With Game of Thrones finishing its run a few months back, there's currently a huge fantasy-shaped hole in the TV and streaming landscape. Of course, the beloved show is set to go on thanks to its own prequel; however plenty of networks and platforms are trying their hands at the genre in the interim — and giving television buffs plenty to watch. Amazon is hoping to fill the gap with its forthcoming Lord of the Rings series, although it isn't due until 2021. HBO's next contender has just arrived this month, courtesy of its adaptation of His Dark Materials. And, while Netflix already has its Dark Crystal prequel, which launched back in August, it'll soon drop new series The Witcher as well. In fact, the Henry Cavill-starring show will arrive on Friday, December 20, just in time for some Christmas break binge-viewing. Even better — if you're super-keen for the new series, you now have two seasons to look forward to. As reported by Variety, Netflix seems confident that plenty of folks are eager to see Cavill sporting long blonde locks and fighting monsters, because it has already renewed the show for a second season before the first even drops. You will have to wait for the follow-up batch of eight episodes, though, as it's not slated to shoot until 2020 or hit the streamer until 2021. Perhaps it's the concept that has everyone excited. As seen in both the initial trailer and the recent second sneak peek, the witcher of the title is Geralt of Rivia (Cavill), a monster hunter who prefers to work — aka slay beasts — alone in a realm called The Continent. But life has other plans for the lone wolf, forcing him to cross paths with powerful sorceress Yennefer of Vengerberg (Anya Chalotra, Netflix's Wanderlust) and young princess Ciri (newcomer Freya Allan). The latter harbours a secret, because of course she does, with the series blending plenty of fantasy staples such as magic, royalty, fighting factions, battling hordes, fearsome creatures, a heap of sword-swinging and many a scenic location. After stepping into Superman's shoes and facing off against Tom Cruise in Mission: Impossible — Fallout, The Witcher marks Cavill's return to TV a decade after starring in regal period drama The Tudors. As well as Chalotra and Allan, it also features Jodhi May (Game of Thrones), MyAnna Buring (Kill List), Lars Mikkelsen (House of Cards) and Australian actor Eamon Farren (Twin Peaks). Behind-the-scenes, the show's eight-part first season is created, executive produced and co-scripted by Lauren Schmidt, who has everything from The West Wing, Parenthood and Power to Daredevil, The Defenders and The Umbrella Academy to her name. If the series' name sounds familiar, that's because The Witcher is based on the short stories and novels of writer Andrzej Sapkowski — and, as well as being turned into comics, it was adapted the video game series of the same name. A Polish film and TV show also reached screens back in the early 2000s, although they were poorly received. Check out the latest trailer for Netflix's The Witcher below: https://www.youtube.com/watch?v=ndl1W4ltcmg The Witcher will hit Netflix on Friday, December 20. Image: Katalin Vermes. Via Variety.
From its awe-inspiring scenery to its hefty brew tours and the 200 sprawling wineries that call it home, the Margaret River region has become one of Australia's top destinations for those looking to escape the city in style. Situated about three hours from Perth, this bustling coastal setting offers surf beaches, lush forests and ancient underground cave systems all in one spot — which is especially exciting if you're looking for a bit of variety on a weekend trip this winter. With a landscape as diverse as this, it shouldn't come as a surprise that Margaret River is also home to incredible outdoor experiences that are ready and waiting for you to enjoy. There's a lot to choose from, but who doesn't love being spoilt for choice? To help, we've put our heads together with Virgin Australia to come up with the very best activities to make your getaway unforgettable. There'll be wine. There'll be beaches. And, of course, there'll be adventures. [caption id="attachment_719648" align="aligncenter" width="1920"] Phil Whitehouse via Flickr[/caption] EXPLORE THE LIMESTONE CAVES OF LEEUWIN NATURALISTE RIDGE When you're viewing it from ground level, the Margaret River region is rather spectacular — but heading underground also reveals incredible sights. Formed around a million years ago, there are over 100 limestone caves throughout Margaret River. They're considered some of the most extraordinary in Australia. The Leeuwin-Naturaliste Ridge is where you'll find many of them, with this expansive system featuring alluring crystal formations aplenty. Across a variety of guided and self-led tours, you can follow staircases and boardwalks that'll take you right into the depths of the earth. And if you only have time to visit a select few caves, don't miss your chance to see Lake Cave's imposing entrance or Jewel Cave, with its collection of stalactites that are over five metres tall. ABSEIL DOWN THE SEASIDE CLIFFS WITH MARGARET RIVER CLIMBING CO Rising 40 metres above the Indian Ocean, the Wilyabrup Sea Cliffs are among the most picturesque in the Margaret River region, stretching along the rugged coastline for a half-kilometre. If you enjoy a bit of death-defying action to go with your holiday, hook yourself into these towering red granite cliffs with the Margaret River Climbing Co — and step off the edge as you abseil your way down the sheer rock face. There's no need to worry if it's your first time. There are plenty of sections that are suitable for beginners, while experienced abseilers will still find a difficult challenge. Hanging from the cliff face presents you with pretty unbeatable ocean views, naturally. Our tip: keep an eye out for the pods of whales and dolphins that are often seen swimming amid these coastal currents. TREK THE CAPE NATURALISTE TO SUGARLOAF ROCK WALK The Cape to Cape Track is one of the most impressive treks you can complete in the Margaret River region. While you'll likely be a little busy indulging in the local food and wine to make the entire 140-kilometre journey, the Cape Naturaliste to Sugarloaf Rock section offers a pleasant introduction to the outstanding landscape. Setting off from the popular Cape Naturaliste Lighthouse, this relaxing three-and-a-half-kilometre stretch will have you stepping along a mix of gentle walking paths and timber boardwalks as you soak up the peaceful coastal views. To get the ideal experience, aim to reach Sugarloaf Rock just as the sun begins to set. Sitting just off the coastline in the Indian Ocean, this majestic rock formation is lit up daily by quite the striking colours as the sun dips below the horizon. TAKE A SUNSET CANOE RIDE ALONG THE MARGARET RIVER Sticking with the sunset theme, the Sunset Canoe Tour is your chance to float down Margaret River in complete serenity as the day draws to a close. You'll drift upstream flanked by wildflowers and forest — and it won't be long before you spy soaring limestone cliffs. Next, you'll watch as the late afternoon light sets the rock faces alight with a radiant glow, before continuing onwards in search of a secluded beachfront. Once you hit the sand, listen out for the chorus created by the local wildlife. It'll provide the perfect soundtrack as you rest on the beach with a glass of wine, a delicious canapé and a view of the last light as it disappears over the Indian Ocean. SEE THE REGION FROM ABOVE DURING A SCENIC HELICOPTER FLIGHT Make the most of your time by getting high above the Margaret River with a scenic helicopter ride. This part of the world provides a wealth of amazing natural wonders, so why not encounter the vast ocean and coastal landscape from the air? From farmland to forests to golden brown cliffs, you'll also hover above the boutique wineries and their seemingly endless rows of grapes — the ones that have helped put Margaret River on the map. Among the highlights, you'll also get to see Rivermouth, Surfer's Point, the Ellenbrook House and Cape Mentelle Vineyards, one of the oldest and most attractive wineries in all of Margaret River. If you're now eagerly planning a visit to Margaret River, check out Virgin Australia's holiday packages — which offer everything from chilled-out cottages to massive resorts.
Bright lights, fame and the chance to become something special all beckon in The Neon Demon. For small-town teen and aspiring model Jesse (Elle Fanning), they're intoxicating — and to the others she meets in her quest for success, so is her innocence and youth. Still, there's a reason that, when Drive director Nicolas Winding Refn first introduces his wide-eyed protagonist, she's splattered in blood and looking not long for this world. She's posing for a photo, but it's immediately apparent that she has wandered into an oh-so-vicious realm. Refn isn't known for being the subtlest of filmmakers, as the manic intensity of Bronson and the detached violence of Only God Forgives both show. He's also a man fond of ensuring that everything audiences see and hear — every colour choice, camera angle, throbbing beat, telling line and moment of silence — is both powerful and entrancing. Combine that with his fondness for dallying with dark tales of human behaviour, and his output tends to be quite polarising. The Neon Demon certainly fits that mould. In fact, it feels like the movie he's been building towards his entire career. Take that as cause for celebration, or a word of warning, depending on how you've felt about his work so far. It's with a parade of suitably neon-saturated images — and with opening credits emblazoned with his own initials — that Refn recounts Jesse's twisted, violent fairytale excursion to Los Angeles. When she meets makeup artist Ruby (Jena Malone), she's plunged deeper into an industry and a city that seems gorgeous and glamorous on the outside, yet remains shallow, false and all-consuming underneath. More experienced, older, surgically enhanced models Gigi (Bella Heathcote) and Sarah (Abbey Lee) don't quite befriend the fresh-faced wannabe, but they do take an envious interest. The competitive edge to their interactions only grows the more that the eager Jesse attracts attention. Skewering the superficiality of society's obsession with appearances is hardly new or novel. But it's not what Refn is saying in The Neon Demon that makes it so seductive. Rather, it's how he says it. In turning a stars-in-their-eyes story into a moody, psychological horror film, his scathing satirical edge is always evident. Every stylistic choice draws audiences in, then slowly reveals that they should have kept their distance. He's aided by a pulsating score from regular collaborator Cliff Martinez that's both melodic and just the slightest bit unnerving. Likewise the film's images, which could have been ripped from the front page of a fashion mag, yet retain an insidious air. Everything looks pretty, even when the movie's true nature proves otherwise. To put it simply, Refn wants to both lure people in while threatening all the while to spit them out — and he does so in eye-popping fashion, as does his entire cast. Fanning plays the seeming ingenue with pinpoint precision, and, though there's a stilted air to Aussies Heathcote and Lee, that's clearly by design. Keanu Reeves and Christina Hendricks are both memorable in small, well-used parts as a seedy landlord and a no-nonsense agent, but if there's a supporting player that the film belongs to, it's Malone. In The Neon Demon's most subtle performance, she's caught in the middle of the many extremes swirling around her, and she knows it. Viewers will relate, even if they're too busy either loving or hating Refn's latest big-screen effort to appreciate it. For the record, we're well and truly in the former camp.
The age of anything and everything available online is extending its reach to even the most humanitarian of acts: charity. Lending a hand to New Zealand's earthquake victims has been made simple with the development of the Christchurch Cafe, a virtual coffee shop that donates 100% of its profits to survivors suffering from severe income loss. The inspirational site was created by the workers at Crafted Coffee, a Christchurch shop that was fortunate enough to escape the wrath of the devastating quake in February. The virtual cafe aims to aid business owners that were not so lucky by offering a menu of virtual coffee beverages, beans and equipment, priced from $2 to $300, that can be purchased in the form of a donation by a mere click of the mouse. Each item is linked to a Paypal site, making the process that much easier. Victims in need apply for aid online and Christchurch Cafe offers $200 per month, per person for as many as they can support with the money raised. Although you may not get the kick of caffeine that comes with any other flat white at a cozy coffee shop, every dollar contributed to the Christchurch Cafe helps the struggling New Zealanders afford food and housing that is difficult to come by in the horrific aftermath of the earthquake. Now, let us not rule out boxing up unwanted clothes or extra canned goods to help out victims of natural disasters, but hopefully skipping your morning brew and donating a virtual flat white instead will catch on as a means of giving aid, and the altruistic buzz should more than make up for the missed caffeine kick.
Some days you feel like putting together a vaguely cohesive outfit and getting dressed to leave the house; others, not so much. If you're more familiar with the latter, let us introduce you to Willa & Mae, the New Zealand label that's attempting to make it acceptable to wear your pyjamas in public. Well, your designer pyjamas, anyway. This winter, the sleepwear-turned-lifestyle label makes its foray into Australia with ultra comfortable, effortlessly elegant pieces that are designed to be worn out of the house. Having landed in Australia in February, Willa & Mae's winter 2017 collection is available to purchase from March 31, and fundamentally functions as your new excuse to wear PJs in public and not look like a grub. Creative director Jane Mow brings her background in menswear tailoring and styling to the brand, creating an androgynous line of highly elegant jammies. Navy, cherry and suiting stripes take shape in the old-world style of men's silk pyjamas, while long slip dresses, buttery camisoles and billowing robes recall the halcyon days of elegant women's loungewear. As piping, notched collars and cuffs evoke a certain masculinity, the luxurious silk satins maintain sensual femininity. The foundation of Willa & Mae lies within "taking opposing ideas and asking them to play together" – like wearing your sleepwear out of the house, and still looking great. The label is guided by the unexpected through materials and patterns used, and the way its styles not only suit the bedroom, but also a night out. There's a Dr Jekyll and Mr Hyde relationship happening; on the one hand you have the sharp, feisty trendsetter Willa, and, on the other, there's Mae, keeping things grounded as the elegant, subdued yin to Willa's yang. Willa & Mae's price point may sit a bit high for your pyjama budget — between $300 and $700 — but the dawn-to-dusk-to-dawn versatility, quality silks and promised longevity means that, arguably, you don't ever need to wear anything else. And if you need one last nudge to jump on this pyjamas-in-public bandwagon, everything is made locally and ethically. Tick, tick and tick. Willa & Mae's winter 2017 collection is available online from March 31. Shop the collection here.
International sportswear label Adidas continues its efforts to save the world's oceans, announcing it will contribute $1.5 million USD to the Parley Ocean School Program. The catch? It will donate $1 for every kilometre run, so grab your joggers and pound the pavement for a good cause. Runners can clock their kilometres by joining the Run for the Oceans group within the app Runtastic, which is free to download on iPhone and android. There are also a slew of Adidas and Parley running events happening across Sydney, Melbourne, Auckland, New York, Paris, Berlin, London, Barcelona, Milan and Shanghai, which you can also partake in. The initiative is running globally from June 8–16, 2019, and is capped at $1.5 million USD. Last year, 12 million kilometres were run and $1 million USD were raised for the same initiative. https://www.facebook.com/adidasAU/photos/a.614311325637497/779507399117888/?type=3&theater Parley Ocean School Program is a branch of environmental charity Parley for the Oceans that educates and empowers the next generation about the importance of the ocean, the dangers of plastic waste and what we can do to protect the ocean and its marine live. Together with Parley, this is just Adidas' latest campaign to help save the ocean and reach its 2024 goal of eliminating the use of virgin polyester from all products. The 2019 Parley apparel range will also see the the company produce 11 million pairs of shoes made from recycled plastic pulled from the beach. The planet-friendly range features the new slick Alphabounce+ running shoes, water bottles, training tights and backpacks. Adidas' Run for the Oceans initiative runs from June 8–16, 2019. To find out more info and to signup head to adidas.com.au/runfortheoceans.
This is a true story: in 2014, Hollywood decided to take on a task that was destined to either go as smoothly as sliding on ice or prove as misguided as having a woodchipper sitting around. Revisiting Fargo was a bold move even in pop culture's remake-, reboot- and reimagining-worshipping times, because why say "you betcha" to trying to make crime-comedy perfection twice? The Coen brothers' 1996 film isn't just any movie. It's a two-time Oscar-winner, BAFTA and Cannes' Best Director pick of its year, and one of the most beloved and original examples of its genre in the last three decades. But in-between credits on Bones, The Unusuals and My Generation, then creating the comic book-inspired Legion, writer, director and producer Noah Hawley started a project he's now synonymous with, and that's still going strong five seasons in. For the TV version of Fargo, the setup mirrors the film. "This is a true story," all iterations of Fargo claim. "At the request of the survivors, the names have been changed," each season of the series goes on, as the movie did before them. "Out of respect for the dead, the rest has been told exactly as it occurred," they also advise. What follows from there is always a twisty tale set in America's midwest, as filled with everyday folks in knotty binds, complicated family ties, crooks both bumbling and determined trying to cash in, and intrepid cops investigating leads that others wouldn't. Hawley's stroke of genius: driving back into Fargo terrain by making an anthology series built upon similar pieces, but always finding new tales about greed, power, murder and snowy landscapes to tell — including the latest, which starts releasing episodes via SBS On Demand in Australia and Neon in New Zealand from Wednesday, November 22. Consider Fargo a Coen brothers remix, too, nodding to its inspiration while existing in the same universe, and also winking at the sibling filmmakers' other features. It's a series where stars from Joel and Ethan's movies have key roles, such as The Man Who Wasn't There's Billy Bob Thornton, A Serious Man's Michael Stuhlbarg and The Big Lebowski's David Thewlis, to mention a few. References to The Big Lebowski's white russians, mugshots that ape Raising Arizona, O Brother Where Art Thou?-esque bluegrass and calling someone "friendo" No Country for Old Men-style also happily pop up. Lines of dialogue, monikers, shots, scenes, character types, plot specifics: from Blood Simple and Barton Fink to Burn After Reading and Hail, Caesar! — and Miller's Crossing, The Hudsucker Proxy, True Grit, Inside Llewyn Davis and The Ballad of Buster Scruggs as well — the links keep coming. Hawley's Fargo adores the Coenverse overall, enthusiastically scouring it for riches like it's the TV-making embodiment of Kumiko, the Treasure Hunter's namesake. That film hailed from Damsel's David Zellner instead, and took cues from the urban legend surrounding the purported Fargo ties to the IRL death of Japanese office worker Takako Konishi; however, wanting the contents of the Coen brothers' brains to become your reality is clearly a common thread. Of course, for most of the fictional figures who've walked through the small-screen Fargo's frames, they'd like anything but caper chaos. Scandia, Minnesota housewife Dot Lyon (Juno Temple, Ted Lasso) is one of them in season five. North Dakota sheriff, preacher and rancher Roy Tillman (Jon Hamm, Good Omens) isn't as averse to a commotion if he's the one causing it. Minnesota deputy Indira Olmstead (Richa Moorjani, Never Have I Ever) and North Dakota state trooper Witt Farr (Lamorne Morris, Woke) just want to get to the bottom of the series' new stint of sometimes-madcap and sometimes-violent mayhem. The events depicted in Fargo season five take place in 2019, after the film's 1987 timing, then season one's 2006 setting, season two's jump back to 1979, season three unfurling in 2010 and season four using 1950 as a backdrop. This is the most current of the franchise's interconnected stories in two ways, with America's recent political climate and corresponding polarisation key to its ten-episode narrative. Indeed, when Dot and her tween daughter Scotty (Sienna King, Under the Banner of Heaven) are introduced in the fifth season's opening scene, it's at a PTA meeting-turned-brawl. After Dot busts out a taser to escape the mob, her presence in the melee ends with an arrest by Olmstead, worry from her car salesman Wayne (David Rysdahl, Oppenheimer), disapproval from his debt collection company CEO mother Lorraine (Jennifer Jason Leigh, Hunters) and the latter's in-house lawyer Danish Graves (Dave Foley, The Kids in the Hall) snapping into action. Similarly a consequence: the dawning realisation by those around her that this stay-at-home mum has secrets. Fans of the movie are in for a treat as Hawley treads in its footsteps more directly than ever, but still cleverly, entertainingly, and while reinforcing the idea that basic human nature sparks tales like this over and over. A home invasion and kidnapping, dispatched criminals doing a job that goes awry, a massive face wound and the line "it's a beautiful day" — uttered here by Olmstead — all feature. As Dot joins Fargo's array of indomitable women, so do Olmstead and Lorraine, offering three stripes on an upstanding, ruthless and caught in-between flag. And the saga's savaging exploration of masculinity? The Trumpian Tillman, who sees the law as a mere guide, is all about boosting his own status, has son Gator (Joe Keery, Stranger Things) following his lead and also sports the Anton Chigurh doppelgänger Ole Munch (Sam Spruell, The Gold) on the payroll, is its primary target. Season five kicks off with a title card in addition to the playful "this is a true story" spiel (it's well-established by now that Fargo trades in anything but, at least where narrative facts are involved). Defining "Minnesota nice" as "an aggressively pleasant demeanour, often forced, in which a person is chipper and self-effacing, no matter how bad things get" gives way to the school riot. In mere minutes, Hawley hammers home the truth that even putting on niceties is a rare occurrence in today's America — and 2019's. The season unpacks this notion, setting its sights on the society, attitudes, leaders and powerbrokers perpetuating self-serving fractures so deep that smiling and pretending to get along isn't possible. Fargo sees the fightback, too, both when class and gender are involved, and especially in the resourceful Dot. She could give MacGyver a run for his money, gets compared to a tiger and, out of necessity, never stops notching up ways to outsmart her foes. Add Temple's lead performance to Fargo's long list of standout portrayals; Frances McDormand received her first of three Best Actress Oscars (before also winning for Three Billboards Outside Ebbing, Missouri and Nomadland) for the film, after all. Add Hamm to the franchise's can't-look-away villains, swapping his Mad Men charm for the prickliest of confidence. And, add another delight of a run to the show's pile, this time delivering a striking service station siege, the memorable use of The Prodigy's 'Smack My Bitch Up' and multiple references to The Nightmare Before Christmas along the way. Here's another genuinely true story: Fargo keeps proving one of the best film-to-TV adaptations there is. Check out the trailer for Fargo season five below: Fargo season five streams via SBS On Demand in Australia and Neon in New Zealand from Wednesday, November 22. Images: Michelle Faye/FX.
Your dreams of ditching the slow peak-hour crawl for a quick flight through the skies could very soon become a reality, with Uber today announcing Melbourne as its third — and first international — trial city for Uber aircrafts. Having already flagged the US's Dallas and Los Angeles as launch cities for its new flying service, dubbed the Uber Elevate project, and after some speculation last year, the ride share company has now confirmed it'll also start testing in Melbourne in 2020. If these trials are a success, we should see regular services start from 2023. The all-electric Uber Airs will operate a little like helicopters (but 32 times less noisy, supposedly) with the 'electric vertical take-off and landing vehicles' (eVTOLs) using helipad-style 'Skyports' located on high rooftops at key points around the city. As the company has just announced it'll be teaming up with the Scentre Group (owners of Westfield), expect a lot of these to be located atop shopping centres. And at Melbourne Airport, thankfully. Uber has announced it'll be continuing its partnership with the airport for the new venture — which will most likely launch before construction even begins on the long-awaited airport rail. At least there'll be one fast way to get to the airport. While a car ride from the CBD to the Melbourne can currently take anywhere from 25 minutes to an hour, Uber is promising that its Uber Air will only take about ten minutes. [caption id="attachment_725578" align="alignnone" width="1920"] Skyport[/caption] By taking travel to the air, the company is hoping to "open up urban air mobility and help alleviate transport congestion on the ground". Passengers will be able to tee up a flight in the same way they order a car, with a push of the button, and hopefully it'll be just as cheap. While the company has not announced how much it'll cost initially, it has said that an Uber Air will eventually be as cheap as taking an Uber X ride of the same distance. While this all sounds a bit too good to be true, we do hope we'll be Jetsons-ing around the city for pittance soon. Uber Elevate will start tests in Melbourne by 2020 with regular services kicking off in 2023. To read more about the program, head to the Uber website.
For the second year in a row, Darling Harbour's Tumbalong Park is getting in on the Vivid Sydney action with the introduction of Tumbalong Nights. From Thursday to Saturday throughout the festival — plus Sunday, June 11 — you can enjoy performances from the very heart of the Light Walk. The 12 nights of free live music span exciting up-and-coming artists through to established Australian faves of all kinds of sounds and genres. The program will kick off with a night of hazy pop for fans of the sounds of Lana Del Ray and Lorde with the dynamic duo of shoegaze hitmaker Hatchie and local indie-pop group Egoism on Friday, May 26. [caption id="attachment_899339" align="alignnone" width="1920"] Hatchie by Lissyelle[/caption] Other highlights include legendary Yolngu supergroup Yothu Yindi with Ziggy Ramo on Saturday, May 27; an R&B match made in heaven of Kaiit and Chanel Loren; a night of hook-heavy ballads with Dan Sultan and Cala Wehbe on Saturday, June 10; and Japanese cult-producer Cornelius with support from psych-rock band Nice Biscuit. On Friday, June 2, triple j is celebrating 15 years of Unearthed High with a one-off showcase of some of the best artists to come out of the annual program featuring Teen Jesus and the Jean Teasers, Lastlings, JACOTÉNE and Arno Faraji. Plus, each Saturday during the festival, there'll be free kids music from 5pm as a curtain-raiser for the main acts, with Zindzi & the Zillionaires, Junkyard Beats, Peter Combe and the Bellyflop in a Pizza Band, and Tiptoe Giants all popping up. Explore the program at Vivid's website. Top image: Destination NSW
The more time that anyone spends in the kitchen, the easier that whipping up their chosen dish gets. The Bear season two is that concept in TV form, even if the team at The Original Beef of Chicagoland don't always live it as they leap from running a beloved neighbourhood sandwich joint to opening a fine-diner, and fast. The hospitality crew that was first introduced in the best new show of 2022 isn't lacking in culinary skills or passion. But when chaos surrounds you constantly, as bubbled and boiled through The Bear's Golden Globe-winning, Emmy-nominated season-one frames, not everything always goes to plan. That was only accurate for Carmen 'Carmy' Berzatto (Jeremy Allen White, Shameless) and his colleagues on-screen, however; for viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. Streaming via Disney+ Down Under from Wednesday, July 19 — arriving a month after it hit the US, making Australian and New Zealand audiences wait for a repeat reservation just like last year — The Bear season two serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling stretch. Actually make that ten more courses, one per episode, with each new instalment its own more-ish meal. A menu, a loan, desperately needed additional help, oh-so-much restaurant mayhem: that's how this second visit begins, as Carmy and sous chef Sydney (Ayo Edebiri, I Think You Should Leave with Tim Robinson) endeavour to make their dreams for their own patch of Chicago's food scene come true. So far, so familiar, but The Bear isn't just plating up the same dishes this time around. At every moment, this new feast feels richer, deeper and more seasoned, including when it's as intense as ever, when it's filling the screen with tastebud-tempting food shots that relish culinary artistry, and also when it gets meditative. For Carmy, Syd, the former's sister Natalie aka Sugar (Abby Elliott, Indebted), and lifelong pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings) — plus The Beef and now The Bear's baker-turned-pastry chef Marcus (Lionel Boyce, Hap and Leonard), veteran line cooks Tina (Liza Colón-Zayas, In Treatment) and Ebraheim (Edwin Lee Gibson, Fargo), and resident Mr Fixit Neil Fak (IRL chef Matty Matheson) — it's all systems go from the instant that the show's second season starts. With his James Beard Award and experience at the world's top restaurants, Carmy has never been one to take things slowly or calmly. Relaunching the space that he inherited after his brother Mikey's (Jon Bernthal, We Own This City) death is no different, even after Carmy found $300,000 in cash sealed tins of tomatoes to close out season one. In cooking, money just buys ingredients and equipment. Here, while The Beef team has scored itself a hefty stash, those funds can't quite purchase enough. Swiftly, Carmy and Syd enlist Sugar as their project manager so that they can focus on conjuring up the new restaurant's customer-courting spread — and they're asking the Berzattos' uncle Cicero (Oliver Platt, Chicago Med), their main investor, for extra aid just as promptly. Creator Christopher Storer (Ramy, Dickinson and Bo Burnham: Make Happy), also the dramedy's frequent writer and director, brings the heat and the bedlam early. He tests and stresses his kitchen-obsessed characters in their favourite surroundings, where they spent the opening season just surviving. Season two pushes them towards thriving by growing and learning, though, complete with new insights into Carmy and company, plus new ways to drizzle out their hopes, wants, fears and hungers. The Bear's smorgasbord of havoc continues, then, but paired with savouring what quieter moments everyone can manage to stick on their forks. When Carmy runs into his old friend Claire (Shiva Baby and Booksmart's Molly Gordon), who is now a doctor, he finds something to enjoy beyond being a chef for the first time in far too long (certainly the first time in the show's narrative). Their relationship blossoms, taking the workaholic's focus away from his about-to-open restaurant. That causes struggles, too, but The Bear has always appreciated life's unexpected alchemies. When Carmy ditches plans to hop around town with Syd to glean culinary inspiration for the menu, for instance, she's initially peeved. Then her tasting tour of the Windy City, which is also a visual tour of some of its famous places and names for viewers, proves both revelatory and rewarding. The clock keeps ticking, with Cicero's extra cash speeding up the opening date. The deadline: 12 weeks. Whenever The Bear is at The Bear, the non-stop pressure-cooker energy blisters like grabbing a steel-handled saucepan off the stove with your bare hands. Season one was exceptional at thrusting its audience into the hustle and bustle of working in hospitality as if they were really there, warts, woes and all. Season two doesn't falter on that front. But when The Bear isn't at The Bear, it lets its usually frantic figures make themselves over, including by sending Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3) and getting Richie to spend a week learning the upscale ropes at one of the city's best restaurants. This season's performances as a result: exquisite. Marcus' trip to Denmark spans an entire episode, the only chapter in the show's 18 across both seasons to-date that isn't directed by either Storer or executive producer Joanna Calo. Instead, Ramy Youssef steps in, invests the lived-in feel that's so much a part of his own impressive series, and revels in the eye-opening minutiae of being a visitor in a new place learning fresh skills. Storer is back at the helm of Richie's dedicated instalment, but it too benefits from broadening its horizons and getting out of its comfort zone. So does Cousin. In his typically abrasive way, he isn't happy about being sent away, taking it as punishment. In one of The Bear's finest exchanges yet, however, he has his entire perception altered in a touching conversation that adds Oscar-winner Olivia Colman (Secret Invasion) to the season's guest stars. Well-known names must've been lining up to join The Bear: fellow Academy Award-recipient Jamie Lee Curtis (Halloween Ends) also features, likely nabbing herself a 2024 Best Guest Actress Emmy, alongside Bob Odenkirk (Lucky Hank), Sarah Paulson (Ratched) and John Mulaney (Bupkis). That smattering of talent appears in a double-lengthy episode that jumps back to the past, demonstrates how chaos would've been in Carmy's blood regardless of if he became a chef — including when food is involved — and is as nerve-shredding and brilliantly acted as the series gets. You can't just taste the same bites over and over again, season two's detours advise. You're chomping into history whenever you sink your teeth into anything, this particular episode also conveys. The Bear burns brighter thanks to both trains of thought and, even with season one stetting such a high bar, couldn't be more appetising and satisfying. Long may it keep spending time in streaming's kitchen, bettering something that's already proven perfect. Check out the trailer for The Bear season two below: The Bear season two streams via Disney+ Down Under from Wednesday, July 19. Read our full review of season one. Images: Chuck Hodes/FX.
If you didn't know that The Outsider was based on a book by Stephen King, you'd guess rather quickly during the show's first episode. A child is found dead, a town is understandably shocked and scandalised, and all of the evidence points detective Ralph Anderson (Ben Mendelsohn) towards local Little League coach Terry Maitland (Jason Bateman) — except that just as much evidence also shows that Terry was miles away at the time the murder took place. Throw in a strange hooded figure who keeps hanging around the Maitlands' house, plus a private detective (Cynthia Ervio) with preternatural deductive abilities, and The Outsider combines crime and horror in an instantly absorbing fashion. It's a must for King fans, whether you've read his 2018 novel or not. It's also absolutely essential for Mendo lovers, with the Aussie actor breaking away from his recent villainous blockbuster roles and putting in quite the performance.
Environmentalists from the Sierra Club teamed up with Pact underwear brand to form a bare-skinned project to lessen the use of coal, especially on university campuses where green-minded students are trying to be friendly to the environment. Beyond Coal is the resulting collaboration that sells a collection of comfy underwear with the goal of educating the public about the negative effects of coal on the environment, with hopes of changing the habits institutions that overuse the harmful substance. The ash released into the environment from coal is one of the leading causes of acid rain, smog, global warming and air toxins. 10% of the proceeds from the purchase of Beyond Coal undies goes to protests and petitions to convince universities to reduce their ever-increasing carbon footprint by minimising the supply of coal to power campuses. This generation of students is more conscious of the human impact on the environment, and the project simply points out that it is quite hypocritical for schools to be using so much coal power for students who are constantly searching for green alternatives. Help Beyond Coal prevent the dangerous effects of coal emissions by rocking a pair of pollution-fighting panties, starting at $20 for both men and women.
Every studio wants a Marvel Cinematic Universe to call its own, or an equivalent that similarly takes a big bite out of the box office — and that very quest explains why Morbius exists. On the page, the character also known as 'the Living Vampire' has been battling Spider-Man since 1971. On the screen, he's now the second of the web-slinger's foes after Venom to get his own feature. This long-delayed flick, which was originally due to release before Venom: Let There Be Carnage until the pandemic struck, is also the third film in what's been dubbed Sony's Spider-Man Universe. As that name makes plain, the company is spinning its own on-screen world around everyone's favourite friendly neighbourhood superhero, because that's what it owns the rights to, and has started out focusing on villainous folks. So far, the movie magic hasn't flowed. If that explanatory opening paragraph felt like something obligatory that you had to get through to set the scene, it's meant to. That's how Morbius feels as well. Actually, that's being kinder than this draining picture deserves given it only has one purpose: setting up more films to follow. Too many movies in too many comic book-inspired cinematic universes share the same fate, because this type of filmmaking has primarily become $20-per-ticket feature-length episodes on a big screen — but it's particularly blatant here. Before the MCU's success, the bulk of Morbius would've been a ten-minute introduction in a flick about supervillains, and its mid-credits teasers would've fuelled the first act. Now, flinging every bit of caped crusader-adjacent material into as large a number of cinematic outings as possible is the status quo, and this is one of the most bloodless examples yet. Jumping over to the SSU from the DCEU — that'd be the DC Extended Universe, the pictures based around Batman, Superman, Wonder Woman, Suicide Squad and the like (but not including Joker or The Batman) — Jared Leto plays Morbius' eponymous figure. A renowned scientist, Dr Michael Morbius has a keen interest in the red liquid pumping through humans' veins stemming from his own health issues. As seen in early scenes set during his childhood, young Michael (Charlie Shotwell, The Nest) was a sickly kid in a medical facility thanks to a rare disease that stops him from producing new blood. There, under the care of Dr Emil Nikols (Jared Harris, Foundation), he befriended another unwell boy (debutant Joseph Esson), showed his smarts and earned a prestigious scholarship. As an adult, he now refuses the Nobel Prize for creating artificial plasma, then tries to cure himself using genes from vampire bats. Morbius sports an awkward tone that filmmaker Daniel Espinosa (Life) can't overcome; its namesake may be a future big-screen baddie, but he's also meant to be this sympathetic flick's hero — and buying either is a stretch. In the overacting Leto's hands, he's too tedious to convince as a threat or someone to root for. He's too gleefully eccentric to resemble anything more than a skit at Leto's expense, too. Indeed, evoking any interest in Morbius' inner wrestling (because saving his own life with his experimental procedure comes at a bloodsucking cost) proves plodding. It does take a special set of skills to make such OTT displays so pedestrian at best, though, and that's a talent that Leto keeps showing to the misfortune of movie-goers. He offers more restraint here than in Suicide Squad (not to be confused with The Suicide Squad), The Little Things, House of Gucci or streaming series WeCrashed, but his post-Dallas Buyers Club Oscar-win resume remains dire — Blade Runner 2049 being the sole exception. It mightn't have revived the film, but the answer to one of Espinosa's troubles could've been Matt Smith, who cuts a far more compelling figure as the grown-up version of Morbius' ailing pal Milo. The lanky Last Night in Soho star is saddled with a role somehow more cartoonish than Leto's, and with a character who doses himself with the same bat-derived serum but loves it — and, even without a spot of remorse for the body count he swiftly causes, he's the the most fascinating thing on-screen. Alas, in the latest underwhelming script by Dracula Untold, The Last Witch Hunter, Gods of Egypt and Power Rangers screenwriters Burk Sharpless and Matt Sazama, Morbius and Milo are meant to be two sides of the same coin, but there's no depth or poignancy to their relationship. It just feels like a means to an end, giving Morbius another struggle to brood over. That shouldn't come as a surprise seeing that's the movie's whole gambit as well. It doesn't help that the entire idea behind Morbius and Milo's friendship, and their reason for seeking a solution in bat DNA, is abhorrently ableist. Positing that both men can only be happy if they're free of their genetic ailment could never be anything else. Folks with a health situation that causes suffering may wish to farewell it, but the image of throwing away crutches, becoming more mobile, gaining extra senses and floating in the air is thoroughly tasteless when presented as the only alternative to having a medical condition. Doing something different would've required thought, however, which Morbius lacks again and again. No one could be bothered to flesh out its protagonist, or wonder why its villain outshines him, or worry that Leto and Smith have zero chemistry together, after all. And clearly nobody was concerned that the film looks wearyingly dull to suit its story, that its CGI is laughably atrocious and overdone at every moment, or that it's a vampire flick that's afraid of blood and gore. Amid the murky cinematography by Oliver Wood (Holmes & Watson) and erratic editing from Pietro Scalia (Solo: A Star Wars Story), each compounding the movie's woes, Morbius also includes a weak attempt at a romance courtesy of fellow researcher Martine (Adria Arjona, 6 Underground), plus a crime angle via detectives Stroud (Tyrese Gibson, Fast and Furious 9) and Rodriguez (Al Madrigal, Physical) — all thankless. Its stab at giving the superhero/supervillain realm a mad scientist skew, a monster-movie chapter and a gothic horror spin proves dead on arrival as well, as does its evident pilfering from Mary Shelley's Frankenstein. That this is the best version of Morbius after almost two years spent sitting on a shelf is as illogical as the film's many plot holes. This misfire only sinks its teeth into bland monotony; vampires aren't the only things that suck within its frames.
Pop quiz: what's 78% nitrogen, 21% oxygen, became breathable 2.4 billion years ago and is the focus of an upcoming exhibition at Brisbane's Gallery of Modern Art? If you guessed 'air', you'd be right. Over a delightfully lengthy five-month tenure — from Saturday, November 26 until Sunday, April 23 — Air will be transforming the ground floor of GOMA into an interactive exploration of the "cultural, ecological and political layers" of the air we breathe. It's not easy to make physical art from something invisible. Still, the collection works of Ron Mueck (the staggering In Bed), Jonathan Jones (the feathered and multifaceted Untitled (giran)) and Anthony McCall (the beaming Crossing), plus new (and floating) commissions from Tomás Saraceno and Jemima Wyman alongside a monumental chalk cliffscape by Tacita Dean and dozens of other prominent artists will do so. [caption id="attachment_878453" align="aligncenter" width="1920"] Anthony McCall's 'The Crossing'[/caption] The exhibit has been organised around five key themes, each focusing on details we can take for granted: atmosphere (the space between us and the cosmos), burn (the mortality and vulnerability of clean air), shared (the collective need of humans, plants and animals for the element), invisible (an exploration of the unseen) and change (the nature of our vulnerable, ever-evolving world). What's certain is you're set to leave this cultural outing with a more concrete understanding of the ethereal and vital element. 'Air' will be open daily at GOMA from Saturday, November 26 till Sunday, April 23, 2023. Entry to last session is 4pm. Head to the website to secure your ticket. Top image: Ed Mumford
This article is sponsored by our partner lastminute.com.au. Dreaming of a trip to New York? Win NYE in NYC for you and a lucky friend thanks to lastminute.com.au. Stay in the centre of the action. To make the most of your NYC stay, choose digs that are slap bang in the middle of the Manhattan action. Affinia Manhattan is a good mid-priced option or if you're in the market for something special on the Upper East Side The Surrey is fabulous. For all NYC accom check out lastminute.com.au's range here. If you like a spectacle, tap the costume and burlesque scene. Prohibition-era fashion and Gatsbyesque entertainment is the flavour of the decade in NYC, and you can easily get a hit of it by attending one of the regular parties hosted by Dances of Vice, Wit's End or the weekly Floating Kabarette at Galapagos in Brooklyn. Twice a year, Governors Island (a free five-minute ferry ride from lower Manhattan) comes alive with the Jazz Age Lawn Party hosted by Michael Arenella and his Dreamland Orchestra. Between Charlestons, you're likely to spot (and be spotted by) photographers like the Sartorialist, Bill Cunningham and many other notables in dapper ensembles (Baz Luhrmann was spotted by a friend last year). A visit to some legendary sources of thrift shopping like Brooklyn Flea, Beacon's Closet and Housing Works will be necessary for your costume. And just for fun. Nowhere does speakeasies like Manhattan. Enter Chinatown's creepiest alley, Doyers Street, and listen for the sound of music behind a pile of trashcans; that’s Apotheke. Concealed deep in a hotdog shop lurks the luxe cocktail bar Please Don't Tell. And you'd easily miss Little Branch but for the line of chic folk loitering outside its low-key entrance on a Saturday night. Dress me up! New York's H & M, Anthropologie, Madewell and Urban Outfitters megastores are fabulous, but blogs are a great resource if you want to get off the beaten track of clothes shopping. Racked and Refinery29 give a heads-up on designer sample sales as well as new store openings and events like the Manhattan Vintage Clothing Show. The East Village, LES and Williamsburg have great boutiques if you like unique, offbeat pieces. Need vintage glasses to complete your Woody Allen vibe? Moscot and Fabulous Fanny's will have just the ones for you. Crafty? Visit M & J Trimmings for sequins and studs galore. People are the key. New York is all about community. As the world's gathering-point, it attracts a very receptive sort of crowd. So make friends at bars. Get on OKCupid and talk to people. You might get invited to a party or find out about something cool happening just round the corner. It doesn't really matter where you end up, because everything that happens in NYC makes for a good story. Prepare to walk. And walk and walk. NYC is truly a pedestrian city, which is fantastic because it puts you in the thick of the action. At the risk of sounding like a grandma, make sure you have sturdy and comfortable shoes. Buy a wallet-sized subway map at a bodega and venture underground — the subway has some of the best buskers in the world, from Mariachi bands to break dancers to elderly beat poets. Brunch! On the weekend, brunch is an NYC institution. The Spotted Pig, Hundred Acres, Kittichai and every trendy restaurant up and down the Westside have special brunch menus, often with bottomless cocktails ahoy, so you can sag out into the sunlight afterward, happy as a clam. Casually go see high-profile musicians play for cheap. Check the line-up at Bowery Ballroom, Le Poisson Rouge and the Rockwood. Midnight diner meals are compulsory. Try Veselka, Seinfeld's Tom's or Katz' Delicatessen. Drunk? Order Disco Fries. Harness the power of social media. From tuning into the Facebook feeds of your NYC-based friends, or friends of friends, to searching Twitter hashtags like #bestofnyc to simply liking a fan page about regular events like the incredible storytelling series The Moth, there's infinite platforms to give you info on what’s happening right now. Walk the High Line and explore its surrounds. On the top of the Standard Hotel you'll find Le Bain, a bar with one of the best views in town plus bartenders dressed as tennis pros, circular pink waterbeds, astroturf and Nutella crepes. It's also a hop from the Chelsea gallery district and many designer flagship stores. If this list doesn't satisfy you, there's always tips from SNL's Stefon.
Originally, Scarlett Johansson (Asteroid City) and Chris Evans (Pain Hustlers) were set to reteam for Fly Me to the Moon, sans Marvel heroes but with championing America — the country rather than the Captain — still on the itinerary. Every movie can play the "what if?" casting game, whether through attached stars that left for various reasons (scheduling conflicts after the director changed here) or via audiences simply offering their own picks, yet this one isn't helped by the shadow of what might've been. On paper, Johansson and Channing Tatum (Magic Mike's Last Dance), who are also reuniting after the Coen brothers' Hail, Caesar!, are a winning pair. One succeeds more than the other in this 60s-set space-race screwball rom-com that's also about selling US exceptionalism, and joins Operation Avalanche and Capricorn One among cinema's fake missions into the heavens, too. The picture's entertaining-enough fate runs in parallel to its plot: there, for the shadowy government operative who pushes Johansson and Tatum's characters into each other's orbits, a good-enough approximation of the moon landing over the real thing will do. A delight as ever in comic mode with depth, Johansson turns in the type of charming performance that Hollywood could build a series around, on screens either big or small. She's Kelly Jones, a Manhattan advertising executive with the gift of knowing how to pitch whatever she needs to get the client, and then to also get the masses to consume. Director Greg Berlanti (Love, Simon) and first-time screenwriter Rose Gilroy, working with a story by Bill Kirstein (Mean Girls circa 2024's cinematographer) and Keenan Flynn (a producer on Beyoncé's Lemonade), introduce her putting on the whole show. Kelly has dismissive and misogynistic automotive executives in her sights, who think that she's present for refreshments. Aided by a baby bump that augments the act, she has soon convinced them on the merits of spruiking seat belts in sports cars. With backing from the very top of the country, aka Nixon, Moe Berkus (Woody Harrelson, Suncoast) has other plans for Kelly: serving her nation by gifting NASA her spin. Fondness for the fat stacks of cash being spent on all things astronomical are falling out of favour with politicians and the public alike, hence the request — a demand that she can't refuse, really — for Kelly's services. Johansson gleams in Fly Me to the Moon, nailing the boldness that keeps driving her character forward and the banter no matter who she's talking to, while also ensuring that impact of Kelly's shady backstory feels genuine. With Party Down, Hacks and It's Always Sunny in Philadelphia alum Anna Garcia as supportive assistant Ruby Martin, she scores her best double act of the movie. But even when he's not breaking into the tune that everyone has stuck in their head just from reading this feature's title, Harrelson is having a ball, far more so than Tatum. As Cole Davis, the straight-arrow hero war pilot-turned-mission commander at Cape Kennedy as the Apollo 11 launch nears, Tatum is instantly in a more-serious register than his co-stars. The job on-screen is literally rocket science — and Cole too has baggage, the details of which crib from actuality with a near-flippancy that borders on tasteless. Sincerity shimmers when Cole initially crosses paths with Kelly at a diner, telling her that she's the most-beautiful woman he's ever seen, and also that she's on fire (again, literally), but there's little room for it when they start butting heads as new colleagues with different agendas. Tatum plays his part like he'd be far happier in a romance without the comic battle. In contrast, Johansson relishes channelling Doris Day against Rock Hudson in the repartee. If this was a TV series, there'd be time for Cole to warm up and settle in; however, the film doesn't boast it even clocking in at a lengthy-and-feels-it 132 minutes. Thankfully, there's still an inherent spark just by getting Johansson and Tatum in the same frame, which keeps Fly Me to the Moon rolling although never soaring. If the idea by Berlanti, Gilroy and company was to make the plot busy to compensate for anything that doesn't fully ignite, they've committed to the concept with thruster-level gusto as the narrative unfurls. Kelly doesn't just have to weave her PR wonders with Cole zipping between glowering and flirting — a gig that's filled with faux engineers and astronauts stepping in for interviews (Henry Smalls, played by Bupkis' Ray Romano, is one scientist who's replaced) and product placement galore — or merely help schmooze naysayers who might scrap the space agency's budget. In secret, in a ploy that she's told to keep that way from Cole, she's also tasked by Moe with the stuff that conspiracy theorists' fantasies have been made of for 55 years: going all Tinseltown, complete with the egomaniacal "Kubrick of commercials" Lance Vespertine (Jim Rash, Loot), to stage the events of July 20–21, 1969 in case history doesn't happen the way it's meant to. It's clear why the movie has magicked up a movie-magic angle, and not only because cinema loves paying tribute to itself. Without it, there's no tension in a will-it-won't-it riff on Apollo 11. Viewers know how the attempt to make one giant leap for mankind eventuated, so whether or not Kelly can retain NASA's funding isn't a suspenseful section of the story. With its showbiz farce, Fly Me to the Moon does more than add drama beyond Kelly and Cole's own will-they-won't-they, though — it has a blast executing the chaos that springs. That said, Berlanti also cements the sensation that he's smashing together competing tones, and also making huge jumps between them. It's easy to see how Fly Me to the Moon would've fared solely with an inside-filmmaking spoof vibe, as 2024's Down with Love or just following opposites-attracting affairs of the heart against a shooting-for-the-moon backdrop, for instance, but its array of elements are haphazardly duct-taped to each other. There's a dream at the heart of the film, of course, which Kelly knows that she's slinging and the feature's dialogue isn't afraid to utter with frequency: the dream of hope, of aiming high and even of dreaming itself, given the realities of the era's wars and political situation. Half a century later, in a world just as uncertain, these notions aren't relics of the past. To those watching, Fly Me to the Moon tries a similar feat as it peers upwards with plenty of Dariusz Wolski's (Napoleon) glossy cinematography — and as Johansson's outfits prove a sight to behold, and also her Saturday Night Live-star husband Colin Jost pops up briefly — by asking audiences to buy into the dream of being affably swept away. While saying that something is so isn't the same as making it so, as the narrative is well-aware, Johansson's efforts come closest to securing liftoff.
Performances with audience participation usually make us cringe and avert eye contact with the host at all costs. But FOOD, as part of RISING 2024, is so fun and fast that you'll easily slip into playing along. Geoff Sobelle, a master illusionist from New York, is running this absurdist dinner party from Friday, May 31–to Saturday, June 8, at the Southbank Theatre. Here, guests will gather around a communal dining table and be served an eye-opening medley of food and drinks. These aren't meant to be consumed — FOOD is an art performance, not an actual dinner — but you will be playing a part in the night's festivities. Throughout the evening, you and your fellow diners will be questioning why and how we eat what we eat. We have very limited details on what exactly happens at this dinner party, but it sounds like a heap of fun. And we're intrigued to see how foodies will feel about their eating habits once the night is done. Images: Maria Baranova.
We've all seen films where star-crossed lovers ride the rollercoaster of romance. And we've all seen films where aspiring artists weather the ups and downs of chasing their dreams. Starting with a series of awkward encounters, and focusing on a struggling actress and a jazz pianist, La La Land offers both. But the thing that makes writer-director Damien Chazelle's musical follow-up to his breakout hit Whiplash shine isn't the familiar path it wanders down. Rather, it's how it takes audiences on that journey. When Mia (Emma Stone) and Sebastian (Ryan Gosling) first meet on the streets of Los Angeles, they're hurling ire at each other in traffic. When they finally get the chance to chat at a party, there's teasing in the air, with a romantic connection soon blooming. As their relationship continues, Sebastian inspires Mia to break free of the soul-crushing audition cycle and write her own one-woman play. In turn, he keeps working towards opening a jazz club, while also taking up the opportunity to pursue something more lucrative and concrete. So far, so straightforward. But all isn't fair when you're simultaneously trying to find love, seek your chosen career and carve out a fulfilling life. While it might not feature J.K. Simmons screaming "not my tempo" a la Whiplash, Chazelle's latest effort certainly doesn't shy away from the costs and consequences of trying to succeed. Nor does the film pull its punches when personal and professional matters fail to align. Instead, erupting with gorgeous colour and energetic choreography one moment, then taking time to brood and contemplate the next, La La Land offers a delicate balance of dreaming big while realising that not every wish can or will come true. Moreover, it does so while celebrating the Hollywood musical genre, and at the same time fashioning its trademarks and style into something bittersweet and melancholy. The traditions of grand song-and-dance flicks gets their time in the spotlight, though in truth they're only one part of the story. As characters shuffle through the streets and float through the air in '50s-style numbers, churn out '80s covers, play contemporary jazz, and croon mournful ballads, audiences will find themselves swept along the entire musical and emotional spectrum. For that, a fair share of the credit should go to co-stars Stone and Gosling. In their third on-screen pairing after Crazy, Stupid, Love and Gangster Squad, both are in stellar, swoon-worthy form. Whether they're belting out a tune, tapping their toes, or quietly expressing the feelings that lurk beneath, the duo navigate the melange that comprises La La Land with the same flair and thoughtfulness as their director, while sharing in his not-to-be-underestimated task. After all, at the heart of the luminous and lively film sits a stark truth: fantasising is easy, but embracing reality is hard. It's no surprise that the movie that results is clearly crafted with this in mind as it soars high but dives deep, evoking affectionate wonder, heartfelt tears and the knowledge that life usually lurks somewhere in between.
Sydney has really stepped up its art game this year. In addition to increased investment in some of our most beloved galleries, the city has secured exhibitions by some of the most influential artists of their generation from home and abroad across the next few months. From prizes celebrating Australia's best contemporary art to retrospectives from the masters, there's something for everyone whether you're a studied aficionado or a casual fan. Each of the following exhibitions is worthy of an article in itself, but let's start with a little taster. We've teamed up with Destination NSW to give you the lowdown on the seven of the most anticipated exhibitions to have on your radar.
ARIA has revealed the full list of nominees for its 39th annual ceremony, returning to Sydney's Hordern Pavilion on Wednesday, November 19. In partnership with Spotify, this year's awards will celebrate artists who are redefining the sound and scope of Australian music — from club floors to global charts. Ninajirachi leads the pack with a record-breaking eight nominations, the most ever for a female electronic artist in ARIA history. Her debut album I Love My Computer has cemented her place at the forefront of a new wave of Australian producers pushing pop and club sounds forward. Close behind is Dom Dolla with seven nods, recognised for his chart-topping track 'Dreamin''. Other major contenders include Amyl and The Sniffers and Thelma Plum, each earning six nominations, while Hilltop Hoods and RÜFÜS DU SOL scored five and four, respectively. The 2025 ARIAs will also debut a new category: Best Music Festival. Nominees include Ability Fest, Beyond the Valley, Bluesfest Byron Bay, Laneway Festival and Yours and Owls — a nod to Australia's thriving live scene. Meanwhile, rock legends You Am I will be inducted into the ARIA Hall of Fame. "This year's nominees are living proof that Australian artists are shaping the global cultural narrative in real time," said ARIA CEO Annabelle Herd. "There's no longer a singular image of what success looks like for an artist — and the stories celebrated in November are absolute proof of that." For the first time, fans can vote for public categories directly through Spotify, with voting open until November 10. The 2025 ARIA Awards will take place at Sydney's Hordern Pavilion on Wednesday, November 19. For the full list of nominees, visit the ARIA Awards website. Images: Supplied
The Melbourne International Film Festival is back for 2022, and has been screening flicks across the Victorian capital's cinemas since Thursday, August 4 — but that's not the only way to get your MIFF fix this year. Here's another: MIFF Play, the festival's digital offshoot, which is also returning for another spin. That's fabulous news both for Melburnians and for movie buffs interstate — and an unsurprising move given that in 2020, when it first made the leap to streaming the fest in a big way, it enjoyed its biggest audience ever. In 2022, MIFF Play will be available from Thursday, August 11–Sunday, August 28, and will show 105 features and shorts. Among the 77 features, there's plenty of highlights — and, like at all good film fests, something for all tastes. Starting with the local picks, you can explore the history of Melbourne on film thanks to classics Noise and Love and Other Catastrophes, or check out new Aussie gems including First Nations anthology We Are Still Here, Back to Back Theatre's Shadow and Petrol from Strange Colours filmmaker Alena Lodkina. Or, Spanish horror-thriller Piggy spins a savage coming-of-age tale, Neptune Frost serves up an Afrofuturist musical and Give Me Pity! parodies 70s and 80s musical variety television. Hit the Road marks debut feature from Jafar Panahi's (x) son Panah Panahi, while meta Filipino action film tribute Leonor Will Never Die won Sundance's Special Jury Award for Innovative Spirit, and Indonesia's Yuni picked up the Platform Prize at the Toronto International Film Festival There's also Mass, starring Jason Isaacs (Streamline) and Ann Dowd (The Handmaid's Tale) and set in the aftermath of a school shooting; New Zealand gem Millie Lies Low, about a uni student who fakes going to New York for a big internship; and existential drama The Humans with Beanie Feldstein (Booksmart), Steven Yeun (Nope) and Amy Schumer (Only Murders in the Building). The list obviously goes on — kicking off with a one-night-only session of Funny Pages, as produced by Uncut Gems and Good Time's Benny and Josh Safdie. And, on the doco lineup, Citizen Ashe steps into tennis great Arthur Ashe's life, Jane by Charlotte sees Charlotte Gainsbourg focus on her mother Jane Birkin, Navalny follows Vladimir Putin's political rival as he investigates his own state-sponsored poisoning, and We Were Once Kids looks back at 1995 indie hit Kids. Price-wise, you'll pay as you watch — all from your couch.
Before the pandemic, heading overseas for your end-of-year break — for Christmas, New Year's Eve, or just because you've got some time off — might've been part of your summer plans. That wasn't possible over the summer of 2020–21; however, it looks set to be back on the cards from this December, with Australia's Federal Minister for Trade, Tourism and Investment Dan Tehan announcing that the country's international border will open back up "at this rate, by Christmas at the latest." The Trade, Tourism and Investment Minister discussed international borders on Wednesday, September 22 as part of his National Press Club address, noting that "it's another reason why everyone should get vaccinated, and we have to stick to the national plan." Back in July, the Federal Government unveiled Australia's roadmap for dealing with the pandemic moving forward, which has been dubbed the National Plan to transition Australia's National COVID Response — and it includes allowing Aussies to travel overseas again without restrictions when 80 percent of the nation's eligible population has been fully vaccinated against COVID-19. "We continue to do all that preparatory work to make sure that when those international borders open, hopefully at the latest by Christmas," Tehan continued. "Australians will be able to travel with a QR code linked to their passport, which will be able to show a proof of vaccination." Providing documentation to show you've been vaxxed is set to become a standard part of Australian life moving forward, and is also highlighted in New South Wales and Victoria's roadmap out of their respective lockdowns. Under both plans, looser restrictions will apply to people who've been fully vaccinated in both states, who'll need to prove they've been double jabbed. Also on Wednesday, September 22, NSW announced that it's about to conduct a trial of a vaccine passport that'll link COVID-19 vax certificates to the existing Service NSW app. Exactly how reopening Australia's international borders will work is yet to be explained, including where the nation will open up to — and if it'll reopen to all of the globe at once, or in stages, or via bubble arrangements. Earlier in 2021, Australia and New Zealand implemented the trans-Tasman travel bubble, allowing quarantine-free travel between the two countries; however, it has been suspended due to COVID-19 outbreaks since July, and isn't set to resume until at least mid-November. The Australian Government has also floated the possibility of opening a similar arrangement with Singapore — and extending travel bubbles to some countries, such as Singapore and places in the Pacific, is specifically mentioned in the nation's roadmap. Unsurprising, just when Australia will reopen its international borders has been the subject of much discussion over the 18 months since the Federal Government implemented an indefinite ban on international travel, only allowing Aussies to leave the country in very limited circumstances. Last year's prediction that opening up to the rest of the world wouldn't happen in 2020 proved accurate — and, earlier this year, Australia's ex-Chief Medical Officer Brendan Murphy (now the Secretary of the Department of Health) said that we might not be going anywhere until 2022. Back in May, the Trade, Tourism and Investment Minister and Prime Minister Scott Morrison both advised that mid-2022 was the likeliest time for reopening. With Australia's vax campaign gathering speed, Qantas and Jetstar have begun selling tickets for overseas flights for trips scheduled from December, demonstrating hope that the country's international travel rules could ease by then. That said, the airlines did start selling the same types of tickets earlier in 2021, working towards a planned October date that was subsequently postponed. At the time of writing, 48.5 percent of Australians over the age of 16 have had both doses of a COVID-19 vaccine. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Just when you thought drowsy Sunday afternoon grill-ups couldn’t possibly get any more deliciously lazy, Lynx comes up with a voice-activated barbecue, aka Smart Grill. That’s right, all you have to do now is kick back on your banana lounge and tell the barbie how you want your steak done. Well, that’s a slight exaggeration. But the MyChef interface promises to take a whole chunk of guesswork out of the process. No more black-on-the-outside-scary-pink-on-the-inside culinary disasters. Instead, the system links you to an online database providing all the information necessary for grilling perfection. Simply answer a couple of questions and MyChef advises you on the big decisions — when to turn, when to season and when to call it. At this stage, you'll have to stop resting on your laurels and do some flipping, salting and peppering, but the voice-controlled system does have the power to take care of other major jobs, such as getting the burners to optimum temperature. Plus, MyChef can keep you informed of developments via text messages and audiovisual cues through the companion app, so you can hang out by the pool, mix some cocktails and see to your guests without having to worry about messing up the steaks. And, just in case you indulge in one too many mojitos, misplace your phone and forget all about your feast, there’s an automatic safety shutdown mechanism. Having previewed at this year’s Consumer Electronics Show, Smart Grill is currently in prototype stage. Lynx is hoping to have it on the market next year. ViaGizmag.
Troye Sivan has something to give Melbourne: his Something to Give Each Other tour. The Grammy-nominated and ARIA Award-winning 'Rush', 'I'm So Tired...', 'My My My!' and 'Youth' artist has spent part of 2024 playing shows in Europe to sellout crowds, and hitting America for a co-headline arena tour with Charli XCX. After that, he's making an Aussie return. The Perth-raised pop star hits Melbourne's Sidney Myer Music Bowl on Thursday, November 21, with Nick Ward in support. Set to get a huge workout: the 2023 album that gives the tour its name, of course, which was Sivan's first since 2018's Bloom, earned a heap of placings on best-of-2023 lists at the end of last year and hit number one on the album charts in Australia. But given that his discography dates back to 2007's Dare to Dream — and includes fellow EPs TRXYE and Wild, plus his debut album Blue Neighbourhood — he has tracks from across almost two decades to bust out. It's been a huge few years for Sivan — as a musician, acting in Boy Erased and The Idol, being parodied by Timothée Chalamet (Dune: Part Two) on Saturday Night Live. Dance to this, obviously.
UPDATE, APRIL 4: Due to concerns around the coronavirus, Candyman will no longer release on its initially scheduled date of Thursday, June 11, 2020, with the film now hitting cinemas on September 24, 2020. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. For nearly three decades, horror movie lovers have fallen into two categories: those who've dared to say the word 'candyman' five times while staring into a mirror, and those who haven't. That's the kind of impact this spooky supernatural franchise has had over the years, with the film about a fictional urban legend almost becoming an urban legend itself. To the joy of slumber party-throwing teens everywhere, the 1992 original sparked follow-ups in 1995 and 1999 — and, thanks to a new 21-years-later third sequel, that's no longer the end of the story. Given that everything old just keeps coming back again, and that 90s nostalgia is the gift that keeps on giving, another Candyman flick was always going to happen eventually. If you're still a little wary — despite its cult status, the initial movie is hardly a masterpiece, and Candyman: Farewell to the Flesh and Candyman: Day of the Dead won the series absolutely zero new fans — Candyman circa 2020 has a few tricks up its sleeves. Firstly, it's produced and co-written by Jordan Peele, who adds another frightfest to his resume alongside Get Out and Us. Secondly, it's directed by Nia DaCosta, whose Tessa Thompson-starring 2018 film Little Woods deserved more attention. And last but by no means least, it features the OG Candyman, Tony Todd, among its cast. As the just-dropped first trailer shows, the new flick focuses on an artist called Anthony McCoy (Aquaman and Watchmen's Yahya Abdul-Mateen II), who decides to start exploring the Candyman legend through his art. His girlfriend Brianna (If Beale Street Could Talk's Teyonah Parris) thinks the story is just that, but, as bad luck would have it, the bee-covered figure starts wreaking havoc again. That's what happens when folks say his name while looking at their own reflection, after all. For Candyman aficionados, Anthony's own name should ring a bell — he's the son of one of the first film's main characters, which might explain just why he's so obsessed with the eponymous ghoul. That said, while he might think he knows what he's getting himself into, the movie's first sneak peek leaves no doubt that Candyman still knows how to unsettle and unnerve. Check out the trailer below: https://www.youtube.com/watch?v=tlwzuZ9kOQU After being delayed from its original release date of June 11, 2020, Candyman will now open in Australian cinemas on September 24, 2020.
Award-winning 400 Gradi chef Johnny Di Francesco is bringing another little slice of Venice to Brunswick this year, by opening up a ciccetti bar next door to his World Pizza Championship-topper Lygon Street establishment. Housing up to 50 patrons, 400 Gradi Cicchetti will have a slightly different atmosphere to the buzzing pizzeria next door but will maintain an air of authenticity and tradition. While no details have been released in regards to the menu, we’re assured there will be a well-considered and extensive drinks list to wash it all down. Cicchetti, for those who are yet to get amongst it, are small Italian snacks or side dishes and are traditionally a Venetian style of food. They’re often served at small bars called bàcari and are consumed after breakfast, for lunch or as afternoon snacks. A few common cicchetti include marinated olives, small dishes of meat or fish and mini arancini (meat-filled rice balls). Think of it like Italian tapas, if that helps. Earlier this year Johnny Di Francesco took out the number one spot at the World Pizza Championship (Campionato Mondiale della Pizza) in Parma, Italy. His Neapolitan-style pizza is undeniably amongst the best that Melbourne has to offer, so it’s pretty safe to say this next door endeavour will have tables full from the get-go. Find 400 Gradi Cicchetti at 99 Lygon Street, Brunswick East (right next door to 400 Gradi).
First launched back in 2006, TarraWarra Museum of Art's Biennial returns this autumn for its 2023 edition — this time centred on the relationship between Australia and its neighbouring societies, exploring everything from celestial navigation practices to intercultural connections. Running at the stunning Yarra Valley gallery (a perennial inclusion on our guide to Healesville and the Yarra Valley) from Saturday, April 1–Sunday, July 16, TarraWarra Biennial 2023: ua usiusi faʻavaʻasavili is set to showcase works by 15 contemporary artists and groups, all newly commissioned in response to this year's theme. [caption id="attachment_894739" align="alignnone" width="1920"] 'Speak the Wind', 2015–2021, Hoda Afshar. Image courtesy of the artist and Milani Gallery, Brisbane.[/caption] Taking its name from a Samoan proverb translating to 'the canoe obeys the wind', the exhibition zeroes in on the ancestral ties binding us to the lands and people of Asia and the Great Ocean. It poses complex questions about past issues, while also looking towards hopeful futures. Visitors can expect to find themselves transported to other cultures, histories and traditions, via a lineup of compelling works curated by Indigenous critical theory expert Dr Léuli Eshrāghi. You'll find pieces by Australian First Nations artists like Regina Pilawuk Wilson, Vicki West, The Unbound Collective, Sonja Carmichael and Elisa Jane Carmichael, along with others from further afield, such as Hoda Afshar, Elyas Alavi, Dr Kirsten Lyttle, Phuong Ngo and David Sequeira. [caption id="attachment_894740" align="alignnone" width="1920"] 'Tanpa Sempadan', 2023, Abdul-Rahman Abdullah. Image courtesy of the artist and Moore Contemporary.[/caption] Top image: 'Ngumpi (Home)', 2022–23, Sonja Carmichael and Elisa Jane Carmichael (Quandamooka). Image courtesy of the artists and Onespace Gallery, Brisbane. Photo by Louis Lim.
Starting any business is a risky venture, and establishing a hospo business — let alone one that endures and succeeds in the industry — can be an especially challenging endeavour. But don't let that scare you off — there's lots of help at hand, from the community of your team and other business-owners to tech-driven business solutions like Square, who have helped countless companies expand. If you're keen to get your idea off the ground but can't wrap your mind around how and where to start, we've partnered with Square to uncover some advice for new business-owners from the teams behind two longstanding Aussie venues, Melbourne's American Doughnut Kitchen and Sydney's Terminus Hotel. Respect for Legacy and History One of the city's oldest pubs, the Terminus Hotel in Pyrmont dates back to the 1840s and was recently revived by David Mathlin and Binu Katari in 2018. Meanwhile, American Doughnut Kitchen (ADK) has been a fixture of Melbourne's Queen Victoria Market since 1950, slinging fluffy, jam-filled doughnuts for almost seventy-five years. Belinda Donaghey now co-owns ADK's two outlets with Justin Donaghey, after her grandfather Arnold Bridges took over the business 30 years ago. [caption id="attachment_772352" align="alignnone" width="1920"] American Doughnut Kitchen[/caption] When asked about the one thing they would have wanted to know before starting their respective businesses, both Belinda Donaghey and David Mathlin underscored the significance of asking questions about the establishment's history. "As the third generation to be running the business, I wish I had asked my grandfather many questions before he passed," said Donaghey. "Looking back now, I wish I'd asked him about his vision, the challenges he overcame, his approach to business, and so much more." Technology and Simple Systems After stepping in full-time management of the business in 2020 and then ownership in 2023, Donaghey attributes the success of the business to "our strong, established team, our loyal customer base, and the technology that supported our new way of working." She continued, "Just before the pandemic, I introduced EFTPOS through Square Terminals, which turned out to be a critical move as we rapidly shifted to cashless transactions. Card payments quickly became the norm, with cash usage dropping to as low as 10%." Mathlin's saving grace when they first opened the refurbished Terminus Hotel was "training before opening, and a great team." Similarly, Donaghey's advice for what new businesses should focus on before they open is "Systems, and comprehensive training of the team on how to use the systems." She adds, "Keep it simple. There is beauty in simplicity and it is easier to scale when the foundations are strong and simplified." When asked what she would have done differently if opening her business today, Donaghey shared, "We would have invested earlier in software, technology and equipment that was perhaps a little bigger than we needed at the time, so we had space to grow into them without having to change too often as the business needs grew." She adds, "We have done that now, but it took a long time to step into that space and embrace new ways of thinking and working because there was a lot of history of doing things a certain way that didn't involve technology." Community Support Donaghey and Mathlin both emphasised the integral role that the community plays in shaping and growing a business. Mathlin's thoughts on what most new businesses overlook is that "They forget to put the community and customers first." When asked to recall the moment he knew his business was working, Mathlin's response again focused on the people, "We saw good reviews and saw people having a great time at functions." [caption id="attachment_978216" align="alignnone" width="1920"] Leigh Griffiths[/caption] Donaghey shared a similar sentiment, "By the time I started working in the business full-time, we were already well-established, with over 60 years behind us. The true test came during the pandemic, when we realised just how special our business was because of the people who continued to support us." She continued, "The messages we received during that time were incredibly heartwarming. Customers shared beautiful memories and it was clear we were bringing joy to people who were isolated from family and friends and disconnected from the world." ADK's success is reflected in their popularity, which is still going strong. "Our weekend queues have become famous — not because our team is slow, but because our popularity has grown so much that people are willing to give us their most precious resource: time. They happily stand in line to get their bag of joy: our hot jam doughnuts. Our business model works. It's simple, it brings people joy, and it's the perfect snack to enjoy while exploring the market." Find out how Square can kickstart your business at squareup.com.
Best known for their viral Barbie dolls draped in slices of Wagyu beef ($38.90), this Melbourne venue is one of more than 500 stores internationally. As an added bonus, the menu allows guests to choose their own mini, individual pots instead of the usual shared soup in the centre of the table. Personalised service is at the forefront of their business model – you can expect Spice World bibs and complimentary hair ties to be offered, as well as the perfect dipping sauce concoction made from their homemade soy sauce. Dip pieces of Kagoshima A5 Wagyu striploin ($98.90) or gold-dusted M9 short rib ($88.90) into your soup, sit back and let it melt in your mouth. Finish off the meal with the most intricately made purple sweet potato puffs shaped into black swans ($16.90) - even the 'neck' and 'beak' of the potato-crafted swan are entirely edible. Appears in: Where to Find The Best Hot Pots in Melbourne for 2023
With winter making its chilly, soul-destroying presence well known this year, it's a relief that the Melbourne Writers Festival is nearly upon us. Giving us all a viable and damn near social opportunity to rug up with a good book, this bastion of our city's cultural calendar is about to stroll on into our jumper-clad, tea-loving lives and make things a whole lot brighter. This year they're bringing the big guns too. The 2014 headliners include Helen Garner, Salman freakin' Rushdie, Dave Eggers, and a David Bowie-singing astronaut. There's hands-on experience being offered from Lonely Planet's Don George and The New Yorker's Emily Nussbaum. Even politicians are getting involved; you can offset your nights of heavy boozing with some highly intellectual discussions from Bob Brown, Malcolm Fraser and Bob Carr (provided you're feeling up for it). Of course, it doesn't matter if you're not a writer yourself. These kinds of festivals are just spaces for ideas. Rub shoulders with the nation's best thinkers, jot down some newfound inspiration, and float around the many city venues fuelled by curiousity and an unwavering stream of quality caffeine. Get ready for some literature, politics and gin, people. This one's going to be a doozy. The Melbourne Writers Festival is on August 21-31. Tickets are on sale via the festival website, though many events are free. For more, check out our full MWF run-down including our picks of the top ten events.
Melburnians, you really love your cheese. You've tried a 150-cheese pizza, bought buckets of the stuff on the cheap and have entered cheese-fuelled comas in a cheese cave. Now, you can kick off 2020 with another ultra-cheesy experience: a 29-cheese gnocchi. South Yarra's Cucinetta is the eatery behind the wondrous creation, which it's bringing back for a second year, for lunch and dinner between Thursday, January 2 to Monday, January 20. The handmade potato gnocchi is oven-baked with 29 cheeses sourced from Thomastown's That's Amore Cheese, including buffalo mozzarella, truffled caciotta (a fresh cow's milk cheese), smoked scamorza, blue cheese and salted ricotta. Setting you back $34.90, it can be enjoyed with one of 29 wines on the regularly changing list and eaten inside the 29 square metre restaurant. Sensing a theme? Cucinetta really likes the number 29. If you, like us, fancy yourself a bit of a cheese fanatic, you're probably curious as to what the 29 cheeses are. Well, here's the full list: Fior di latte Buffalo mozzarella Burrata Scamorza bianca Caciotta Pepper caciotta Chilli caciotta Truffle caciotta Ricotta delicata Ricotta salata Mascarpone Squacquerone Buffalo bocconcini Buffalo ricotta Buffalo caciotta Buffalo mozzarella (smoked) Smoked bocconcini Smoked scamorza Smoked caciocavallo Diavoletto Secret of The Forest Drunken buffalo Lavato Panettone Panettone with truffle Caciocavallo Bufalotto Blue cheese Formaggio di vacca Cucinetta's 29-cheese gnocchi is available from 12–4pm and 5pm-late daily.
Thirty films, four weeks and more famous faces than you can dream of — that's what to expect from this year's MINI British Film Festival. Reading through the fest's lineup is like scrolling through a who's who of English talent, with Helen Mirren, Ian McKellen, Dev Patel, Tilda Swinton, Hugh Laurie, Kristin Scott Thomas, Bill Nighy, Keira Knightley, Timothy Spall, Peter Capaldi, Gwendoline Christie, Kate Beckinsale, Eddie Redmayne, Felicity Jones and even Liam Gallagher all set to grace Australian cinema screens between October 29–November 24. While Kristin Scott Thomas will lead the way in war-set opening night drama Military Wives, legends Mirren and McKellen will help close out the festival in thriller The Good Liar. Meanwhile, outspoken Oasis frontman gets the documentary treatment in Liam Gallagher: As It Was, and The Theory of Everything's Redmayne and Jones reunite for a high-flying adventure in The Aeronauts. The list goes on — and if you're already feeling spoiled for choice, we're here to help by picking out our five must-see highlights. https://www.youtube.com/watch?v=oHG7FnBDY0Q THE PERSONAL HISTORY OF DAVID COPPERFIELD It opened this year's prestigious London Film Festival, it's the latest film from The Thick of It and Veep's Armando Iannucci, and it stars Dev Patel, Tilda Swinton, Hugh Laurie, Peter Capaldi, Gwendoline Christie and Ben Whishaw. Add in the fact that it's an adaptation of one of Charles Dickens' best-known classics, and The Personal History of David Copperfield is easily one of the year's most anticipated movies. For newcomers to the tale, it mirrors the beats of Dickens' own experience, with the eponymous character journeying through a difficult upbringing to become a lawyer and then a writer. While the story naturally takes place in 19th-century England, you can expect Iannucci to find plenty of modern-day parallels in this version — if he can do it with Russian history in The Death of Stalin, he can do it here. https://www.youtube.com/watch?v=ysjwg-MnZao SORRY WE MISSED YOU When Ken Loach won the Cannes Film Festival's coveted Palme d'Or for 2016's I, Daniel Blake, he did so with a moving social-realist drama that exposed the cruelty underpinning a standard facet of British life. That's the veteran director's speciality, so it should come as no surprise that his latest film follows in the same footsteps — or that it's just as astute and stirring. Swapping government benefits for the gig economy, Sorry We Missed You follows ex-construction worker Ricky (Kris Hitchen) as he leaps into the courier business, thinking that'll provide security for his family's future. Instead, he discovers the gruelling reality of impossible targets, zero benefits, uncaring corporations, spiralling debts and working around the clock. Shot with Loach's usual naturalistic eye, this timely and topical movie proves as impassioned and infuriating as its stellar predecessor. https://www.youtube.com/watch?v=DbhAt1vLxXA A GUIDE TO SECOND DATE SEX George MacKay is one of Britain's rising acting talents, with standout roles in For Those In Peril, Pride, Captain Fantastic, and 11.22.63 to prove it. Soon, he'll be seen in the upcoming Australian drama True History of the Kelly Gang — playing Ned Kelly, no less — but before that, he's jumping into the romantic comedy realm. In A Guide to Second Date Sex, MacKay plays Ryan. On his second date with Laura (Alexandra Roach), he knows that they have plenty in common; however, they're both still feeling more than a little awkward. First-time director Rachel Hirons adapted this screenplay from her own hit Edinburgh Fringe Festival play. Embracing, unpacking and subverting all the usual dating and rom-com tropes, this is classic British comedy territory. https://www.youtube.com/watch?v=ZVwbeA4Ff9Y CITIZEN K From the collapse of enormous corporations to huge political sex scandals and CIA-sanctioned torture, Alex Gibney has chronicled the big stories of the past two decades. Sexual abuse in the Catholic Church, Julian Assange's Wikileaks, Lance Armstrong's doping ban and the Church of Scientology have all fallen into his purview as well, with the American documentarian amassing quite the hard-hitting resume. With Citizen K, he dives into a topic he was bound to cover: Vladimir Putin's Russia, the country's murky political realm and the fate awaiting anyone who speaks out against the powerful president. Focusing on Mikhail Khodorkovsky, Citizen K tracks the Russian businessman's journey from wealthy oligarch to prisoner to "the Kremlin's leading critic-in-exile". As the most fascinating tales are, it's the kind of story that has to be seen to be believed. https://www.youtube.com/watch?v=Gm17B-nOgZ8 FARMING How does a Briton with Nigerian ancestry end up in a white supremacist gang? That's the tale that Farming tells. The title refers to a practice common in the 60s, 70s and 80s when babies were fostered out to white parents in the hopes that they'd receive a better upbringing. In Enitan's (Damson Idris) case, growing up in Tilbury leaves him questioning his identity, feeling like an outcast with both his foster family and his natural family, and seeking approval from the hateful skinheads who openly taunt, bully, beat and condemn him. It's a confronting and compelling story, especially given that it's based on the life of actor-turned-writer and director Adewale Akinnuoye-Agbaje — who has featured in everything from Oz, Lost and Game of Thrones to The Bourne Identity, Thor: The Dark World and Suicide Squad over the past two decades. The MINI British Film Festival tours Australia from October 29, screening at Sydney's Palace Norton Street, Palace Verona, Palace Central and Palace Chauvel cinemas from October 29–November 24; Melbourne's Palace Balwyn, Palace Cinema Como, Palace Brighton Bay, Palace Westgarth, Kino Cinemas and The Astor Theatre from October 30–November 24; Brisbane's Palace Barracks and Palace James Street from October 30–November 24; and Perth's Palace Cinema Paradiso, Luna on SX and The Windsor Cinema from October 30–November 24. For more information, visit the festival website.
If you love cookies, you've no doubt tried one of Butterbing's cookie sandwiches. The delicious morsels can be found in cafe cabinets across the city, but this September, Butterbing is bringing back its super-popular Flavour Frenzy pop-up to Northcote's food truck park Welcome to Thornbury. The crew has been busy whipping up a whole range of brand new flavours, which'll be showcased alongside the classics at the Flavour Frenzy pop-up this Sunday, September 15. There'll be a total of 50 tasty varieties up for grabs during the two-hour event, including a few wild and wacky concoctions. Some of the flavours you should expect to encounter include Vegemited Caramel, Movie Popcorn and Blue Heaven Milkshake. As well as the brand's famed buttercream, the one-off sweet sangas will be filled with the likes of ganache, jelly, jam and even sherbet. What's more, these beauties are freezer-friendly — so bring a bag, stock up now and have sweet treats on hand for whenever you get a rampant cookie craving. If you can't make it on the Sunday, cafes across Melbourne will be serving up some of the limited-edition flavours from Friday, September 13 until Sunday, September 15 (or until sold out). A map of the participating venues will drop on the Butterbing website on Thursday. Butterbing Flavour Frenzy Pop-Up runs from midday–2pm.
If there's one word that can sum up much of 2022's television landscape so far, it's this: finally. After longer-than-anticipated delays due to the pandemic, plenty of excellent shows made their way back to our streaming queues. That includes sublime crime-thriller spinoffs, time-travelling comedies and 80s-worshipping sci-fi hits — and glitter eyeshadow-strewn teen chaos, everyone's favourite hitman-turned-actor and savage explorations of America today, too. They're the shows that we all missed for years, and eagerly welcomed back like old friends. Spanning mind-bending animation and explosive takes on superheroes as well, all these long-awaited returnees arrived with two pieces of good news. Firstly, they made a comeback. Secondly, they proved worth the wait. So did a heap of series that arrived for their latest runs exactly when they were supposed to — following up last year's ace seasons with this year's. Basically, when it comes to already-great shows dropping more episodes, the first six months of 2022 have well and truly delivered. More will follow before the year is out — but now that we're at the halfway point, here are the best 15 returning TV shows that reunited with our grateful eyeballs between January and June. BETTER CALL SAUL Saul Goodman's name has always been ironic. As played so devastatingly well by the one and only Bob Odenkirk, the slick lawyer sells the "s'all good, man" vibe with well-oiled charm, but little is ever truly good — for his clients, as his Breaking Bad experiences with Walter White and Jesse Pinkman demonstrated, or for the ever-enterprising law-skirting attorney himself. That truth has always sat at the heart of Better Call Saul's magnificent tragedy, too, and has made the prequel series one of the best shows of this century. Viewers know the fate that awaits, and yet we desperately yearn for the opposite to magically happen. But now that the series' final season is in full swing, we're pushed well past the point of hoping. Professionally, the earnest, striving, well-meaning Jimmy McGill is gone, ditching his real name and his quest for a legitimate career, and instead embracing his slide into shadiness. It isn't over yet, but Better Call Saul's new season has explored the fallout from this concerted life change — and from all that's brought Jimmy to this point. It hammers home what's to come as well, given that it opens on Saul Goodman's Breaking Bad-era home being seized by the feds; however, the show still has much to cover in the lawyer's past. With his significant other Kim Wexler (the simply phenomenal Rhea Seehorn, Veep), he's seeking revenge on their former boss Howard Hamlin (Patrick Fabian, Black Monday). Meanwhile, his ties to the Salamanca family and their drug empire — to the psychotic Lalo (Tony Dalton, Hawkeye) and ambitious-but-trapped Nacho (Michael Mando, Spider-Man: Homecoming), and to ex-cop Mike Ehrmantraut (Jonathan Banks, The Comey Rule) and Los Pollos Hermanos owner Gus Fring (Giancarlo Esposito, The Boys) — are drawing attention. Tense, intelligent, heartbreaking and just exceptional: that's the result so far, as it always has been with this astounding series. Better Call Saul is available to stream via Stan. BARRY Three seasons into the sitcom that bears his name, all that Barry Berkman (Bill Hader, Noelle) wants is to be an actor — and to also no longer kill people for a living. That's what he's yearned for across the bulk of this HBO gem, which has given Saturday Night Live alum Hader his best-ever role; however, segueing from being an assassin to treading the boards or standing in front of the camera is unsurprisingly complicated. One of the smartest elements of the always-fantastic Barry is how determined it is to weather all the chaos, darkness, rough edges and heart-wrenching consequences of its central figure's choices, though. That's true of his actions not only in the past, but in the show's present. Hader and series co-creator Alec Berg (Silicon Valley) know that viewers like Barry. You're meant to. But that doesn't mean ignoring that he's a hitman, or that his time murdering people — and his military career before that — has repercussions, including for those around him. One of the most layered and complex comedies currently airing, Barry's third season is as intricate, thorny, textured and hilarious as the first two. Indeed, it's ridiculously easy to see how cartoonish its premise would be in lesser hands, or how it might've leaned on a simple odd-couple setup given that Anthony Carrigan (Bill & Ted Face the Music) plays Chechen gangster Noho Hank with such delightful flair. But Barry keeps digging into what makes its namesake tick, why, and the ripples he causes. It does the same with his beloved acting teacher Gene Cousineau (Henry Winkler, The French Dispatch) as well. With visual precision on par with Breaking Bad and Better Call Saul, it's also as phenomenal at staging action scenes as it is at diving deep into its characters — and, as every smartly penned episode just keeps proving, it's downright stellar at that. Barry is available to stream via Binge. Read our full review. GIRLS5EVA When it first hit streaming in 2021 with an avalanche of quickfire jokes — as all Tina Fey-executive produced sitcoms do, such as 30 Rock, Unbreakable Kimmy Schmidt, Great News and Mr Mayor — Girls5eva introduced viewers to its eponymous band. One-hit wonders in the late 90s and early 00s, their fame had fizzled. Indeed, reclaiming their stardom wasn't even a blip on their radars — until, unexpectedly, it was. Dawn Solano (Sara Bareilles, Broadway's Waitress), Wickie Roy (Renée Elise Goldsberry, Hamilton), Summer Dutkowsky (Busy Philipps, I Feel Pretty) and Gloria McManus (Paula Pell, AP Bio) had left their days as America's answer to the Spice Girls behind, barely staying in contact since the group split and their fifth member, Ashley Gold (Ashley Park, Emily in Paris), later died in an infinity pool accident. But then rapper Lil Stinker (Jeremiah Craft, Bill & Ted Face the Music) sampled their single 'Famous 5eva', and they were asked to perform backing vocals during his Tonight Show gig. Jumping back into the spotlight reignited dreams that the surviving Girls5eva members thought they'd extinguished long ago — well, other than walking attention-magnet Wickie, who crashed and burned in her attempts to go solo, and was happy to fake it till she made it again. That's the tale the show charts once more in its second season, which is filled with more rapid-fire pop-culture references and digs; the same knowing, light but still sincere tone; and a new parade of delightful tunes composed by Jeff Richmond, Fey's husband and source of music across every sitcom she's produced. One of the joys of Girls5eva — one of many — is how gleefully absurd it skews, all while fleshing out its central quartet, their hopes and desires, and their experiences navigating an industry that treats them as commodities at best. The show's sophomore run finds much to satirise, of course, but also dives deeper and pushing Wickie, Dawn, Summer and Gloria to grow. Obviously, it's another gem. Girls5eva is available to stream via Stan. Read our full review. STARSTRUCK It's official: after a dream of a first season, Rose Matafeo's rom-com sitcom Starstruck worked its magic a second time. In season two, it makes viewers fall head over heels for its 21st-century take on dating a famous actor all over again. It's also official for Matafeo's (Baby Done) Jessie, who is now dating Tom (Nikesh Patel, Four Weddings and a Funeral), the celebrity she had a one-night stand with on New Year's Eve, then navigated an awkward will-they-won't-they dance around every time they ran into each other in London. But this next batch of six episodes poses a key question: once you've enjoyed the wild meet-cute, ridden the courtship rollercoaster and been bowled over by a grand romantic gesture (see: Starstruck's The Graduate-style season-one finale), what comes next? It's the stuff that rom-com movie sequels might cover, except that for all of Hollywood's eagerness to rinse and repeat its most popular fare, this genre is sparse in the follow-up department. Season two picks up exactly where its predecessor left off, with Jessie and Tom's bus ride segueing into a WTF realisation — as in "WTF do we do now?". That's a query that Jessie isn't ready to answer, even though she's made the big leap and missed her flight home. So, she avoids even tackling the situation at first, and then eschews fully committing even when she's meant to be in the throes of romantic bliss. Basically, it's messy, and the kind of chaos that rom-coms don't show when they end with a happily-ever-after moment. Like everyone, Jessie and Tom endure plenty. In the process, this gem of a show's second season is light but also deep, a screwball delight while also sharp and relatable, and still filled with fellow romantic-comedy references. And, as well as continuing to showcase Matafeo at her best, it remains a rom-com that's as aware of what relationships in 2022 are really like as it is about how romance is typically portrayed in its genre. Starstruck is available to stream via ABC iView. Read our full review. ATLANTA Atlanta's third season hit with two pieces of fantastic news, and one inevitable but not-so-welcome reality. Dropping four years after season two, it's one of two seasons that'll air this year — and it's as extraordinary as the Donald Glover-created and -starring (and often -written and -directed) show has ever been — but when season four arrives later in 2022, that'll be the end of this deserved award-winner. The latter makes revelling in what Atlanta has for viewers now all the more special, although this series always earns that description anyway. Just as Jordan Peele has done on the big screen with Get Out and Us after building upon his excellent sketch comedy series Key & Peele, Glover lays bare what it's like to be Black in America today with brutally smart and honest precision, and also makes it blisteringly apparent that both horror and so-wild-and-terrifying-that-you-can-only-laugh comedy remains the default. Actually, in the season-three episodes that focus on Glover's Earnest 'Earn' Marks, his cousin and rapper Alfred 'Paper Boi' Miles (Brian Tyree Henry, Eternals), their Nigerian American pal Darius (Lakeith Stanfield, Judas and the Black Messiah) and Earn's ex Vanessa (Zazie Beetz, The Harder They Fall), the lived experience of being a Black American anywhere is thrust into the spotlight. Paper Boi is on tour in Europe, which results in an on-the-road onslaught of antics that repeatedly put the quartet at the mercy of white bullshit — racist traditions, money-hungry rich folks looking to cash in on someone else's culture, scheming hangers-on, brands using Black artists for politically correct PR stunts and culinary gentrification all included. And then there's the standalone stories, all of which'd make excellent movies. Proving astute, incisive, sometimes-absurd, always-stellar and relentlessly surprising, here Atlanta examines the welfare system and in its inequalities, reparations for slavery, and the emotional and physical labour outsourced to Black workers. Atlanta is available to stream via SBS On Demand. Read our full review. UNDONE Returning for its second season three years after its first — which was one of the best shows of 2019 — the gorgeously and thoughtfully trippy multiverse series Undone is fixated on one idea: that life's flaws can be fixed. It always has been from the moment its eight-episode initial season appeared with its vivid rotoscoped animation and entrancing leaps into surreal territory; however, in season two it doubles down. Hailing from BoJack Horseman duo Kate Purdy and Raphael Bob-Waksberg, it also remains unsurprisingly concerned with mental illness, and still sees its protagonist caught in an existential crisis. (The pair have a type, but Undone isn't BoJack Horseman 2.0). And, it deeply understands that it's spinning a "what if?" story, and also one about deep-seated unhappiness. Indeed, learning to cope with being stuck in an imperfect life, being unable to wish it away and accepting that fate beams brightly away at the heart of the show. During its debut outing, Undone introduced viewers to 28-year-old Alma Winograd-Diaz (Rosa Salazar, Alita: Battle Angel), who found everything she thought she knew pushed askew after a near-fatal car accident. Suddenly, she started experiencing time and her memories differently — including those of her father, Jacob Winograd (Bob Odenkirk, Better Call Saul), who died over 20 years earlier. In a vision, he tasked her with investigating his death, which became a quest to patch up the past to stop tragedy from striking. Undone didn't necessarily need a second season, but this repeat dive into Alma's story ponders what happens in a timeline where everything seems to glimmer with all that its protagonist has ever wanted, and yet sorrow still lingers. Once again, the end result is deeply rich and resonant, as intelligent and affecting as sci-fi and animation alike get, and dedicated to thinking and feeling big while confronting everyday truths. Undone is available to stream via Prime Video. Read our full review. HACKS In 2021, Hacks' first season quickly cemented itself as one of 2021's best new TV shows — one of two knockout newbies starring Jean Smart last year, thanks to Mare of Easttown as well — and it's just as ace the second time around. It's still searingly funny, nailing that often-elusive blend of insight, intelligence and hilarity. It retains its observational, wry tone, and remains devastatingly relatable even if you've never been a woman trying to make it in comedy. And it's happy to linger where it needs to to truly understand its characters, but never simply dwells in the same place as its last batch of episodes. Season two is literally about hitting the road, so covering fresh territory is baked into the story; however, Hacks' trio of key behind-the-scenes creatives — writer Jen Statsky (The Good Place), writer/director Lucia Aniello (Rough Night) and writer/director/co-star Paul W Downs (The Other Two) — aren't content to merely repeat themselves with a different backdrop. Those guiding hands started Hacks after helping to make Broad City a hit. Clearly, they all know a thing or two about moving on from the past. That's the decision both veteran comedian Deborah Vance (Smart) and her twentysomething writer-turned-assistant Ava Daniels (Hannah Einbinder, North Hollywood) had to make themselves in season one, with the show's second season now charting the fallout. So, Deborah has farewelled her residency and the dependable gags that kept pulling in crowds, opting to test out new and far-more-personal material on a cross-country tour instead. Ava has accepted her role by Deborah's side, and is willing to see it as a valid career move rather than an embarrassing stopgap. But that journey comes a few narrative bumps. Of course, Hacks has always been willing to see that actions have consequences, not only for an industry that repeatedly marginalises women, but for its imperfect leading ladies. Hacks is available to stream via Stan. Read our full review. ONLY MURDERS IN THE BUILDING Born out of the world's recent true-crime and podcasting obsessions — and the intersection of the two in the likes of Serial — Only Murders in the Building boasts its own version of Sarah Koenig. In this marvellous murder-mystery comedy, she's called Cinda Canning (Tina Fey, Girls5eva). As viewers of the show's impressive and entertaining first season know, though, she's not the main focus. Instead, Only Murders in the Building hones in on three New Yorkers residing in the Arconia apartment complex — where, as the program's name makes plain, there's a murder. There's several, but it only takes one to initially bring actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) together. The trio then turn amateur detectives, and turn that sleuthing into their own podcast, which also shares the show's title. In season two, the series returns to the same scene. Yes, there's another killing. No time has passed for Only Murders in the Building's characters — and, while plenty has changed since the series' debut episode last year, plenty remains the same. Viewers now know Charles, Oliver and Mabel better, and they all know each other better, but that only makes things more complicated. Indeed, there's a lived-in vibe to the program and its main figures this time around, rather than every episode feeling like a new discovery. Among the many things that Only Murders in the Building does exceptionally well, finding multiple ways to parallel on- and off-screen experiences ranks right up there. That applies to true-crime and podcast fixations, naturally, and also to getting to know someone, learning their ins and outs, and finding your comfort zone even when life's curveballs keep coming. Only Murders in the Building is available to stream via Disney+. Read our full review. EUPHORIA From the very first frames of its debut episode back in June 2019, when just-out-of-rehab 17-year-old Rue Bennett (Zendaya, Spider-Man: No Way Home) gave viewers the lowdown on her life, mindset, baggage, friends, family and everyday chaos, Euphoria has courted attention — or, mirroring the tumultuous teens at the centre of its dramas, the Emmy-winning HBO series just knew that eyeballs would come its way no matter what it did. The brainchild of filmmaker Sam Levinson (Malcolm & Marie), adapted from an Israeli series by the same name, and featuring phenomenal work by its entire cast, it's flashy, gritty, tense, raw, stark and wild, and manages to be both hyper-stylised to visually striking degree and deeply empathetic. In other words, if teen dramas reflect the times they're made — and from Degrassi, Press Gang and Beverly Hills 90210 through to The OC, Friday Night Lights and Skins, they repeatedly have — Euphoria has always been a glittery eyeshadow-strewn sign of today's times. That hasn't changed in the show's second season. Almost two and a half years might've elapsed between Euphoria's first and second batch of episodes — a pair of out-of-season instalments in late 2020 and early 2021 aside — but it's still as potent, intense and addictive as ever. And, as dark, as Rue's life and those of her pals (with the cast including Hunter Schafer, The King of Staten Island's Maude Apatow, The Kissing Booth franchise's Jacob Elordi, The White Lotus' Sydney Sweeney, The Afterparty's Barbie Ferreira, North Hollywood's Angus Cloud and Waves' Alexa Demie) bobs and weaves through everything from suicidal despair, Russian Roulette, bloody genitals, unforgettable school plays, raucous parties and just garden-variety 2022-era teen angst. The list always goes on; in fact, as once again relayed in Levinson's non-stop, hyper-pop style, the relentlessness that is being a teenager today, trying to work out who you are and navigating all that the world throws at you is Euphoria's point. Euphoria is available to stream via Binge. RUSSIAN DOLL Getting philosophical about existence can mean flitting between two extremes. At one end, life means everything, so we need to make the absolute most of it. At the other, nothing at all matters. When genre-bending and mind-melting time-loop comedy-drama Russian Doll first hit Netflix in 2019, it served up a party full of mysteries — a repeating shindig overflowing with chaos and questions, to be precise — but it also delivered a few absolute truths, too. Fact one: it's possible to posit that life means everything and nothing at once, all by watching Natasha Lyonne relive the same day (and same 36th-birthday celebrations) over and over. Fact two: a show led by the Orange Is the New Black, Irresistible and The United States vs Billie Holiday star, and co-created by the actor with Parks and Recreation's Amy Poehler, plus Bachelorette and Sleeping with Other People filmmaker Leslye Headland, was always going be a must-see. Here's a third fact as well: after cementing itself as one of the best TV shows of 2019, and one of the smartest, savviest and funniest in the process, Russian Doll's long-awaited second season is equally wonderful. In glorious news for sweet birthday babies, it's also smarter and weirder across its seven episodes, this time following Lyonne's self-destructive video-game designer Nadia and mild-mannered fellow NYC-dweller Alan Zaveri (Charlie Barnett, You) as they tackle another trippy problem. After being caught in a Groundhog Day-style situation last season, now death isn't their problem. Instead, time is. It was an issue before, given the duo couldn't move with it, only back through the same events — but here, via the New York subway's No 6 train, Nadia and Alan speed into the past to explore cause and effect, inherited struggles and intergenerational trauma. Russian Doll is available to stream via Netflix. Read our full review. PHYSICAL Lycra-clad ladies of the 80s and 90s making their mark in a ruthless, consumer-driven and male-dominated world, all by getting active: as far as on-screen niches go, that's particularly niche. It's also growing. Back in 80s itself, Flashdance did it. Starring a fantastic Kirsten Dunst, the sadly cancelled-too-soon 2019 series On Becoming a God in Central Florida did as well. For three seasons from 2017–19, GLOW similarly stepped into the ring. And since 2021, Apple TV+'s Physical has, too. What a feeling indeed. Now back for season two, the latter sports a staggering lead performance, a superb supporting cast and a complex premise unpacked with precision, as well as a pitch-perfect vibe and a killer 80s soundtrack. Season one of Physical didn't quite see Sheila Rubin (Rose Byrne, Irresistible) get everything she'd ever fantasised about. Rather, it followed the San Diego housewife as she pursued something she didn't even know she wanted until her endorphins kicked in at an aerobics class. Now, she's the star of her own fitness tape — and spruiking it, be it in supermarkets or by hosting public aerobics sessions, has become her life. But while she's in control of every exercise move she makes, earning the same power in her relationships, and in business, isn't as straightforward. She's still stuck in a rut with her husband Danny (Rory Scovel, I Feel Pretty), to put it mildly. She's still caught in a torrid affair with grim Mormon business developer John Breem (Paul Sparks, Castle Rock), too. And while she starts leaning on her wealthy and supportive best friend Greta (Dierdre Friel, Second Act) more, she's also unable to shake the engrained notion that needing anyone's help is a sign of weakness. And then there's the help she hopes to get from fellow aerobics instructor Vinnie Green (The White Lotus scene-stealer Murray Bartlett). Physical is available to stream via Apple TV+. Read our full review. STRANGER THINGS Finally back for its fourth season after a three-year wait (yes, finally), Stranger Things ventures beyond its trusty small-town setting of Hawkins, Indiana, and in several directions. It keeps its nods and winks to flicks and shows gone by streaming steadily of course — but expanding is firmly on its mind. Once again overseen by series creators The Duffer Brothers, its latest batch of episodes is bigger and longer, with no instalment clocking in at less than an hour, and several at flat-out movie length. Its teenage stars are bigger and taller as well, ageing further and faster than their characters. The show has matured past riffing on early-80s action-adventure flicks, too, such as The Goonies; now, it's onto slashers and other horror films, complete with new characters called Fred and Jason. And with that, Stranger Things also gets bloodier and eerier. That said, it's still the show that viewers have loved since 2016, when not even Netflix likely realised what it had unleashed — and no, that doesn't just include the demogorgon escaping from the Upside Down. But everything is growing, as Eleven (Millie Bobby Brown, Godzilla vs Kong), her boyfriend Mike (Finn Wolfhard, Ghostbusters: Afterlife), and their pals Will (Noah Schnapp, Waiting for Anya), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Max (Sadie Sink, Fear Street) and Lucas (Caleb McLaughlin, Concrete Cowboy) all visibly have. Eleven, Will, Jonathan (Charlie Heaton, The Souvenir Part II) and Joyce (Winona Ryder, The Plot Against America) have branched out to California, and Mike comes to visit. Back in Hawkins, Dustin, Lucas, Max, Steve (Joe Keery, Free Guy), Robin (Maya Hawke, Fear Street) and Nancy (Natalia Dyer, Things Seen & Heard) have a new evil to face. And, as for Hopper (David Harbour, Black Widow), he's stuck in a Russian gulag. Yes, things get chaotic from there, Kate Bush and Metallica needle-drops included. Stranger Things season four is available to stream via Netflix. Read our full review. THE BOYS In savage and savvy caped-crusader satire The Boys, it has been evident since episode one that Homelander (Antony Starr, Banshee) is a fraud. He's America's favourite superhero, as well as the leader of top-tier supe crew The Seven — and he uses his public persona as a shield for his twisted ego, soul-devouring insecurities, arrogance and selfishness. As instalment after instalment of the show passes, his sinister true nature keeps burning. In The Boys' third season, Homelander may as well be America's most recent ex-President, complete with unhinged rants and an at-any-cost desperation to retain control. The comics that this series is based on were actually published from 2006–12, but the show they've spawned is firmly steeped in the polarised US of the past six or so years. Subtlety hardly comes with the territory here, and yet it doesn't make The Boys any less potent. The in-show alternative to Homelander's psychopathic, egotistical, world-threatening existence: the ragtag gang of vigilantes that shares the series' name. Led by cynical-as-fuck Brit Billy Butcher (Karl Urban, Thor: Ragnarok), they remain intent on bringing down The Seven and Vought, the all-encompassing company behind it, as always. About year has passed since season two, however, and Hughie (Jack Quaid, Scream) now works with congresswoman Victoria Neuman (Claudia Doumit, Where'd You Go, Bernadette) at the Federal Bureau of Superhuman Affairs, countering misbehaving superheroes the legal way. That involves overseeing Butcher and fellow pals Frenchie (Tomer Capone, One on One) and Kimiko (Karen Fukuhara, Suicide Squad), but this wouldn't be The Boys if their battle was that straightforward. It also wouldn't be The Boys if everything that followed wasn't wild and OTT to a jaw-dropping degree, oh-so-astute about popular culture and consumerism today, brimming in blood and Billy Joel songs, and always biting deeper — and sharper. The Boys is available to stream via Prime Video. Read our full review. SERVANT Ted Lasso is the Apple TV+ series that's been scoring all the praise and love for the past few years, and rightfully so — but the platform's M Night Shyamalan-produced Servant is also one of its winners. Perched at the complete opposite end of the spectrum to the warm-hearted soccer comedy, this eerie horror effort spends the bulk of its time in a well-appointed Philadelphia brownstone where TV news reporter Dorothy Turner (Lauren Ambrose, The X-Files) and her chef husband Sean (Toby Kebbell, Bloodshot) appear the picture of wealthy happiness, complete with a newborn son, Jericho, to fulfil their perfect family portrait. But as 18-year-old nanny Leanne Grayson (Nell Tiger Free, Too Old to Die Young) quickly learned in Servant's first season, there's nothing normal about their baby — which, after the tot's death, has been replaced by a lookalike doll to calm the otherwise-catatonic Dorothy's grief. That's how the series began back in 2019, with its second season deepening its mysteries — and Leanne's place with the Turners, even as her own unconventional background with cult ties keeps bringing up questions. In Servant's third season, the household is once again attempting to pretend that everything is normal and to also keep Dorothy unaware of the real Jericho's fate, even with a flesh-and-blood infant now back in her arms. But in a slowly paced series that's perfected its unsettling and insidious tone from episode one, serves up a clever blend of atmospheric and claustrophobic thrills mixed with gripping performances, makes exceptional use of its setting and also features Rupert Grint in his best post-Harry Potter role yet, there's always more engrossing twists to rock the status quo. Servant is available to stream via Apple TV+. RUTHERFORD FALLS Mike Schur sure does have a type. If you're a fan of Parks and Recreation, The Good Place, Brooklyn Nine-Nine and The Office, though, that won't be new news. And if you watched the television producer and writer's great first season of Rutherford Falls as well, you will have spotted all his usual touches at work — which doesn't change in season two. By no means is this a criticism. His various different series feel like siblings, not clones; they share similar traits, but there's so much about their individual personalities that remains distinctive. Here, the fact that Rutherford Falls is a show deeply steeped in a Native American community gives it a wealth of avenues to go down, as well as plenty that's purely the sitcom's alone. Also crucial: the influence of co-creator and showrunner Sierra Teller Ornelas (Superstore), and the strong commitment to exploring the treatment of First Nations peoples in America today. Rutherford Falls' latest batch of episodes follows one of its characters running for local office, for instance, which is a scenario that Parks devotees will instantly recognise. And yet, what that means in a small town that's struggling to address the colonial impact upon its original inhabitants, the Minishonka Nation, is always its real focus. What everything means here is filtered through that lens — including teenage aspiring mayor Bobbie Yang (Jesse Leigh, Heathers), enterprising CEO of the Minishonka Nation casino Terry Thomas (Michael Greyeyes, Firestarter), cultural centre head Reagan Wells (Jana Schmieding, Reservation Dogs) and her best friend Nathan Rutherford (Ed Helms, Ron's Gone Wrong). It's noticeable that Helms is no longer the show's anchor, too. Indeed, the already smart, funny and warm series spends its excellent second season showing how Nathan wants to de-centre himself from hogging the town's limelight, and puts that idea in motion itself. Rutherford Falls is available to stream via Stan. Looking for more viewing highlights? We picked the 15 best new TV shows of 2022, too. We also keep a running list of must-stream TV from across the year so far, complete with full reviews. And, you can check out our list of film and TV streaming recommendations, which is updated monthly.
The heartiest cheese board our tums have ever been served. Squeeze through the front doors on a Tuesday and order the $30 special: five cheeses (ossau-iraty ewe's milk, roquefort ash-wrapped goat's, triple cream brie, washed rind taleggio, blue) served with a rustic pais-carignan blend fermented in a wooden pipeno. Come back on Friday and the tapas are free until 8pm. This place has so many nooks, that any comfort can be found — snuggle up in a leather booth in the front bar, or find a stool in the expansive courtyard out back. On Fridays the DJ decks come alive. For those looking to test their heckling and snookering prowess, there's a shed out back with pool table.
Summer is coming to an end, but — thankfully — that doesn't mean your time at the beach is. We're blessed with sunny weather for a lot of the year here in Aus, which means we need a few pairs of togs to get us through. If you're looking to snag a new pair, Jets has just launched its new collection of swimwear. To celebrate, the brand is offering Concrete Playground readers 15 percent off, too. Elysian is Jets' first collection under new Creative Director Rachel Allen. The star of the collection is the range of burnt clay swimwear. For example, this sophisticated high neck one piece and this high waist bikini. Jets also has a range of resortwear including dresses, kaftans, flowing shirts and sarongs that'll make you feel like you're holidaying in the Maldives, even if you're just enjoying a cocktail on your back porch. Jets' print collections are made using Renew Plus fabric, which utilises recycled and regenerated Econyl as a replacement to nylon. If you want the first look at the new collection, head to the Jets website and score yourself 15 percent off you order while you're at it. Just use the code CONCRETE15 before 11.59pm on Tuesday, March 30. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Hunt down a bargain or just enjoy some time in the sun at this year's Yarraville Festival. Since 1981, this close knit community soiree has been a favourite of the area's residents, showcasing the talents of local producers, musicians and artists. With market stalls, parades and seven — count 'em, seven — stages packed with live entertainment, it's the best place west of the city to spend your lazy Sunday afternoon. The fun takes place in the centre of Yarraville Village and, with stalls stretching along four separate streets, you'll want plenty of time to explore. Entertainment options are in plentiful supply with not just bands, but magicians, dancers and martial artists. There'll even be the chance for you to take the stage, courtesy of a Bring Your Own Vinyl session in which anyone can be a DJ.
We're still slightly mourning the early-2017 closure of Fitzroy stalwart Hammer & Tong, so the arrival of Light Years — from the former Fitzroy cafe's executive chef and the owners of Chapel Street's Journeyman — is a welcome one. Given the experience of the people behind it, we're unsurprised that the cafe has shone a beam of light across the developing grey suburban stretch of Camberwell Road. Everything about it is beautiful. The way the light filters through the yellow glass door and the windows that reach from floor to ceiling. The giant circular light fitting that hangs above the heads of diners. The coffee made using the balanced blend from Dukes Coffee Roasters. And the food is no exception. The avocado is not smashed, but 'pixelated' (read: diced into tiny squares) and laced with tangy Japanese flavours of pickled radish, nori and lime ($18). The dish also features a poached egg and chilli air-dried kale standing magnificently on a tasty bed of edamame hummus. Asian flavours feature prominently on the menu with the inclusion of miso scrambled eggs ($18) and matcha waffles with dark chocolate sauce and popping candy ($21). A vego ramen ($19) also makes the cut, a welcome reprise of Hammer & Tong's much-loved bacon breakfast ramen. For something a bit meatier, there's the barbecue duck croquettes with charred broccolini, crunchy snow peas, compressed radicchio, and pickled onions and cucumber are drizzled with five spice jus ($20). If you're really hungry, go for the sweet and sour pork burger with slaw, kewpie mayo, coriander, spring onion and lime ($19) and a side of crispy sweet potato waffle fries ($6). Importantly, it isn't another of those big, noisy, intimidating cafes; the space is generous with high, industrial ceilings, but the rows of plants and carefully-placed booths create pockets of quiet. The fare is reliable but intriguing enough that you'll return to try something else on the menu. While we're always sad to see cafes close, Light Years proves that good things can come from closure — and Hawthorn East is lucky to reap the rewards of this shake-up. Images: Kristoffer Paulsen.
If life has you travelling regularly between Melbourne and Geelong, here's a little win for you: you could get a free ferry between the two cities next month thanks to Port Phillip Ferries. The four free services will run for Geelong-based commuters on July 24 and 31. The 300-person capacity ferries will depart for Docklands from Corio Bay at 6.15am, before making the return trip to Geelong at 5.30pm. The trip takes around one hour and 45 minutes, which is a bit longer than the train journey, which typically takes an hour and a half. However, it might be quicker than driving in peak hour traffic — especially if you work in or near the harbour. Either way, with the added bonus of free wifi, heated cabins, phone charging stations and a free coffee or juice (on a gold coin donation), the ferry ride sounds a whole lot more picturesque than the train journey — and much more tempting than a peak-hour crawl over the West Gate Bridge. If you don't get seasick, that is. The free trips usually cost $36 return and are part of Port Phillip Ferries' trial of commuter services between Melbourne and Geelong. It has already been running a daily service between Portarlington and Melbourne for the past two years, and if the Geelong trials prove a success, the route will be considered as a permanent fixture for commuters. Port Phillip Ferries will run four free services on July 24 and 31. Seats can booked here. Update, July 12, 2018: If you've been looking for an excuse to explore (or re-explore) Geelong, you're in luck. Port Phillip Ferries has just announced that it will also be running free ferries between the Docklands and Geelong for day-trippers on Tuesday, July 24 and 31. The ferries will depart Victoria Harbour, Docklands, at 8.30am each morning and head back to the Docklands from Geelong's Corio Bay at 3.15pm — giving punters five hours to explore the area.
"If I told you I was going to make a film about a poor black boy raised by a single mother struggling with addiction who has questions about his sexuality, you assume certain things about that film," says Barry Jenkins about Moonlight. He's right. But his second feature isn't the movie you might expect from that description. Watching his applauded and lauded effort — the winner of this year's Golden Globe for best drama, and an eight-time Oscar nominee — proves an experience in witnessing all of those assumptions melt away. Indeed, based on a dramatic work by Tarell Alvin McCraney, and set and shot in the same Florida area where both Jenkins and McCraney grew up, Moonlight is anything but your average coming-of-age movie about dire circumstances. Jumping between three chapters of a young black man's life, it charts the progression of a teased and taunted Miami boy nicknamed Little (Alex Hibbert) into the awkward, still-bullied teen Chiron (Ashton Sanders), and finally into hardened Atlanta drug dealer Black (Trevante Rhodes). As relayed with a commitment to reflecting reality and capturing a rare perspective — and an ability to render its central journey and the accompanying emotions like cinematic poetry — specific moments and interactions shape his growth, worldview and identity. With Moonlight now showing in cinemas, we chatted with Academy Award-nominated writer/director Jenkins about reactions to the film, the importance of representation, making immersive cinema, and more. ON THE REACTION TO THE FILM "The only way I can really sort of reason or rationalise it [the acclaim for the film] is that I remember first falling in love with cinema as a film student. And it wasn't like the big Hollywood cinema. It was mostly foreign cinema. And I remember watching films by Wong Kar-wai or Claire Denis or Jean-Luc Godard, and I remember thinking "wow, this is a world that I'm never going to visit. I'm never going to go to France. I'm never going to go to Hong Kong, and I certainly don't speak these languages." And yet, I could relate to the characters that made the worlds feel extremely small to me. I mean that in the best way — that I wasn't so far removed from these people, these characters. And so it just gives me just such an amazing feeling that now my film is doing the same thing for audiences, because the world this movie takes place in is very small, you know, and these characters are very specific to the time and place Tarell and I grew up in. And yet it's travelling far, far away from Miami and people are seeing themselves in the film, and it is lovely to give back to cinema what cinema, I believe, gave to me." ON THE RESPONSIBILITY OF REPRESENTING CHARACTERS THAT AREN'T OFTEN SEEN ON SCREEN "Here's the thing: there are just certain characters that aren't represented as often as others are in cinema. Or in arts and letters in general, I'll say. And even when those characters are present, they aren't centred. They aren't the focus of the narrative. I think because of that, when you have this kind of lack, when the character is present in the film, is centred, it inherently takes on added importance. Because people, I believe, are very hungry to see themselves represented. And so there was this feeling in the back of my head — I try to keep it in the back of my head — not that what we were doing was important, but that we had to get it right. Because it would do more harm, because of the lack of these centred characters, it would do more harm to finally present the character and get it wrong. You know, I didn't want to do an injustice to people whose stories align with Chiron's." ON CONVEYING CHIRON'S CONSCIOUSNESS — AND BLACK CONSCIOUSNESS — RATHER THAN JUST TELLING HIS TALE "We approached the film as a piece of immersive cinema. And part of that has to do with the structure of the film — because we're not telling a traditional narrative in a traditional format. We felt like it allowed us the space to do certain things that maybe wouldn't fit into a more traditional narrative framework. For us, it was really important to have the audience take the journey with Chiron, and we wanted the visuals to arise from the consciousness of the main character. If I told you I was going to make a film about a poor black boy raised by a single mother struggling with addiction who has questions about his sexuality, you assume certain things abut that film. If I'm working from the idea that I want to make a film that is rooted in the consciousness of the main character — you know, consciousness is a very beautiful, beautiful thing. And this is something I haven't talked about much, but I think the idea of black consciousness or the way black minds work is often not presented. Or not framed in the way that it actually exists. By which I mean, black people dream. We have dreams and we have daydreams and we have dreams when we sleep. And yet, I very rarely see the personification or the presentation of a black person dreaming in a piece of cinema, you know? And that's because we always tie cinema to the conventions of the story form, and not to the consciousness of these characters. But in Moonlight, the visuals, the aesthetic, the craft, arises from the consciousness of the character. So when Chiron is feeling disoriented, you will look directly into his mother's eyes, and her lips are moving but sometimes you can't hear her voice, and then her voice catches up — because the character is being disoriented. You know, we tried to take our cues from moments like that. And it was great, because as a filmmaker, you know that sound and image is the tool that carries both my voice and the character's voices. And that tool should not be beholden to an A, B, C, D, E progression of plot." ON INTERROGATING MASCULINITY AND VULNERABILITY "It was about, you know, reflecting those things in the story of Chiron — and I say reflecting because Tarell and I saw those things living our lives growing up in this place. And this aspect of vulnerability over time is denied to young men, is denied to young boys — and not only boys like Chiron, boys everywhere. What's that saying? 'Boys don't cry.' It was very important to us that this is the currency of this film — it's not a plot-heavy film. I think the story of this film traverses, or travels in, these gestures, quite a bit of these gestures between and amongst men. I've never seen a black man cradle a black boy in a film before. I just haven't. I haven't seen a black man cook for another black man in a film before. I've never seen a black man, I think, cook for anyone in a film before. And these are very simple gestures that, one, are very nurturing, but also, two, are implicitly vulnerable on the part of the person extending the nurturing. They were very important because again, they keyed into this depiction of the full humanity of these characters." ON FINDING THE RIGHT ACTORS TO PLAY CHIRON AT DIFFERENT STAGES "It wasn't this idea of a physical similarity. It was the idea of this sort of spiritual essence that could be viewed in the eyes of the characters. Which is really hitting on this idea of this feeling in their eyes, because of this book by [three-time Oscar-winning editor] Walter Murch that I've always loved called 'In the Blink in an Eye.' And so we just tried to find these guys that had the same feeling. Because, when you look at Trevante Rhodes as Black in the third chapter, it was of the utmost importance to me that you could see that little boy who played him in the first story. You could still see Alex Hibbert. I think we see people that we pass all the time on the subway or the bus or the sidewalk, who look like Trevante Rhodes as Black in the third chapter of this film, and we would never believe that this person would dance in a mirror in his elementary school when he was ten years old. But they're the same person, you know? And when we were casting, it was very important to us that we could see that continuum between the characters." Moonlight is now showing in cinemas. Read our review here.
What's better than an annual ice hotel that lets frost-loving travellers stay in snowy surrounds every winter? A chilly accommodation provider that offers all of the above all year round. After falling into the former category since 1989, Sweden's Icehotel has made the leap to the latter. Yes, that means that you can now head to the village of Jukkasjärvi, check into rooms moulded from snow and ice, and enjoy keeping cool — in several senses of the word — every day of the year. Unsurprisingly, it's the world's first permanent place to stay of its kind, and there's more in store for anyone visiting the not-so-humble abode on the banks of the Torne River 200 kilometres north of the Arctic Circle. The new venture covers 2,100 square metres and features 20 ice suites, a champagne ice bar and an ice art gallery. Among the sights you'll see within the appropriately named Icehotel 365's frosty -5°C walls: private saunas and spas for an added touch of warmth in such cold surroundings, and artist, architect and designer-fashioned rooms inspired by everything from fairy tales to dancing — and featuring ice chandeliers and winding ice staircases, too. Plus, the gallery also boasts the largest permanent art exhibition north of Stockholm. Stopping the year-round attraction from turning to slush is when summer comes and near-constant daylight hits is a solar-powered undulating roof that achieves a particularly impressive feat: harnessing the warmth from above to maintain the requisite cold state below. That makes the venue sustainable as well as icily spectacular, in case it needed any more drawcards. Icehotel's seasonal section will continue as normal, with the non-permanent part of the site built when the weather starts to cool each year and then melts when the sun comes out. And with good reason: in previous years, artists have crafted rooms that riff on Tron: Legacy, Mary Shelley's Frankenstein, 1920s cult horror film The Cabinet of Dr Caligari, UFOs and giant sea monsters, to name a few previous themes. For more information about Icehotel, visit www.icehotel.com. Images: Asaf Kliger.
Where in the world do you want to go shopping today? If you were asked that question a few years ago you probably would have scoffed. Now we do more and more of our shopping online, yet finding (and remembering) that little boutique that matches your personal taste from the other side of the world still isn't so easy. That's where District8 comes in. The site, which went live last week, is a compilation of boutiques from the best shopping districts in Sydney, London and New York City (Hong Kong and Paris coming soon). Want to see what the Upper East Side has to offer? No problem, you can browse through 30 different boutiques in the neighbourhood without getting out of bed. District8's fashion editor, Sara Kaplan, described the experience to Vogue as "that feeling you get when you spot a store while walking down a side street in Notting Hill, say, along with the ease of shopping online at one of the big e-boutiques". Clearly, this is no Amazon or eBay, as District8 is taking online shopping to the next, less mass-consumer level. District 8 creates a unique, online-meets-offline shopping experience. The easily navigable platform is a clever cross between Pinterest and Tumblr, which makes it totally tailor-able to the shopper. The motto? "The world has a new shopping district: yours." In a nutshell, District8 lets you digitally browse different locations, select your favourite shops, and add them to 'your district'. Conveniently for oft-frustrated Australians, you can limit your browsing to just shops that ship to your location. The site, which has scouted and sorted through hundreds of shops, includes detailed descriptions of every district and boutique so you know what you're getting into. Like the boho look? Go to Bondi. Want Trendy? Try Soho. By 'following' all your faves in a newsfeed-type setting, you can stay up-to-date on their latest news, collections and sales in one place. You can even safely unsubscribe from all those pesky mailing lists that clutter your inbox. The site also functions like a blog with tags and labels, so you can filter your search for shops based on categories like price, attire type and style. Sounds like it's time to build your dream district, whip out the plastic and get down to business.
Iconic LGBTQIA+ arts and cultural celebration Midsumma Festival will serve up good vibes in abundance when it returns for its 34th edition from Saturday, January 21–Sunday, February 12. Featuring more than 200 events across eight major festival hubs and many more smaller venues, it's set to deliver a jam-packed offering of live music, performances, exhibitions, theatre, visual arts, cabaret, parties and more — all championing queer arts and culture. It kicks off on January 22 with the legendary Midsumma Carnival at Alexandra Gardens, before the Midsumma Pride March descends on Fitzroy Street for its annual roving celebration on February 5, and the full-day Victoria's Pride fiesta wraps things up on February 12. Making its debut is A Safe(R) Space — a program of works unpacking the concept of the 'safe space', and what that means for different artists and creatives. Meanwhile, Midsumma Presents is back with another curated lineup championing the unheard voices of this era's queer intersectional communities. It'll include theatre works, a Nocturnal dance party and lots more in between. Elsewhere, comedian Joel Creasey and RuPaul's Drag Race Down Under legend Kween Kong will hit the Sidney Myer Music Bowl for the star-studded fiesta that is Midsumma Extravaganza, joined by names like Nina Oyama, Rhys Nicholson, Courtney Act and Kira Puru. The Victorian Pride Centre will host a swag of happenings as a new festival hub — from a free exhibition delving into Victoria's LGBTQIA+ history and the creation of the centre itself, to a gender-diverse clothes swap and pop-up piano bar. Highlights across the other hubs include a First Nations drag festival, a citywide collection of interactive installations for Midsumma x Ignite Melbourne, rope bondage workshops, cabarets about composting, dance-friendly al fresco gigs, a stacked program of performances, and much, much more. [caption id="attachment_875626" align="alignnone" width="1920"] Midsumma Extravaganza by Suzanne Balding[/caption]
The South Yarra skyline is about to score a soaring new addition, with the upcoming opening of a luxe $800 million development, dubbed Capitol Grand. Once complete, the site will boast Melbourne's tallest building outside of the CBD, which will be home to over 50 floors of six-star luxury residential apartments, gyms, pools, an elevated garden and even an in-house cinema. But what's even more exciting for locals, is that the building will also be home to a collection of exciting new restaurants, bars and cafes. Capitol Grand is promising options galore for all times of the day, from contemporary brunch spots through to late-night cocktail dens. And it'll be brought to life by a cast of big Melbourne hospitality names. While Capitol Grand itself is owned by prominent Australian property developer Larry Kestelman, the whole food precinct will be overseen by Scottish-born chef Stephen Nairn, whose impressive resume boasts stints at Estelle by Scott Pickett, Vue de Monde and New York's three Michelin-starred Eleven Madison Park. He'll be leading a star lineup of yet-to-be-announced culinary talent (we're promised) — and he'll be launching his own kitchen and restaurant, which is set to open onsite early next year. While we'll have to wait until deep into 2020 to see most of the development come to fruition, the precinct's first restaurant is slated to be up and running by October this year. An all-day, 100-seat dining spot and "transformative multi-use community hub", it'll plate up a Euro-inspired menu featuring plenty of French and Italian classics. In the meantime, Melburnians will be able to get a sneak peek of the new food precinct at a pop-up restaurant. Omnia, which will open at 25 Toorak Road in mid-May, will be showcasing dishes that have already been given the tick of approval by the development kitchen — and Nairn himself. We'll update you as soon as we know more. Capitol Grand is slated for completion in 2020. Omnia will pop-up at 25 Toorak Road in mid-May. Image: Samara Clifford
Once, watching a movie in bed meant getting cosy indoors with whatever you choose to view on a small screen. Then Mov'In Bed came along. It takes the idea that catching a flick and lazing around on a mattress can go hand in hand, embraces it, and moves it outdoors. The crew behind it have delivered variations, too — on boats in Darling Harbour and in cars on Entertainment Quarter's rooftop in Sydney, for instance, and also on sand. Mov'In Bed has brought its outdoor beach cinema to St Kilda Beach in the past. Unsurprisingly, it proved popular. Accordingly, Mov'In Bed Outdoor Cinema is returning for another summer — this time for a hefty four-month run between Friday, December 6, 2024–Sunday, March 30, 2025, and at a new location at The District Docklands. The concept behind Mov'In Bed has always answered a question: can't choose between hitting up an outdoor cinema or watching a film in bed? Here, you don't have to. The outdoor beach setup stacks on another layer to that equation like it's building a sandcastle. Can't pick between flicks under the stars, going to the beach or being cosy? Again, this is the solution. Here's how it works: you have a choice of different mattresses, including bigger options than the pop-up's past season, or you can bring a towel to recline on on the sand. Whatever sits between you and all of those white grains beneath your feet — 280 tonnes of them — you'll be getting comfortable while peering at a massive silver screen and listening in via noise-cancelling headphones. The movie lineup features big names from 2024's cinema releases, including the upcoming Paul Mescal (All of Us Strangers)-starring Gladiator II. Haven't seen Joker: Folie à Deux, Deadpool & Wolverine, Transformers One or It Ends with Us yet? They're also on the program. The Kate Winslet (The Regime)-led Lee, horror film Heretic and the first Wicked flick grace the bill as well. Given that the season runs over Christmas, yes, Home Alone and The Nightmare Before Christmas are on the roster. More movies will be announced for the beach club-style cinema, sticking to the above mix — so recent favourites and classics. This time around, there'll be 150 queen- and king-sized beds, all with pillows and blankets. Or, if you prefer, you can just sit on the sand for a cheaper price. At the other end of the price range, tickets go up to $150 for two people and $225 for three for Mov'In Bed's VIP area, where you'll enjoy butler service, bottomless popcorn and a glass of sparkling wine. Snacking and sipping options for all ticket prices include pizzas, burgers, coconuts and vino. [caption id="attachment_975970" align="alignnone" width="1920"] Screenshot[/caption] Mov'In Bed Outdoor Cinema's 2024–25 beach stint in Melbourne runs from Friday, December 6, 2024–Sunday, March 30, 2025 at The District Docklands, Docklands. For further details or to book, head to the Mov'In Bed Outdoor Cinema website.
Students from the University of Adelaide have created an odd new two-wheeled vehicle that seeks to solve inner city transport problems. The 'Edward', or Electric Diwheel With Active Rotation Dampening, looks like something out of an eco-friendly sci-movie. It also happens to share a resemblance with South Park's It, which Mr. Garrison created as an alternative mode of transport to airplanes for those willing to try anything but. The Edward can reach 40 kilometres per hour and at a mere incline of 12 degrees, and is the first diwheel vehicle (a vehicle with two wheels on the same axle with a cabin mounted between them) that uses stabilising technology that stops the driver from being rocked back and fourth as the vehicle moves. The vehicle is battery powered, meaning that it is incredibly environmentally friendly and also almost silent. Not to mention that its size would make it ideal for parking and driving down crowded and busy city streets. And while it may not be roadworthy just yet - the South Australian Transport Department recently rejected an application for the Edward to be driven on the streets - this contraption provides an interesting solution to the problems associated with traveling by car in inner city areas. https://youtube.com/watch?v=Uf6Gh-hPDeo Via [Fast Company]
Set in the home of Melbourne's Italian community on Lygon Street, Brunetti Classico has been a go-to spot for Roman-inspired creations since 1985. Immersed in marble, mosaics and murals, this authentic pasticceria attracts crowds day in and day out seeking beloved sweet treats like lemon tarts, opera slices and ricotta cannolis. However, this institution has gotten a summertime lift, with a new range of gelato cocktails. Featuring a luxurious blend of signature gelato and handpicked spirits, heading along for a rejuvenating sip beneath the shady street-side umbrellas is an outstanding way to spend a sunny afternoon in Carlton. Best of all, these creations aren't a short-lived thing. Instead, they're becoming a permanent part of the menu, ready for your enjoyment exclusively at Brunetti's Carlton gelato bar. "Summer in Melbourne just got cooler with the arrival of our gelato cocktails. The artistry is truly bellissima! Creamy, rich textures are blended with perfectly balanced spirits," says Brunneti Classico owner Fabio Angele. "We have a range of flavours to appeal to everyone's tastebuds, and when paired with our delicious range of aperitivos or sweet treats, it's a perfect match." With this colourful collection of refreshments set to become a summery staple, there are bound to be plenty of opportunities to make the most of the boozy new menu items. Whether you're kicking off a date night, celebrating a special occasion with friends or even just treating yourself to an ice-cold treat with a little extra punch, it won't be hard to find the perfect excuse to indulge in a gelato cocktail. So, what can you expect? There are 11 cocktails to consider, with highlights including the Mango Pina Colada – a tropical delight with mango gelato, Malibu, Cointreau and a garnish of dried pineapple and mint. You've also got the Strawberry Daiquiri, featuring a refreshing mix of strawberry gelato, lychee liqueur, white rum and frozen berries for garnish. Then, the Prosecco is a simple blend of prosecco gelato, prosecco, and a lemon slice. While fruity flavours are a focus, there's also the chance to spoil yourself with decadent creations like the Creme di Classico – a rich mix of vanilla gelato, bourbon whisky, Crème De Cacao, and a dusting of chocolate powder and Brunetti chocolate. Meanwhile, the Espresso Martini is ideal for coffee lovers, with espresso gelato, vodka, Kaluha and a sprinkle of fresh coffee beans. Ready to try? These cocktails are being served for your drinking pleasure now. Brunetti Classico is open at 380 Lygon St, Carlton. Head to the website for more information.
Chamomile gin, quinoa vodka and moonshine are among the spirits now available for tasting just outside of Melbourne in Healesville, following the opening of distillery Alchemy. The business has taken over a century-old bakery, which you'll find hidden away up a laneway, off the main street. And not only is there a cellar door, there's a cocktail bar and accommodation too. At the centre of Alchemy's operations is a hybrid pot still with a 100-litre capacity. This mighty machine enables founders Evan Kipping and Jannick Zester to experiment with a variety of left-of-field flavours and ideas. While the aforementioned chamomile gin, quinoa vodka and moonshine are Alchemy's core products, there's also a bunch of small-batch spirits on the go at all times. You're invited to taste Alchemy's offerings and/or settle in for a signature cocktail, craft beer or local wine — either indoors, at the bar, or out in the sunny beer garden splashed with greenery. If you want or need to sleep over, there's a two-bedroom apartment overlooking the main street that'll sort you out. To get more deeply involved, join Alchemy's barrel-ageing program. The crew is giving 100 people the opportunity to own their own 20-litre barrel. You'll start by going through the whiskey-making process, including mashing, distillation and fermentation, then, throughout maturation, make return visits to sample your creation. Two years down the track, choose to release the whiskey, stick with it as it continues to age or pop it in a bottle and take it home.
If you're partial to a healthy dose of Mother Nature, here's yet another excuse to get out there and enjoy it. Victoria is on track to score a huge infusion of green space, with the State Government announcing that $154 million of the Victorian Budget 2019/20 will go towards creating a swag of new parkland across the inner city and outer suburbs. In fact, over 6500 hectares worth of new parks, walking tracks and bike trails are planned, equating to a space over 170 times the size of Melbourne's Royal Botanic Gardens. This hefty nature boost will see extra parkland created in growing suburban areas including Officer, Clyde, Craigieburn, South Morang and Carrum, while 16 existing green spaces and off-leash dog parks will score upgrades. That means your local patch could soon be in for improved playgrounds, toilets and picnic facilities. The much anticipated 355 hectares of green space between Moorabbin and Dingley Village, known as the Sandbelt Parklands, will also finally be delivered. In addition to this, 25 new pocket parks will be created in the more built-up inner city suburbs. Prahran, Richmond, Albert Park and Bentleigh are set to get two parks each, while Footscray, Brunswick, Northcote, Williamstown, Essendon, Oakleigh, Caulfield, and Ivanhoe will score one a piece. This map below shows which areas will score more green space. There's good news for local camping fans, too, with another $107.2 million in funding going towards building new campgrounds, upgrading facilities and improving walking tracks. And, while the Victorian Government's already scrapped camping fees at over 70 campgrounds across the state, it's now promised to go one better and halve all remaining fees in our state and national parks. That camping trip you've been plotting is looking more attractive than ever. The Budget is currently up for debate in the upper house, but is likely to be passed. The Andrews Government will then set about actioning the items in the budget. With all this new green space, it will be hoping to claw back its title as the most liveable city in the world. Image: Visit Victoria.
