, his girlfriend and fellow Amaya employee Lily (Sonoya Mizuno) is thrilled for him. But when Sergei doesn't come home from his first day, Lily starts looking for answers — including from the company's guru-like leader Forest (a long-haired, very un-Ron Swanson-like Nick Offerman). Devs is the kind of series with twists and turns that are best discovered by watching; however, as each second passes by, the stranger and more sinister it all appears. Expect conspiracies, tech thrills and big questions, in a series that does what all the very best sci-fi stories do: tackle big existential queries and intimate everyday emotions in tandem, all while asking 'what if?'. Devs is available to stream via Binge. Read our full review. https://www.youtube.com/watch?v=8BVoYKwTc4E AUNTY DONNA'S BIG OL' HOUSE OF FUN 2019's I Think You Should Leave with Tim Robinson was the best sketch comedy of that year. In 2020, the equivalent title goes to Aunty Donna's Big Ol' House of Fun. If you're familiar with Australian comedy troupe Aunty Donna, then you'll know what to expect. Writers and performers Mark Samual Bonanno, Broden Kelly and Zachary Ruane, director and writer Sam Lingham, filmmaker Max Miller and composer Tom Armstrong have been treating audiences to absurdist gags, satire, wordplay and songs since forming in 2011 — but now the group has channelled all of its silliness and surreal gags, and its astute ability to make fun of daily life in a smart yet ridiculous way, into a six-part Netflix series. Bonanno, Kelly and Ruane star as themselves, and housemates. Each episode revolves around a theme, starting with the search for a fourth member of their household when they decide to turf their annoying talking dishwasher (voiced by Flight of the Conchords' Kristen Schaal). There's nothing too over-the-top for Aunty Donna, or too trivial, including treasure hunts, an out-there recreation of Ellen DeGeneres' talk show, a pitch-perfect takedown of trendy barber shops to a parody of male posturing when the guys turn their house into a bar. And there's little on offer in the extremely binge-able show that doesn't deliver just the dose of side-splitting absurdity that this hectic year needs. Aunty Donna's Big Ol' House of Fun is available to stream via Netflix. Read our full review. https://www.youtube.com/watch?v=G5vLgpdXz0g THE GREAT It takes its title from its central figure, Russian empress Catherine the Great. It's filled with lavish period-appropriate costumes, wigs, sets and decor. And, it explores an immensely famous time during the 18th century that had a significant impact upon the world. Normally, that'd all smack of a certain kind of drama; however The Great is firmly a comedy as well. As starring Elle Fanning as the eponymous ruler, Nicholas Hoult as her husband Peter III and Bohemian Rhapsody's Gwilym Lee as a fellow member of the royal court, that means witty, laugh-out-loud lines, an irreverent and often cheeky mood, and having ample fun with real-life details — much in the way that Oscar-winner The Favourite did with British royalty on the big screen. Of course, the comparison couldn't be more fitting, with that film's BAFTA-winning screenwriter, Australian Tony McNamara, using his savagely hilarious satirical skills to pen The Great as well. The Great is available to stream via Stan. Read our full review. https://www.youtube.com/watch?v=qaMIcuVH83M&feature=emb_logo THE BEACH Whenever Warwick Thornton makes a new project, it demands attention — and the Indigenous Australian filmmaker has never made anything quite like The Beach. The director of Samson & Delilah and Sweet Country turns the camera on himself, chronicling his quest to escape his busy life for an extended soul-searching getaway. With only chickens and wildlife for company, Thornton bunkers down in an electricity-free tin shed in Jilirr, on the Dampier Peninsula on the northwest coast of Western Australia. He fishes, cooks, chats to the chooks, wanders along the shoreline and reflects upon everything that's led him to this point, with this six-part documentary series capturing the ups, downs, sublime sights and epiphany-inspiring moments. Unfurling quietly and patiently in the slow-TV tradition, Thornton's internal journey of discovery makes for both moving and absorbing viewing. Indeed, combined with stunning cinematography (as shot by Thornton's son and Robbie Hood director Dylan River), it just might be the best piece of Australian television you see this year. The Beach is available to stream via SBS On Demand. https://www.youtube.com/watch?v=-zVhRId0BTw UNORTHODOX Deborah Feldman's best-selling 2012 autobiography Unorthodox: The Scandalous Rejection of My Hasidic Roots makes the leap to Netflix as a four-part mini-series. And, as the book's title makes plain, both explore her decision to leave her ultra-Orthodox Jewish community in Williamsburg, New York, flee her arranged marriage and everyone she's ever known, and escape to Berlin to start a brand new life. Names and details have been changed, as tends to be the case with dramas based on real-life stories; however Unorthodox still follows the same overall path. In a tense but instantly commanding opening to the show's first episode, 19-year-old Esther 'Esty' Shapiro (Shira Haas) slips out of the apartment she shares with her husband Yanky (Amit Rahav), picks up a passport from her piano teacher and nervously heads to the airport. The end result proves a unique and intriguing coming-of-age tale, a thoughtful thriller, and an eye-opening but always careful and respectful look at a culture that's rarely depicted on-screen in such depth. Israeli actress Haas (The Zookeeper's Wife, Foxtrot, Mary Magdalene) turns in a nuanced, weighty and gripping performance as Esty, too — which is absolutely pivotal in making Unorthodox so compelling to watch. Unorthodox is available to stream via Netflix. Read our full review. https://www.youtube.com/watch?v=Vv-Mb4vTxj0 WE ARE WHO WE ARE Two on-screen tales about American teenagers in Italy. Two floppy-haired male leads oozing with uncertainty and yearning. One filmmaker. After Call Me By Your Name, Luca Guadagnino returns to familiar territory with HBO miniseries We Are Who We Are — and if its star Jack Dylan Grazer reminds you of the now ultra-famous Timothée Chalamet, that's completely unsurprising; in 2018's Beautiful Boy (not directed by Guadagnino), the former even played a younger version of the latter's character. But don't go mistaking Guadagnino's eight-part TV show for a mere or lazy rehash of the director's past work. Following two neighbouring 14-year-olds who live on a US army base with their enlisted parents, including Grazer's newly arrived loner, We Are Who We Are once again taps into universal themes about finding one's own identity and place in the world, and navigating affairs of the heart as well, but it definitely has its own story to tell. Also starring first-timer Jordan Kristine Seamón, plus Chloë Sevigny (Queen & Slim), Alice Braga (The New Mutants), Scott Mescudi (aka Bill & Ted Face the Music's Kid Cudi), Francesca Scorsese (daughter of iconic filmmaker Martin Scorsese) and Tom Mercier (Synonyms), this patient yet involving series once again boasts Guadagnino's eye for gorgeous and revealing imagery, though, with every intoxicating shot (and every camera angle and placement used for each shot) luring viewers in. We Are Who We Are is available to stream via SBS On Demand. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We also picked 12 standout new 2020 series in the middle of the year, too.
There’s a new Malaysian food hall in Collingwood called Sugar Prawn, and the first mix from its in-house radio station (you read right) sounds like walking through KL’s heaving, colourful, satay-fumed night markets. Titled Seoult ’n’ Pepper Squid (really), it comes courtesy of DJ Seoul and is 56 minutes of glittering techno and dirty funk — in other words, just what you'd want to be listening to as you tuck into hawker-style street food, sipping on Sugar Prawn’s tropically obscure cocktails (we’re liking the sound of the Hotel Formosa, with Nashi pear, green tea liqueur and yuzu). Sugar Radio — housed in the Prawn’s front window — is officially launched this Saturday and will be streaming live online soon. But it’s only number one on the list of everything that is just the right amount of kitsch about the booze-oriented Smith Street eatery — from plastic garden chairs to free 100plus (the uber popular Southeast Asian sports drink) with lunch plates and a saccharine pink paint job. That last one seems fitting for somewhere called Sugar Prawn, but is actually not where the restaurant got its name. Chef, co-owner and 'head prawn' Travis Tong — who also owned Masak Masak, which previously occupied the Sugar Prawn site — named the place after his late father. The kitchen is open now from 12pm daily, pumping out chilli crab claw and grilled stingray with salsa, along with more familiar Malaysian treats like chicken satay and barbecue pork. But the jewel in the Sugar Prawn crown is Tong’s “decadent san choi bow” — master stock bone marrow (bone marrow) served on a prawn cracker. Our advice when that one shows up on your table? Close your eyes, take in the tunes, and chow down. Via Good Food. Find Sugar Prawn at 230 Smith Street, Collingwood. Open Monday to Sunday, 12pm-11pm.
Melbourne's latest CBD pub looks set to tower over the competition. Opening on Tuesday, July 19 after years of planning, the Garden State Hotel is a sprawling four-storey watering hole complete with public bar, beer garden, private dining room, subterranean saloon and New York-style grill. The way things are shaping up, we'll never have to go anywhere else. Garden State is located at 101 Flinders Lane, inside a 130-year-old building that began its life as a saw mill before playing host to Rosati, one of Melbourne's top dining destinations in the '80s and '90s. Now, under the new ownership of Sand Hill Road Hospitality – the same team behind the Prahran, Bridge and Terminus Hotels – the space has been transformed once again. In the centre of the building, punters will find a multi-level beer garden built around three large ficus trees. The space is served by a long bar, with a self-order kiosk that delivers snacks and toasted sandwiches in a flash. At the rear of the beer garden is the venue's main dining area, the appropriately named Garden Grill. There you'll feast on Modern Australian cuisine including an array of fresh seafood. Also on the ground level is the Garden State's public bar, featuring booth seating, bar tables and views onto bustling Flinders Lane. Shuckin' for days #gardenstateblooming #menutasting #flinderslane #melbournebarsandrooftops #blkboardmelb #melbourneeats RG @dp_chef A photo posted by Garden State Hotel (@gardenstatehotel) on Jul 13, 2016 at 11:19pm PDT Head downstairs and you'll end up face to face with the Rose Garden, an intimate saloon decorated with French crystal chandaliers, vintage vases and rose bouquets, with a cocktail menu overseen by ex-Eau de Vie barman Kevin Peters. The first floor, meanwhile, is home to the Balcony Dining Room, a private space for 18 people with its own bar and balcony. And on the second floor? The venue's premier function space, described as "a glamorous, light-filled space for up to 120 people." Find Garden State Hotel at 101 Flinders Lane from Tuesday, June 19. For more information visit www.gardenstatehotel.com.au.
When I first signed up for a day of whitewater rafting on Tropical North Queensland's Tully River I was pumped. I can't say it had ever been on my bucket list, but as a new resident of North Queensland I was keen to do anything that meant I got to explore the deep north – so I couldn't turn down this RedBalloon experience. My alarm on the morning of the adventure went off at 5.15am, and my dreams of being flung out the raft and thrown into white water came to an end. Mild panic had begun to settle in. By the time I arrived at the meeting point in Cairns where our tour bus was waiting to drive us to the riverside destination, I was scheming ways to get out of it. We travelled down the Bruce Highway past sugar cane fields, banana plantations and cloud-covered coastal mountains. About an hour later, the road started getting narrower, the surrounding vegetation more lush, and glimpses of the river opened up to full views. We got off the bus and our guide Gregor helped with my helmet and life jacket, then I grabbed a paddle and headed down the path with five strangers towards our raft. As we paddled towards our first lot of rapids I tried to recall the instructions on what to do. I realised that upon entering the raft, I'd been way too focused on wedging my foot in between the seats to ensure I was attached no matter what and forgot to listen. As the menacing whitewater looked like it was about to engulf us I didn't know whether to squeeze my eyes shut or hold on tight, or both. Neither of the options included helping to paddle. [caption id="attachment_593255" align="alignnone" width="1280"] This is me terrified and holding on to the rope.[/caption] Then Gregor's clear, calm voice came from the back of the raft, "Okay guys, this is how today will work," he said. "Listen to me and you'll be fine. I promise to give really simple instructions. We're going to have heaps of fun getting to know this river." I wasn't 100 per cent convinced but I did listen to him. My life was in his hands. "Okay guys, here we go! Paddle forward, forward, forward aaaand relax. Now back paddle, back, back, back aaaand relax." I did relax. Honestly. As soon as we'd cleared the first lot of rapids I knew I was in safe hands with a pro river guide and a bunch of people who were a mix of fairly experienced thrill-seekers and newbie thrill-seekers like me. Gregor maneuvered the raft through the first lot of rapids expertly. With names like 'Double D Cup', I couldn't help but giggle (nervously) as we approached them and then scream/laugh as we rode through them. Gregor informed us they were the trickiest set we'd encounter. I didn't want to ask if he meant before lunch or throughout the whole day, so I kept my mouth shut and rejoiced with the rest of my team that we'd aced it. As we floated into calmer waters we got out of the raft for a swim, letting the cool, crystal-clear waters take us past springs and falls while the magnificent rainforest growth of the gorge towered overhead. Ulysses butterflies flying above us came along for the ride too. After a refreshing shower under Pony Tail Falls we hopped on to dry land for a barbecue lunch in the middle of the rainforest before setting off to tackle the rest of the rapids. This time around, it was panic-free. By the end of the day I was jumping off a 5-metre-tall rock formation. As I bobbed up to the surface, I was chuffed with myself for being a bit of a daredevil. I knew I would've regretted not giving the jump a go, which sums up how I felt about the whole day. From the first "aaaand relax" from Gregor, my worries seemed silly. Photos from the day show that I was holding on to the safety ropes a lot, which made my team mates ask whether I'd actually done any paddling. But I did. I promise. Book your white water rafting adventure (or gift it to someone else) at RedBalloon. Images: RedBalloon.
Underling, you have been summoned. This September, Secret Squirrel Productions — the c̶a̶b̶a̶l̶ c̶o̶v̶e̶n̶ group responsible for Underground Cinema — are tearing open a portal to hell with an immersive dining experience at a secret location in Melbourne. Dinner will be six courses. Pray you aren't one of them. Secret Squirrel, Melbourne's kings of immersive theatre and film experiences, have flung previous audiences back in time to ancient Rome, flogged them through a crash-course in zombie apocalypse survival and set them free inside Hannibal Lecter's debauched mind-palace. This time, Creative Director Tamasein Holyman says she wants to "engross guests in a world of raw, dark beauty and absinthe-fuelled dreams" with a six-course banquet. The Feast of the Deceiver is an ancient and secret ritual — but here's what would-be acolytes of the Order should know. The feast will run over three nights on September 8, 9 and 10 with b̶l̶o̶o̶d̶l̶e̶t̶t̶i̶n̶g̶s̶ performances lasting from 7-10pm. The six-course degustation will combine game-play, problem-solving and live theatre. The dress code is black formal. The location is secret and will only be revealed 24 hours prior to the event. If you've been looking for a way to make the voices stop, this could be your chance. But remember — the demon is a liar. He will lie to confuse you. He will try to trick you. Don't listen to him. But do go to dinner. Tickets to Feast of the Deceiver go on sale at 1pm this Wednesday, August 10. You can buy tickets and find out more info here. Image: Jovi Waqa.
Richmond Oysters started its life way back in 1959, when brothers Nick and Tony Anassis opened a small shopfront next to a rail line on Church Street in Richmond. The story goes that one of the brothers stayed in the store, shucking oysters and selling them to the locals, while the other brother drove around town, sprucing their wares to all the bars, pubs and restaurants. From their early successes, the business has now grown into a family-run retail store, wholesaler, takeaway fish and chip joint and excellent fine dining restaurant. They're all about family and tradition here — plus, many a restaurateur in Melbourne learnt their trade shucking away at Richmond Oysters. It is a proper Melbourne dining institution. The restaurant itself opened back in 2006 and boasts an elegant dining room where the vibe is sophisticated but not too formal. The dining menu features a map of Australia, detailing where along the coast it sources its produce. The Richmond Oysters team prides itself on having some of the most sustainable seafood in the world on its menu, and it is clear that great love and care for the ocean is the bedrock of its philosophy. Let's get down to the oysters, though. It offers up Pacific or Sydney either cooked or natural, with a vast array of sauces and mignonettes to liven them up. The natural oysters can be paired with a house sauce of sweet chilli, lime and ginger, a mignonette, a spicy nam jim or a granita of apple cider and champagne vinegar. The cooked options include classics such as Kilpatrick and Mornay or the slightly spiced Japanese crumbed recipe with panko bread crumbs and wasabi mayo. The rest of the menu plays out with market specials, which can be cooked to your liking. Our favourite main from the sea would have to be the seafood linguini, and those after some red meat will be more than happy slicing into the perfectly succulent 230-gram Cape Grim scotch fillet with chips and garlic butter — that can become a highly recommended 'surf n' turf' if you choose. Richmond Oysters is a clear must-visit for seafood lovers in Melbourne. Images: Tran Nguyen
There's no one right way to experience SXSW, whether you're attending the Austin or Sydney version, but one of the event's huge highlights is its high-profile list of folks who get talking. As 2023's debut festival Down Under demonstrated, this is the kind of event where you could be listening to Chance The Rapper one moment, then Black Mirror's Charlie Brooker the next. In 2024, it's also the type of festival where The Kid LAROI, human rights lawyer Jennifer Robinson, author Johann Hari, Lucy Lawless, Grace Tame, Suzie Miller and Stephen Page are getting chatting. This year's lineup features more than 1000 speakers, 60-plus tech exhibitors, over 200 artists, 120-plus games and more than 75 screenings across Monday, October 14–Sunday, October 20 dates. Other standouts from the conference part of the program include Nick Kyrgios, Noémie Fox, Chad Lawson and Molly Taylor. Fancy hearing about heading into space? That's where Australian astronaut Katherine Bennell-Pegg comes in. On the music side of the bill, not only is The Kid LAROI the keynote speaker, but the 'Stay', 'Without You', 'Thousand Miles', 'Love Again' and 'Girls' talent is introducing a First Nations showcase. Stepping from Heartbreak High to SXSW Sydney Music Festival, Ayesha Madon is also one of that strand's highlights. SAHXL, Nick Ward, BALTHVS, Total Tommy, brothers J-MILLA & Yung Milla, Joel Sunny, Ena Mori, Smol fish, HighSchool, Maina Doe, 404: you'll be able to see them as well. Screen-wise, once opening night's Y2K kicks off the SXSW Sydney Screen Festival, the program features everything from headliners Saturday Night, Smile 2, Nightbitch, The Front Room and Pavements to Slice of Life: The American Dream. In Former Pizza Huts from Barbecue and We Don't Deserve Dogs' Matthew Salleh and Rose Tucker — and Warwick Thornton (Samson & Delilah, Sweet Country, The New Boy), The Babadook composer Jed Kurzel and Barbie executive producer Josey McNamara among the talks. At Tumbalong Park, SXSW Sydney's festival hub is back 60-plus hours of free entertainment, too. Keen to feel like you're stepping inside some of your favourite TV shows? So is Prime Video's Primeville pop-up from Tuesday, October 15–Sunday, October 20 at Fratelli Fresh Darling Harbour. That's barely scratching the surface of 2024's SXSW Sydney characteristically jam-packed lineup. If you can't find something exciting to do, see, watch, learn from or dance to every single day of the fest, you clearly haven't looked at the program. [caption id="attachment_970635" align="alignnone" width="1920"] Ian Laidlaw[/caption] Top images: Jordan Kirk, Ian Laidlaw and Jaimi Joy.
Just over 30 years on from its 1993 debut at the MCG, the massive communal feast known as the World's Longest Lunch is next set to take over Kings Domain on Friday, March 15 as a part of the Melbourne Food & Wine Festival. And this time around, it'll feature the culinary stylings of Melbourne's hospo juggernaut Andrew McConnell (Gimlet, Cutler & Co, Supernormal, Builders Arms Hotel, Marion). He's transformed Australia's contemporary dining landscape and has now set himself a huge challenge to serve a one-off three-course lunch to over 1700 people. That's no easy feat. All the guests will take a seat at the 600-metre-long table that winds along Kings Domain (hoping to the weather gods that Melbourne's weather doesn't show its ugly side). In terms of the food menu, we don't know what McConnell has dreamt up, but wines will be coming from Tahbilk Winery, beers from Melbourne's own Brick Lane Brewing, still, sparkling and flavoured waters from Capi and coffee from Inglewood Coffee Roasters. As of publishing, there are just a few hundred regular seats still available, with all but one of the VIP packages sold out and a handful of accessible spots still up for grabs. This is always a hugely popular event and is likely to book out soon. If you're contemplating whether or not to get some tickets ($295 per person), don't take too long to decide.
Melbourne, you’ve voted with your feet and the city has heard you. You want rooftop bars. You want to drink beer resplendent and relaxed in the open air, to gaze down at the city like you’re Batman himself and ‘gram the glorious sunset #nofilter. Well, the Imperial has answered your demands with a massive reno. The jewel in the crown? Melbourne’s third biggest rooftop beer garden. Yep, brush off your ~kewlest~ hats and prepare to get your day drink on. The Imperial, if you can’t quite place it, is a sports bar on the corner of Bourke and Spring, just across the road from Parliament House. The garden will feature 20 beers on tap including Little Creatures IPA, James Squire Pear and Apple Cider, Stellar Artois, Guinness and Hoegaarden. With capacity for 270 punters and a 360-degree view, this soon-to-be-packed spot has arrived just in time for summer. The beer garden will also feature a menu designed by executive chef Justin Wise, that’s two parts hearty pub fare and one part foodie flair. Jalapenos poppers with cream cheese… and a raspberry sauce. Chicken ribs… marinated in XO sauce, ginger and garlic. See what we mean? It kind of sums up the whole two-part vibe — a rooftop beer garden atop a sports bar — and makes it definitely worth checking out this summer. Oh, and good news for all you non-smokers — the rooftop bar is set to become 100 percent smoke-free. Find The Imperial Hotel at 2-8 Bourke Street (cnr Spring Street), Melbourne CBD.
Since the State Government announced some ambitious (and unprecedented) plans to expand Melbourne's rail network back in May 2016, there has been much talk about the $11 billion Metro Tunnel project. The tunnel will see five new stations added to the CBD and its surrounds, which were last year named and given an initial design. Now, Minister for Public Transport Jacinta Allan has lifted the lid on the latest renders for the new stations, to be known as North Melbourne, Anzac, Parkville, State Library and Town Hall. The five stations aren't slated for completion until 2025, though with plans as grand as these, it's not hard to see why. According to Ms Allan the focus was on designing stations that were easy to navigate and spacious, but that still looked the goods. The stations and their surrounds are the result of a collaboration between top architects Weston Williamson, Hassell, and Rogers Stirk Harbour and Partners. [caption id="attachment_670797" align="alignnone" width="1920"] State Library Station[/caption] And they look nothing like Melbourne Central. Design highlights include a glass feature roof above the Grattan Street entrance to the proposed Parkville Station, a soaring brick archway for North Melbourne Station, and, at Anzac Station, a huge architectural canopy to protect passengers moving between trains and trams. Meanwhile, in the CBD, State Library and Town Hall Stations will each feature grand entrances, leading to redesigned laneways lined with cafes and retail shops. The stations will also spawn a stack of new open space, including parks, bike zones, plazas and a pedestrian underpass running beneath St Kilda Road. [caption id="attachment_670796" align="alignnone" width="1920"] Anzac Station[/caption] Just to catch you up, the Metro Tunnel will see two new nine-kilometre twin tunnels and five underground train stations added to Melbourne's inner city. These new stations will be located in Parkville, North Melbourne, CBD North, CBD South and the Domain, and create a new path into the city that doesn't rely on (but connects to) the City Loop. The idea is that it will ease congestion in the City Loop and allow more trains to be getting in and out of the city. Construction of the Metro Tunnel has already closed parts of St Kilda Road and Grattan Street and we're sure more routes will be affected in the next few years. We'll keep you updated on that front.
This year's Oscars belonged to one man, much like the last year in cinema has. It doesn't happen all that often, but the best film of the past twelve months dominated the Academy Awards — as did the filmmaker behind it. By winning Best Picture, Bong Joon-ho's Parasite became the first movie in a language other than English to do so. Let that sink in: it's the first film to score the top prize in the Oscars' 92-year run. By winning four trophies, all of which went to Bong thanks to his work as the movie's director, co-writer and co-producer, Parasite also became this year's most awarded feature. Given that before 2020, a South Korean film had never even been nominated for an Oscar — not even in the Best International Feature category — Bong well and truly made history. What a delight it was to see him so overwhelmed by the recognition, whether paying tribute to Martin Scorsese, a filmmaker he himself studied in film school, or thanking Quentin Tarantino for championing his movies from the get-go. How relatable it was, too, to hear Bong reveal his post-Oscars plans several times: "I will drink until the next morning". Still, while Parasite deservedly came out on top, 2020's ceremony spread the love across a heap of worthy films. A whopping 14 features won gongs, ranging from Once Upon a Time in Hollywood, Judy and Rocketman's respective renderings of showbiz history to Taika Waititi's 'anti-hate' comedy Jojo Rabbit — with the latter making him the first Maori person to win an Oscar. Among the other highlights: Janelle Monae and Billy Porter wowing everyone with a lively song-and-dance number right out of the gate, Maya Rudolph and Kristen Wiig demonstrating that they would've killed it if they'd emceed the host-less ceremony, and Chris Rock mentioning how vaginas are missing from the director's nominees this year. Among the oddities: Eminem taking to the stage to sing his 2003 Oscar-winner 'Lose Yourself' for some unknown reason. That's the ceremony done and dusted. Now, if you haven't already, it's time to enjoy all the flicks that just received shiny accolades. From the second movie to nab an actor a prize for playing the Joker, to two Netflix films you can stream right now, here are all of the winners that you should add to your viewing list. https://www.youtube.com/watch?v=w_0KJAzyUJc PARASITE Won: Best Picture (Kwak Sin-ae and Bong Joon-ho, producers), Best Director (Bong Joon-ho), Best Original Screenplay (Bong Joon-ho and Han Jin-won), Best International Feature Film Our thoughts: "Bong Joon-ho has crafted a bleak, twisty blend of black tragi-comedy, pulsating thrills and socially relevant horror — a movie that's such a phenomenal example of all that cinema can and should be that you'll want to high-five the filmmaker after watching it... This isn't just a killer picture on all of the standard levels, however. Contemplating society's growing class collisions and inequities, Parasite also makes a killer statement." Where to watch it: In cinemas, still — and it's also available to rent or buy on DVD. Read the full review. https://www.youtube.com/watch?v=gsL_spv4yEw ONCE UPON A TIME IN HOLLYWOOD Won: Best Actor in a Supporting Role (Brad Pitt), Best Production Design (production design: Barbara Ling; set decoration: Nancy Haigh) Our thoughts: "Incessantly keen to splash his affection for celluloid history across the screen as always, Quentin Tarantino is in his element recreating Hollywood's golden days, its big names and LA's gleaming sights, and nodding to westerns once again. But, befitting a flick about weathering seismic personal, cultural and societal shifts, Once Upon a Time In Hollywood is a glorious character piece first and foremost." Where to watch it: Available to rent or buy on iTunes, YouTube, Google Play and DVD. Read our full review. https://www.youtube.com/watch?v=IwRL0u87nbc 1917 Won: Best Cinematography (Roger Deakins), Best Sound Mixing (Mark Taylor and Stuart Wilson), Best Visual Effects (Guillaume Rocheron, Greg Butler and Dominic Tuohy) Our thoughts: "The storytelling gimmickry is obvious, jamming in chaos and peril across a wealth of scenarios, but the overall impact is inescapably immense and heartbreakingly intense. What Dunkirk did for a pivotal World War II event, 1917 does just as commandingly for an entire earlier war." Where to watch it: In cinemas. Read our full review. https://www.youtube.com/watch?v=C61wB6DTwiA JUDY Won: Best Actress in a Leading Role (Renee Zellweger) Our thoughts: "Stepping into a famous figure's shoes might be one of acting's most difficult feats, especially when that person is cinema royalty, but Renee Zellweger doesn't ever feel like she's just impersonating Judy Garland. Rather, she wears Garland's ruby slippers as if they're her own — and they fit perfectly." Where to watch it: Available to rent or buy on iTunes, YouTube, Google Play and DVD. Read our full review. https://www.youtube.com/watch?v=gr-Lg-_KFHU JOKER Won: Best Actor in a Leading Role (Joaquin Phoenix), Best Original Score (Hildur Guðnadóttir) Our thoughts: "Joker is unflinchingly bold and brilliant in one inescapable fashion, as it was bound to be when it cast its lead. All skin, bone and sinew as he cavorts, frolics and chortles, Joaquin Phoenix is in stunning, mesmerising, awards-worthy form yet again. His raspy cackle isn't easily forgotten; neither is his off-kilter demeanour." Where to watch it: Available to rent or buy on YouTube, Google Play and DVD. Read our full review. https://www.youtube.com/watch?v=BHi-a1n8t7M MARRIAGE STORY Won: Best Actress in a Supporting Role (Laura Dern) Our thoughts: "While Marriage Story does indeed tell the tale of a marriage, this devastatingly astute and empathetic drama does so within a portrait of the relationship's dying days and its rocky aftermath... In his ever-perceptive way, Noah Baumbach hones in on figures whose lives are a shambles, then watches as they natter their way forward — revealing their fragile core while revelling in the minutiae of their existence." Where to watch it: On Netflix. Read our full review. https://www.youtube.com/watch?v=4MCOpNti_pQ LITTLE WOMEN Won: Best Costume Design (Jacqueline Durran) Our thoughts: "Greta Gerwig works wonders with her script and her actors — tasks that might seem easy, but still bear her fingerprints — however she also directs a visually sumptuous film. Little Women sparkles with warmth and charm, not only when dresses catch alight and catastrophic haircuts inspire laughs, but across tender and heartbreaking moments." Where to watch it: In cinemas. Read our full review. https://www.youtube.com/watch?v=m36QeKOJ2Fc AMERICAN FACTORY Won: Best Documentary Our thoughts: The first film produced for Netflix by Barack and Michelle Obama, fly-on-the-wall documentary American Factory tackles a subject of paramount importance — not just to the former President and First Lady's own country, but worldwide. Across three years, directors Steven Bognar and Julia Reichert chronicled the operations of a Chinese-owned plant in Ohio, crafting an eye-opening portrait of the human impact of the global economy. Where to watch it: On Netflix. https://www.youtube.com/watch?v=Pl9JS8-gnWQ TOY STORY 4 Won: Best Animated Feature Film Our thoughts: "Reflective, sweet, sensitive and virtually guaranteed to wring a response out of even the most cynical of viewers, Toy Story 4 is a classic Pixar piece... At its best, this saga is as imaginative, amusing and fun as it is thoughtful, with bright, bouncy animation to match — and, returning to the heights of the first film, the franchise is at its best again here." Where to watch it: Available to rent or buy on iTunes, YouTube, Google Play and DVD. Read our full review. https://www.youtube.com/watch?v=NTm5DWgL-MU ROCKETMAN Won: Best Original Song ("(I'm Gonna) Love Me Again — music by Elton John, lyrics by Bernie Taupin) Our thoughts: "There's a vibrant spark to Rocketman as it charts Reginald Dwight's transformation into Elton Hercules John. A glorious tone, too, which couldn't work better. Showing how fantastical the ups and downs of fame, fortune and rock stardom can be by sashaying through a sea of surreality, the result is a winning marriage of form and feeling." Where to watch it: Available to rent or buy on iTunes, YouTube, Google Play and DVD. Read our full review. https://www.youtube.com/watch?v=tL4McUzXfFI JOJO RABBIT Won: Best Adapted Screenplay (Taika Waititi) Our thoughts: "Waititi's irreverent, irrepressible sense of humour is usually a delight (see: his aforementioned films, plus What We Do in the Shadows and Thor Ragnarok), but Jojo Rabbit is at its best when it actually dials back the gags, mockery and pointed current-day parallels, and instead hones in on its central trio in less overt moments." Where to watch it: In cinemas. Read our full review. https://www.youtube.com/watch?v=I3h9Z89U9ZA FORD V FERRARI Won: Best Film Editing (Andrew Buckland and Michael McCusker), Best Sound Editing (Donald Sylvester) Our thoughts: A car-racing film that branches beyond speeding vehicles driving in circles around a track, Ford v Ferrari is more than just a dramatised account of two automotive companies battling it out in a prestigious race, too. With particular thanks to Christian Bale's performance as British driver and engineer Ken Miles, this is a celebration of smarts, hard work and ingenuity — and one that's engaging, thrilling and superb on a technical level as well. Where to watch it: In cinemas. https://www.youtube.com/watch?v=jjOdDd4NEeg BOMBSHELL Won: Best Makeup and Hairstyling (Kazu Hiro, Anne Morgan and Vivian Baker) Our thoughts: "Bombshell is the slick, shiny version of a ripped-from-the-headlines story, which earned global attention when it broke back in 2016. Airbrushed to buffer away blemishes and avoid tricky spots, it's watered down to deliver an easy, glossy, simplified narrative. " Where to watch it: In cinemas. Read our full review. Top image: Parasite.
The origin of Small Batch stems from Andrew Kelly, who fifteen or so years back became very curious about all things coffee. He started by experimenting in his backyard before eventually opening his cafe, Auction Rooms, in 2008. He has since moved on from Auction Rooms, but when he ran it, this spot was regarded as the best cafe in Melbourne — setting the standard for the city's burgeoning cafe scene. Kelly really gets Melbourne's obsession with coffee and has leaned even more heavily into the scene by setting up Small Batch Roasting Co. in North Melbourne. The ethos here centres around three vital pillars. Firstly, it must taste great. Secondly, it's got to have a positive social impact. And lastly, it needs to support sustainable agriculture. The team focuses on sourcing beans from small producers, roasting them in small batches — hence the name. This way, they can monitor the entire supply chain, carefully maintain quality, and produce a unique and varied selection of coffee. This process is slowly being adopted by other roasters in Melbourne, showing how Kelly is — yet again — leading the industry. But Small Batch isn't only a coffee roasting spot. Its cellar door opens up to locals in North Melbourne from Monday to Saturday, slinging its own pastries (also, some of the very best in Melbourne) and sandwiches alongside heaps of Aussie produce. You can come here for a flat white and pain au chocolat, and then grab some eggs, bacon and wine to take home. Staff are also incredibly friendly and will help talk you through the long list of coffee beans available. Small Batch is a proper hidden gem in North Melbourne that's well worth discovering for yourself. Appears in: Where to Find the Best Coffee in Melbourne
Armadale's High Street is best known for its antique stores, cafes, art galleries, fashion boutiques and furniture showrooms. Once the sun sets though, things are generally a little quieter. But Japanese-French diner Bansho is happy to stand out as one of the few after-dark restaurants on the strip, joining the likes of nearby Amaru. Larry Xie and Mira Wu opened Bansho in September 2023, and it is easily one of the area's best dinner spots. Much of this is thanks to Chef Tomotaka Ishizuka (ex-Ishizuka, Kisume, Koko), whose menu expertly marries Japanese and French cuisines. These two cuisines have more in common than what might first appear: both are famous for showcasing seemingly simple flavours in dishes that require a huge amount of skill to master, both placed great value on on terroir, and both are seen as timeless and elegant. Pairing them together just makes so much sense, and it's effortlessly achieved at Bansho. In the starters, this is best seen in the king prawn tomalley, which consists of a slice of toasted brioche topped with generous amounts of prawn, red and white miso, cream cheese and framboise. The prawns are the star of the show, and are only elevated by the cleverly chosen supporting ingredients. Bansho's sashimi and sushi platters are also big hits – they're served traditionally, with wasabi, salmon roe and soy sauce. Only top-quality seafood graces these plates. But we find Bansho shines brightest with its more complex dishes. We licked the shells clean when trying the aburi scallops with king prawns, tomato essence and ikura caviar. And we'll dream about the succulent koji-marinated duck breast for quite some time. We just wish there were a few more main meals on the menu, to add variety for those wanting a big feed. Whatever you choose, you can pair it all with a carefully curated selection of wine, sake and beer, plus plenty of signature cocktails — and the sake martini is a big winner here. The food feels and is priced like a fine-diner, but the owners want it to be more of a local neighbourhood restaurant. This is certainly achieved through friendly and personable service, but the food is of such a high quality that it's hard not to think of it as fine dining. We recommend saving Bansho for a special occasion when you can explore the whole menu and really treat yourself. But that being said, you can just as easily pop in for a relaxing pre-dinner sip-and-snack situation and be very happy as well. Images: Jana Langhorst
One of Melbourne's original grocers has made a major comeback, with King and Godfree reborn as a three-level Italian food mecca. The Carlton grocery shop dates way back to 1884, and has been under the Valmorbida family ownership since 1955 — Carlo Valmorbida is said to have introduced parmesan cheese, olive oil and pasta to the Carlton community. Now, the Valmorbida grandchildren are in charge, and they've revealed a fully refurbished fit-out that pays homage to the original heritage digs, but with modern twists. Designed by Melbourne architects Herbert & Mason, the fit-out combines elements of old-world Italy with a modern Melbourne espresso bar. Expect bespoke everything, from the custom-built lighting and furniture down to the handmade deli plates, by local ceramicist Ingrid Tuft. The original K&G crest has also been rebuilt by an old-fashioned terrazzo maker and inlaid at the entrance. The Roman-style delicatessen aims to be your 'one-stop shop' for everything Italian, and houses an espresso bar, deli and traditional grocer. In the espresso bar, expect house-roasted coffee by head barista Lucas Carrington (ex-All Press, London), along with Italian espresso and fair trade Guatemalan single origin. For breakfast, there are also fresh juices and smoothies, plus Italian baked goods and breakfast plates — these include the fried egg, pancetta and basil panino and scrambled eggs with cured salmon, chives and toast. During the day, there's a succinct list of pastas and cicchetti (Italian-style tapas) to choose from, as well as rotisserie meats, roasted veggies, ready-made Italian sandwiches and daily specials. The cicchetti will also be available for classic aperitivo hour from 4–7pm — think arancini, sweet and sour sardines and spinach pie, all served alongside spritzes, cocktails and Italian beers. In the deli, there are freshly baked breads, a massive assortment of local and imported cheeses, artisan salumi and DOP accredited prosciutto to look forward to. Italian smallgoods, fresh flowers and meals for takeaway round out the offering. Deciding what to buy will be the hard part, but luckily there will be plenty of tastings and demonstrations on offer, too. Images: Kate Shanasy and Josh Robenstone.
Don't believe anyone who tells you that you can't like both arts and sports. Whenever a film or TV awards ceremony rolls around, that's clearly proven wrong. Watching great movies and television shows get the attention they deserve, as well as the talented folks that make them, is the screen entertainment equivalent of a grand final — with the same amount of thrills. At this year's Golden Globes, that included a red carpet filled with black-hued outfits to make an important statement, Oprah Winfrey giving one of the most inspiring and extraordinary speeches you'll ever hear about oppression and the fight for equality, and host Seth Meyers making Kevin Spacey jokes. And that's not to mention Tommy Wiseau living his dreams and taking to the stage, Natalie Portman pointing out that there was not one female nominated for best director and Amy Poehler popping up as well. Plus, whether some of your most anticipated films of 2018 won plenty of shiny ornaments (hello The Shape of Water and Lady Bird) or you're certain the best damn thing on any big or small screen was thoroughly robbed (yes, we're talking about Twin Peaks), we can still watch all of the best and the rest once the ceremonies are over. Indeed, this year's Globes winners have gifted us all with quite the must-watch list of both quality efforts to catch up on, and others coming to screens near us soon. Here's our pick of their picks. Get viewing. BIG SCREEN MUST-SEES https://www.youtube.com/watch?v=XFYWazblaUA& THE SHAPE OF WATER Building his career out of monster movies in multiple guises, Guillermo del Toro has proven himself a master at creature features of the moving and unusual kind — think Hellboy, Pan's Labyrinth, Pacific Rim and even haunted house effort Crimson Peak. Compared to the above, The Shape of Water floats through its own stream of romance and drama, and yet it could've only been made by this year's Golden Globe winner for best director. Here, Sally Hawkins plays a mute woman who works nights cleaning at a top-secret government lab, only to fall for its prized possession: a man-like amphibian. The film won top honours at last year's Venice Film Festival, and it's likely to keep collecting them in the next couple of months. It's that entrancing and wonderful. GLOBES Won: Best Director — Motion Picture (Guillermo del Toro), Best Original Score — Motion Picture (Alexandre Desplat) Nominated: Best Motion Picture — Drama, Best Performance by an Actress in a Motion Picture — Drama (Sally Hawkins), Best Performance by an Actress in a Supporting Role in any Motion Picture (Octavia Spencer), Best Performance by an Actor in a Supporting Role in any Motion Picture (Richard Jenkins), Best Screenplay — Motion Picture (Guillermo del Toro and Vanessa Taylor) In cinemas January 18. https://www.youtube.com/watch?v=pzgTHyEv5Ng LADY BIRD Greta Gerwig, sitting solo in the director's chair for the first time in her career, didn't even score a nomination in that Golden Globes category. No female filmmakers did. As ridiculous as that is, her film won half of the fields it was nominated in anyway. A clearly personal endeavour for the Frances Ha and Mistress America star, Lady Bird wanders through life in her hometown of Sacramento circa 2002, spinning the exploits of its titular character (Saoirse Ronan) into one of the most relatable coming-of-age flicks to grace the big screen in years. No wonder it took out the gong for best musical or comedy film, and that fantastic Irish talent Ronan (Brooklyn) won best actress in the same category. GLOBES Won: Best Motion Picture — Musical or Comedy, Best Performance by an Actress in a Motion Picture — Musical or Comedy (Saoirse Ronan) Nominated: Best Performance by an Actress in a Supporting Role in any Motion Picture (Laurie Metcalfe), Best Screenplay - Motion Picture (Greta Gerwig) In cinemas February 15. https://www.youtube.com/watch?v=3aZ3r-84EQc THREE BILLBOARDS OUTSIDE EBBING, MISSOURI If Three Billboards Outside Ebbing, Missouri wasn't already an Oscar frontrunner, it is now, winning best drama, best actress in a drama, best supporting actor and best screenplay. They're all well-earned awards for Martin McDonagh's black comedy about a mourning mother doing whatever it takes to motivate her local police force, though none is more deserved than star Frances McDormand's. She's in typical top form spouting McDonagh's typically coarse dialogue; however, the always-fantastic Rockwell shouldn't be underestimated for bringing nuance to a difficult role either. Our only gripe about its Globes success? That the fleet-footed Rockwell didn't dance when he won his statuette. GLOBES Won: Best Motion Picture — Drama, Best Performance by an Actress in a Motion Picture — Drama (Frances McDormand), Best Performance by an Actor in a Supporting Role in any Motion Picture (Sam Rockwell), Best Screenplay — Motion Picture (Martin McDonagh) Nominated: Best Director — Motion Picture (Martin McDonagh), Best Original Score — Motion Picture (Carter Burwell) In cinemas now — read our review. https://www.youtube.com/watch?v=3DT41LF22ZA THE DISASTER ARTIST Well, we all know what The Disaster Artist 2 should focus on. James Franco might've won best actor in a musical or comedy for playing Tommy Wiseau, but there wasn't a fan of The Room didn't break into an enormous smile when the real-life man himself took to the stage as well. He might've missed out on another chance to leap up when The Disaster Artist couldn't turn its second nomination — for best musical or comedy flick — into a trophy, but he stole the show as he tried to steal the microphone away from the man who imitated him perfectly. Next stop: the Oscars, hopefully. GLOBES Won: Best Performance by an Actor in a Motion Picture — Musical or Comedy (James Franco) Nominated: Best Motion Picture — Musical or Comedy In cinemas now — read our review. https://www.youtube.com/watch?v=UyjnzhXJlHU IN THE FADE Diane Kruger may be the most famous German-born actress working today, but she hadn't starred in a German-language film until In the Fade. At Cannes last year, she won best actress for her troubles, but at the Golden Globes, it was the movie's time to shine. Under writer/director Fatih Akin's guidance, the best foreign-language feature winner is an exploration of terror, mourning and revenge that — like much of what we're seeing on screens these days — is all-too timely and relevant. It's also on the shortlist for the same field at the Oscars, so expect to keep hearing about it. GLOBES Won: Best Motion Picture — Foreign Language Release date TBC. https://www.youtube.com/watch?v=7DIm1PyBSwc COCO In an industry increasingly ruled by sequels, prequels, remakes, reboots, resurrections, cinematic universes and franchises that'll still be going long after we're all dead, it's always a joy to see a studio rewarded for taking a chance. While Pixar was once known for only making original stories — albeit, always about toys, monsters, robots and even feelings having feelings — their love of follow-ups like the terrible Cars 3 changed that. Then came Coco, which isn't the first animated film to play with Mexico's Dîa de los Muertos celebrations, but it is the most gorgeous, engaging and heart-swelling. A great pick for best animated film, it overflows with warmth and authenticity as it charts a 12-year-old boy chasing his music dreams into the Land of the Dead. GLOBES Won: Best Motion Picture — Animated Nominated: Best Original Song — Motion Picture In cinemas now — read our review. FUTURE SMALL SCREEN BINGES https://www.youtube.com/watch?v=fOmwkTrW4OQ THE MARVELOUS MRS. MAISEL Calling all Amy Sherman-Palladino fans. If you loved Gilmore Girls and Bunheads, then you'll follow the American TV writer, director and producer anywhere, including to her latest show The Marvelous Mrs. Maisel. Winning best comedy TV series, and best actress for star Rachel Brosnahan (House of Cards) too, it's the best show you probably haven't seen yet about a New York housewife trying out her stand-up comedy chops in the late 1950s. It should come as no surprise that Joan Rivers was one of the inspirations for the series, and that it is equally hilarious, heartfelt and finely observed, with the usual Sherman-Palladino charms in abundance. GLOBES Won: Best Television Series — Musical or Comedy, Best Performance by an Actress in a Television Series — Musical or Comedy (Rachel Brosnahan) Now streaming on Amazon Prime. https://www.youtube.com/watch?v=p9P34WqoBtQ BIG LITTLE LIES The series everyone was talking about in early 2017 just keeps garnering attention — turning a limited run into a second season, sweeping the Emmys and now doing the same at the Golden Globes. The only nods Big Little Lies didn't turn into victories? When it had two actresses competing against each other in both the lead and supporting actress categories. Winners Nicole Kidman, Laura Dern and Alexander Skarsgård, and nominees Reese Witherspoon and Shailene Woodley all star in this adaptation of Aussie Liane Moriarty's novel, about the mothers of first-graders attending the same school in California's Monterey. With filmmaker Jean-Marc Vallée (Wild, Cafe de Flore) in the director's chair for all seven episodes, it's a deep and complex ride through topics that aren't always thrust into the spotlight. GLOBES Won: Best Television Limited Series or Motion Picture Made for Television, Best Performance by an Actress in a Limited Series or a Motion Picture Made for Television (Nicole Kidman), Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television (Alexander Skarsgård), Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television (Laura Dern) Nominated: Best Performance by an Actress in a Limited Series or a Motion Picture Made for Television (Reese Witherspoon), Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television (Shailene Woodley) Now streaming on Foxtel Now. https://www.youtube.com/watch?v=PJTonrzXTJs THE HANDMAID'S TALE 2017 couldn't have been been a better time for The Handmaid's Tale to make it to the small screen. If that felt true when it first aired, the series' depiction of the oppression of women in a near-future dystopian society only proved more powerful as events played out in Hollywood as the year went on. The show's topical nature is only one of the its selling points, however, with everything about the adaptation of Margaret Atwood's ahead-of-its-time novel drawing you into an utterly unnerving realm. Standout and best actress in a drama winner Elisabeth Moss is particularly fantastic as Offred, one of the still-fertile women forced into sexual servitude to bear the ruling elite's children, while the series' mastery of mood and tone will give you literal chills. GLOBES Won: Best Television Series — Drama, Best Performance by an Actress In A Television Series — Drama (Elisabeth Moss) Nominated: Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television (Ann Dowd) Now streaming on SBS On Demand. https://www.youtube.com/watch?v=pzwZZjPHv3A FARGO When the idea of turning the Coen brothers' Oscar-winning black comedy Fargo into a television show was floated, fans were understandably skeptical. So specific in its tone, so tied to its directors' sensibilities and so driven by Frances McDormand's ace lead performance, would it work on the small screen? And if an attempt to do just that failed in 1997, why would it succeed now? Those fears were easily quelled by the excellent end result, and the anthology series has continued its stellar run across not one, or two, but three series to date. In the latest, newly minted best actor in a limited series winner Ewan McGregor plays two very different brothers, in another account of greed, crime and stupidity in snowy Minnesota climes. GLOBES Won: Best Performance by an Actor in a Limited Series or a Motion Picture Made for Television (Ewan McGregor) Nominated: Best Television Limited Series or Motion Picture Made for Television, Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television (David Thewlis) Now streaming on Netflix.
If you believed the hype, Longsong was on track to being one of the year's best new bars long before it opened in 2017. Venture in to experience the final product (sitting above Longrain) and you'll be hard-pressed to disagree. Once a horse stable, the lofty space that greets you at the top of the stairs is downright impressive. A central bar cuts the sprawling room neatly in two — a 30-seat dining area by the open kitchen and a sun-drenched lounge situation in front, with banquette seating and huge folding windows overlooking Little Bourke Street. The styling is contemporary, with timber cladding, arty resin-topped tables and a ceiling hung with Chinese lanterns lending just the right amount of funk. [caption id="attachment_909623" align="alignnone" width="1920"] Alex Squadrito[/caption] The kitchen offering is a celebration of simplicity — unfussy, but cleverly executed and more affordable than you might expect. Nab a table in the restaurant section to experience the full dining menu. It's a share-friendly lineup (much like the downstairs Longrain restaurant), made up of small and large dishes that each come with recommendations for cocktail or beer pairings. Try the prawn toast made with buttery brioche bread, pairing it with one of the team's gin-based cocktails (cutting the richness of the dish). Or order a Bodriggy pilsner to go with your sticky pork skewers. The beef tartare with shiitake mushroom crackers is also a big win — bursting with umami goodness that best be enjoyed with an earthy bloody mary. The drinks situation proves just as tempting, whether you're in for a feed or not. Alongside an all-Victorian lineup of craft beer and a mostly Aussie selection of wines by the glass, there's a decent collection of cocktails. Longsong does the classics very well, but we are all about those that have received a Thai twist. Take the clarified Thai milk tea tipple. It's like your usual clarified milk punch, but with condensed coconut milk, rum, chocolate and lime. It's sweet and creamy, but totally clear. It will mess with your head a little. The Tim Yum is another big win. This bev comes with tequila, tom yum spices, ginger, tomato, Amaro Nonino and orange. There's a lot going on within one glass, but this savoury delight exemplifies what is so special about Longsong. The offerings are creative and complex without losing the most important element — they all taste damn good.
Jump on the Japanese bandwagon, whisky-lovers, at Melbourne's brand new pop-up bar. Now open at Whisky & Alement on Russell Street in the CBD, Bar White Oak is described as a 'consumable exhibition', featuring the largest assortment of Japanese whisky in the country. Open seven nights a week inside the popular city bar, the six-month pop-up draws on the private collection of Whisky & Alement owners Julian White and Brooke Hayman — including several rare and high-end variants you won't find anywhere else. In total they expect to offer more than 200 different whiskies, although they won't all be available at once. There are also plans to host Japanese whisky masterclasses, with the next one scheduled for Saturday July 9. Find Bar White Oak inside Whiskey & Alement at 270 Russell Street, Melbourne. For more information visit www.whiskyandale.com.au.
Just because the days are getting fresher needn't mean scrapping your beloved weekly brunch routine. Half Acre's light-filled atrium space proves a primo weekend setting, even right through the depths of a grizzly Melbourne winter. Especially thanks to the South Melbourne eatery's weekend brunch offering, which is dishing up a bottomless New York-inspired feast every Saturday and Sunday for two hour seatings. Taking cues from the Big Apple's Soho House, this luxe buffet brunch is all-you-can-eat — so, make sure you head along hungry. It features a generous banquet spread, which may be loaded with shakshuka eggs in a tangy tomato and pepper sauce, challah french toast with rosewater berry compote, and oven-roasted figs with stracciatella, kale pesto and olive. But what really dials up the weekend vibes here is Half Acre's self-serve bottomless drink offerings, with cocktails, prosecco, wine, cocktails and more. Unleash some brunch-time creativity as you mix and match your drinks to match the eats. Then there is the carnivore-enabling dining series Tomahawk Thursdays at which, from lunch through to dinner every Thursday, you can join forces with a fellow meat lover in your life (or two of them) and tackle the 1.2kg Southern Ranch dry aged tomahawk steak served with black garlic butter and caramelised onion jus, a bargain at $110. Imagery: Tom Ross Appears in: The Best Bottomless Brunches in Melbourne for 2023
Art has prevailed in the battle to fill a Melbourne rooftop with naked people. In the latest development surrounding Spencer Tunick's newest work, the New York artist has been given permission to hold a nude photoshoot on top of the Prahran Woolworths car park — just over a week after the store said no. It was announced in May that Tunick would be returning to Australia in July to stage another of his famed mass nude photos, all as part of Chapel Street Precinct's Provocaré Festival of the Arts. Seventeen years after assembling 4500 naked volunteers for a snap near Federation Square as part of the 2001 Fringe Festival, the polarising artist plans to amass another contingent of naked (and pretty brave) folk for a work titled Return of the Nude While Tunick has photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras, snapped the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK, his initial attempt to craft his latest piece against a Melbourne skyline backdrop was knocked back by Woolworths. A petition spearheaded by the Chapel Street Precinct Association (CSPA), the festival's host organisation, in response —and due to community pressure, the store has decided to let the shoot go ahead. A spokesperson for the supermarket giant advised, "in further discussions with the festival organisers they indicated a willingness to be flexible with dates and times to ensure the shoot could happen without inconveniencing our customers during busy weekend trading. As a result, we're now able to accommodate the request to temporarily clear the rooftop for Spencer Tunick's group shot on a Monday morning during a traditionally slow trading period." The shoot will take place on Monday, July 9, with Tunick given an hour to complete his vision. And if you'd like to participate — anyone over the age of 18 can git their kit off and get involved — there's still time to register. Participants each get a print of the photograph and, we're sure, a big boost of body confidence. Provocaré will take place across the Chapel Street Precinct from July 5–15, with Return of the Nude being shot over one hour on July 9.
It's no surprise that regional travel has exploded in recent months. And there's a plethora of great escapes right on our doorstep. Less than three hours from Melbourne, Wangaratta is a booming rural city with plenty to offer, both in town and in its surrounding townships. It's probably best known as a gourmet destination, with some of Victoria's most notable exports calling the region home, but we've taken a look at some of its lesser-known — but no less spectacular — gems that are sure to put it at the top of your list next time you're looking for a city escape. Here are our favourites. HOT AIR BALLOONING IN KING VALLEY One of Australia's prime regions for European grape varieties, the picturesque King Valley is even more beautiful when seen from the air. Goldrush Ballooning offers luxe hot air balloon experiences, starting and finishing at Brown Brothers estate. Following your sunrise liftoff, you'll take in breathtaking views of the vineyard and patchwork farms, Milawa's famed Prosecco Road, as well as impressive natural sights such as the King and Oxley Rivers, Mt Buffalo and The Warby Ranges. After an hour of sailing through the skies, you'll land back at Brown Brothers where you can relive it all with a full breakfast spread and a glass of prosecco. PARADISE FALLS Deep in King Valley and well off the beaten track you'll find the aptly named Paradise Falls. This natural scenic wonder is part of the Alpine National Park, so there's plenty of beautiful foliage to enjoy as you make your way to the falls. Despite its remoteness, Paradise Falls is a relatively easy destination to reach by car, and you can park just a short stroll away from the falls themselves — a well-signed and stepped walking track, which is good for most ability levels, will lead you straight there. Head here for a slightly more adventurous picnic and an epic photo op, with these falls a must-visit for nature lovers and adventurers alike. MILAWA PROVIDORE This charming tea room and cellar door is a perfect pitstop for a busy day visiting the region's excellent wineries. Swing by to enjoy a selection of cheese, charcuterie, a woodfired pizza or even a toastie, which you can pair with organic tea, coffee or, of course, a glass of wine. There's also an excellent dessert menu that showcases local produce and makers — we recommend pairing your sweet treat with a cup of the excellent house-made sticky chai. Right next door is the cellar door for Redbank Wines, which is open for tastings seven days a week. EL DORADO GARLIC AND CHILLI CO You don't have to travel to the lost city of gold to acquire these god-tier chillies and garlic, though there is a bit of mysticism around how they're grown on this farm. Crops here are grown entirely on winter rainfall and minimum watering from underground springs, and the yield is a product that is completely natural and devoid of any chemicals. The fresh harvest runs from the new year through until May, but you can buy seasonal produce all year round, including local honey, from a historic shed on the farm. BAILEYS OF GLENROWAN While the exact date is contested, the story of this historic winery begins as far back as the 1860s, when the Bailey family of Yorkshire first arrived in the region. One of northeast Victoria's very first vineyards, the first vintage was produced here in 1870. Over 150 years later these certified organic vines are still going strong, producing a great selection of full-bodied reds and bold flavoursome whites, rosés and globally acclaimed fortified numbers — there's also a shiraz block that was planted in 1904 and is still producing a top-shelf drop. While the wines are the star of the show here, don't miss out on a stroll through the native garden dotted with historic buildings, including the original 1870 vineyard, stables, a blacksmith's forge and a century-old cellar door, which is also home to a heritage museum of winemaking. [caption id="attachment_808335" align="alignnone" width="1920"] Brooke Keam Photography[/caption] HURDLE CREEK DISTILLERY Family owned and operated, this distillery in the tiny town of Bobinawarrah champions local produce in its small-batch runs of (mostly) gin. All products are made and bottled in a former shed that was renovated with reclaimed materials. It now houses the distillery, where you can see the gin-making process up close, meet the distiller and also try a sample. As for the gin itself, the base spirit is made from a local grain and is twice distilled to ensure a smooth mouthfeel. It's infused with juniper and a select blend of local and native botanicals, some of which are grown in the on-site garden, resulting in a delicate and nuanced spirit. There are a number of year-round and seasonal products in the range, though for a truly local drop try the seasonal Aronia, made from a locally grown sloe-like berry which is steeped into the gin, lending it a deep purple hue and a touch of sweetness. Can't make the trip? You can pick up a bottle via their online store. SAWMILL COTTAGE FARM Tucked in the foothills of the bucolic high country of northeastern Victoria is the charming Sawmill Cottage Farm. This fully self-contained cottage has been beautifully renovated from an former sawmillers workshop, and is a perfect retreat for visiting couples exploring the area. The cottage is situated on a working farm, which is also home to a small menagerie of animals including cattle, sheep, goats, a miniature pony. There's also a wide variety of fowl including peacocks, plus a friendly alpaca named Lenny. During your stay, you can stroll around the farm and meet the animals, enjoy a bottle of wine around the fire pit, or even take a dip in the in-ground mineral salt swimming pool (weather permitting). THE YURT ALPINE RETREAT A perfect escape from the hustle and bustle of city life, the Yurt Alpine Retreat has three Mongolian-style tents located on a working farm in the heart of the King Valley. Each yurt features a wood heater and pure wool felt lining, so the tents are able to remain warm in winter and cool in summer. The secluded, 345-hectare farm is surrounded by mountain ranges and bushland, so expect sweeping views and plenty of privacy. The land is home to cattle, sheep goats and alpacas and there's an on-site, 20-acre vineyard, too. For more about what the Rural City of Wangaratta has to offer, and to plan your trip, head here.
Make a withdrawal from The Bank on Collins, the CBD's newest restaurant and bar. Opening this week in the heritage listed Bank of Australia building on the corner of Collins and Queen Streets, the elegant new eatery is the latest venture from hospitality group Retail Savvy, who also operate Asian Beer Cafe, Father's Office and The Shaw Davey Slum. Best start queuing now. Built in 1838 from New Zealand Omaru stone, the ornate historical building at 394 Collins Street was previously home to The Bank of Australasia, and was used by ANZ until 1974. The restaurant and bar is split across the ground and mezzanine levels, with Retail Savvy co-owners Stewart Koziora and Anna Carosa ensuring the building's grand atmosphere has been retained. Amenities include a 17 metre bronze bar, 18 copper beer taps, three gold wine taps, a private cocktail area and a private dining room that caters to 20-24 people. "The Bank on Collins will bring affordable luxury to the precinct and is in keeping with what we do best," said Carosa in a statement that accompanied the launch. "The concept will sit above our award winning Father's Office concept in terms of style, sophistication and menu offering." Open from 11am on Monday to Friday and 5pm on Saturday, The Bank of Melbourne will offer a $20 express lunch option complete with schooner, which seems like a pretty excellent option for CBD office workers on their lunch break. They'll also serve a $69 three course set menu plus a cocktail, as well as $7.50 house drinks. The Bank of Collins is now open at 394 Collins Street. For more information check them out on Facebook. Via Hospitality Magazine.
While there are plenty of bottomless brunch spots to choose from across Melbourne, Bluestone BBQ's latest lunch offer may take the cake for the best value all-you-can-eat deal in Melbourne. Running every weekend from 12pm-3pm, for just $59 per person, you can sit down to enjoy bottomless slow-cooked BBQ along with free-flowing drinks. Leave all abandon at the door and tuck into smokey chicken chops rubbed with paprika and finished with bbq sauce; Cuban pork marinated in oregano and lime; and pork and cheddar sausages served with house sauce and fire-roasted red peppers. Unlimited sides on the bottomless set menu runs to pickles, fries and a red cabbage and mustard seed creole slaw. Free-flowing drinks include Bluestone's signature cocktails, from the apple pie which pairs Old Forester bourbon with poached apple, lemon, brown sugar and cinnamon rim; to the Caribbean Queen, which spikes Havana Cub Anejo with lime, coconut cream, goji berries and shaved coconut. Prosecco, wine, beer and soft drinks are also available across each two-hour sitting.
Cities make possible the suspension of night and day. With enough neon and insomnia at our disposal, we can turn them into places where we can do anything we want, whenever we want. In New York City, for example, you can shop for nuts and bolts, stalk your crush with a nocturnal flower delivery, nab the latest smartphone and spruce up your hairdo 24/7. Like Simone Beauvoir wrote, “There is something in the New York air that makes sleep useless.” The big question is, now that we have this potential at our fingertips, what should we do with it? To what extent does a cosmopolitan city depend on infinite opening hours? Many laud the energy, excitement, romanticism and economic benefits of the 24-hour metropolis. Marion Roberts, a professor of urban design at the University of Westminster, concludes that it “generates more jobs, activities and social solidarities”. Others fret about excessive alcohol consumption, noise pollution and the next generation turning into a horde of sleep-deprived, hedonistic narcissists. With the one-year anniversary of Sydney’s controversial lockout laws looming over us, we take a look at how much napping is happening (or not) in some of the world’s best cities, and how essential it is their success on the world stage. WHERE NIGHTLIFE IS A RELIGION BERLIN In Germany, closing times are determined by each town or city. For Berlin, this means there’s no such thing as last call. Bars decide on their hours independently, with oodles of them operating according to the ebb-and-flow of demand, and a bunch of
Speakeasy Cinema has recently settled in to their new home at Grey Gardens Projects, and their first film at the venue will be the incredible documentary that focuses on Marina Abramovic’s legendary performance, The Artist Is Present. In 2010 at MoMA in New York, the so-called grandmother of performance art spent seven hours a day for three months staring into the eyes of whoever sat opposite her. Throughout her career, the Yugoslavian artist has pushed her physical and mental capacity to the limits with her experimental and confronting work. This documentary offers great insight into Abramovic’s artistic process, and the toll it takes. Speakeasy Cinema screened The Artist Is Present back in 2013, and is back due to popular demand but also to celebrate Abramovic’s current residency and retrospective exhibition in Australia. Sadly she won’t be dropping into Melbourne this time around, so if you want your Abramovic fix without buying a plane ticket, this will be the best way to get it.
Good news for all you night owls out there: 24-hour weekend public transport in Melbourne is set to continue into the middle of next year. The state government first began trialling the Night Network at the beginning of 2016 with metropolitan train services, as well as select tram and bus routes, operating all night long. An average of 35,000 people currently use the network each week, more than 20 percent of whom are shift workers. "This really is a case of Victorians voting with their feet," said Premier Daniel Andrews, who made the implementation of all night public transport a key election issue. And as someone who lives bang on the 96 tram line, this writer would like to thank him for it. In a statement released yesterday, the current plan will see the trial extended until June 2017, providing more data to judge the efficacy of the network. According to The Age, some services have proved more popular than others. Specifically, it reported "hundreds of buses" travelling around Melbourne's suburbs with "virtually no passengers". The Shadow Minister for Public Transport David Hodgett has labeled the network a "costly, over-budget flop". Point is, it looks like the jury is still out on making the network permanent. But at the very least, you'll be able to use it throughout summer. Via The Age. Image: Binayak Dasgupta via Flickr.
