If you're looking for somewhere new and exceptional to eat, drink or sleep, where in the world should you head? That's the perennial question, whether you're keen to make the most of your own city, visit somewhere else around Australia or venture overseas. Here's one way to make your next pick: by working through the selections on Condé Nast Traveler's 2025 Hot List, four of which you'll find right here Down Under. Two Aussie restaurants made the list of top new eateries. Two hotels did the same on their corresponding rundown. The 2025 Hot List features venues from all around the globe; think: eateries in Paris, São Paulo, Girona, Copenhagen, Hong Kong, Kigali, St Moritz and more, and hotels everywhere from Botswana, Seychelles, Japan and Austria to Belgium, Greece, Mexico and Grenada. Among them, locations in Sydney, Brisbane, Yamba and Melbourne also carved out a spot. [caption id="attachment_986313" align="alignnone" width="1920"] Christopher Pearce[/caption] First, where to dine. Sydney's place on the restaurant list won't come as a surprise. Adding to the many accolades notched up by Josh and Julie Niland, the pair's Saint Peter at the Grand National has earned Condé Nast Traveler's attention. "This is where the who's who of Sydney are keen to dine right now," said the publication of the relocated restaurant. "With traceability at its core, straight from sea to store, Niland's whole-fish cooking remains a trailblazer worldwide, and the new outpost of Saint Peter is proof," it also notes. Brisbanites, you also have a Condé Nast Traveler-approved eatery at home, with Supernormal Brisbane making the cut. Restaurateur Andrew McConnell brought the Melbourne-born chain to the Sunshine State in 2024, to a prime waterfront spot in the state capital's CBD. As the publication notes, though, he "doesn't do cut-and-paste jobs". It continues: "McConnell has taken one of his most beloved outlets — a neon-lit Melbourne laneway diner — and given it a tropical makeover to suit this riverside setting". If you're eager to book in your next getaway without leaving the country, Yamba and Melbourne are your destinations. So, you have coastal town and bustling city options. With the first, the New South Wales spot's Il Delfino Seaside Inn made the list. "Perched on the cliffside and peering over the Pacific Ocean, the original 1940s wave-lashed building has been transformed into a chic seaside inn that feels snatched from the Mediterranean," Condé Nast Traveler advises. In the Victorian capital, Melbourne Place on Russell Street nabbed a spot — and a glowing description. "This striking rust-coloured 191-room hotel built from local bricks, concrete and hardwood is a distillation of what makes this thrumming city tick," the publication notes. Also getting some love in the process: the hotel's sky-high offerings. "The rooftop, with its bar and retractable-rooftop restaurant Mid Air, is encased by a soaring brick wall and feels like a floating fortress with dramatic portholes that look like giant eyes watching over the city. It's here where everyone from guests to locals gather, casually lounging on sofas and seated at tables, with some of the best views across the city." For more information about Condé Nast Traveler's 2025 Hot List, head to the publication's website. Top image: Earl Carter.
When you're fresh from donning armour and sparking an international frenzy in one of TV's biggest franchises, what comes next? For Ryan Corr, following up his stint as Ser Harwin Strong in House of the Dragon means sliding into a six-part Brisbane-shot ABC dramedy about loss and mental health. In its themes, tone, scale and budget, In Limbo is in another world to Game of Thrones and its prequel series — it's about a thirtysomething man struggling with the sudden death of his best friend and his mental health in general, and it's also a supernatural buddy comedy — but the Australian star wouldn't have that contrast of parts any other way. "I guess subconsciously, I try to get them as different as possible, like going from a bikie to a man in a suit," Corr says of picking his roles two decades into his career. "I think that I do that because I've done this since I was a kid, and I'm in pursuit of that challenge, and knocking down boundaries that I didn't think I could necessarily do." Corr has done plenty since earning his first screen credit as a teenager in Aussie series The Sleepover Club. Most homegrown TV shows since have featured the charismatic actor, from Blue Heelers, Neighbours, Underbelly and Tangle to Love Child, Cleverman, Hungry Ghosts and Wakefield — and, of course, his 60-plus-episode run on Packed to the Rafters. On the big screen, he made his movie debut in the film adaptation of Where the Wild Things Are, then added everything from rom-com Not Suitable for Children and horror sequel Wolf Creek 2 to biopic Holding the Man and bikie drama 1% to his resume, plus Ali's Wedding, Mary Magdalene, Ladies in Black and High Ground as well. Across a body of work with no shortage of highlights, his two most recent projects still stand out. House of the Dragon had Corr playing the strongest man in the Seven Kingdoms and, amid the global attention that followed, sparked an onslaught of 'Six Things You Might Not Know About Ser Harwin Strong' and 'Ryan Corr Has Gone From Blue Water High to Westeros'-style articles. "I don't see myself as a six-foot-five strong knight, and sure as hell not the strongest man in the Seven Kingdoms," he says. "But the challenge was how do I replicate that in my idea of what strength is and what the essence is? And can I portray that?" In Limbo, which is streaming now on ABC iView and airing weekly on ABC TV, swaps physical brawn for emotional vulnerability. After crane operator Charlie loses his lifelong best mate Nate (Bob Morley, Love Me), everything unsurprisingly changes, but Nate remains a presence in his life from the afterlife. "When I got the script, it really moved me. I found it laugh-out-loud funny, and really upsetting at times — and I thought it was really fresh. I don't think we've tried to deal with themes like this in quite this way before," Corr advises. There's a sense of responsibility that comes with a series like In Limbo, as well as that challenge that Corr is always seeking. Thanks to its subject matter, the show always felt personal while he was making it, too. Corr chatted with Concrete Playground about all about the above, having a profound reaction to the project, balancing In Limbo's tones and themes, his past year and his career highlights so far. ON MAKING A COMEDY THAT'S THOUGHTFUL AND WEIGHTY — AND IN LIMBO'S PERSONAL FEEL "There was a much longer rehearsal process than usual, where we just got to sit down together, weigh in and talk about what we were about to tackle subject-wise — and there were safety networks all around us while we did so — and also start to share and open up about our own lives and experiences, both direct and indirectly, to do with loss, so that we could develop trust together as people while we navigate these ideas. Because I think the series has to have heart. I found that everyone in the making of it — the crew all up in Brisbane, everyone that read this script — had a profound reaction to it and said 'I want to be a part of this'. I think you can feel everyone leaning into it in the final product. I hope so. I've, of course, experienced loss, as have most people that I know. I think it's a very personal tale. I very much based Charlie's relationship with Nate on some of my early childhood friends, who are a bridge past that now — we're not friends anymore, they're more like brothers and sisters, they are my family. So I very much know where that relationship lives, and the idea of losing one of them is the earth-shattering. We all actively worked through it, communicating with each other, personalising what we've been through and were going through, so that we could trust each other — and so you can invest the series with that heart and that meaning. I don't think it's possible if you don't." ON DRAWING UPON REALITY TO INFORM IN LIMBO'S MIX OF TONES AND GENRES "When I lost my grandfather, I was sitting around with a group of my friends and family, and we're all holding hands as he was literally leaving. And he did something funny in some of his final breaths, he made a funny noise or something. And so I found that my family were all holding each other and crying, and then laughing all of a sudden. We were saying goodbye to someone we love, and all of a sudden he made one of the funny noises and we laughed, and there was a wonderful lesson in that — it had both. And I think in life, it has both. And what In Limbo tries to explore is that — I think In Limbo is more about life than it is about death. Strangely, in the losing of Nate, Charlie discovers more about himself in the pursuit of trying to find answers about Nate. He becomes closer to his family, and it exposes things, it brings things to the forefront that he may have not been dealing with previously. And in a strange way, Nate guides Charlie through — in death, Nate helps Charlie through his life. And it's about the way that the people that are left continue to live, the way they come together, and the way they support each other and water those relationships and friendships, and help each other grieve and process. And that's what life is, you know? And within that, within this thing that we call life, there are often — at least I've found — moments of hysterical laughter, of mundane things that make you lose your shit laughing." ON PREPARING FOR IN LIMBO "Like with all characters, there are some parts that you research and some parts of yourself. I have some experiences with mental health myself personally, and with my family and with my friends. So it's not hard for me to go to places where I was in darker spaces with my anxiety and depression, and knowing what that felt like, and not being able to see the light. One the things that In Limbo brings up is that it's not always visible. In fact, it's very, very rarely visible. And I remember, just simply for me personally, that it wasn't until I was going through some shit for a couple of years until I was like 'oh, I don't think I'm happy right now' or 'I think what I'm feeling is muted. I don't feel the highs. I don't feel the lows'. I remember that being rather confronting, like 'oh [how long] have I felt like this for?". One of things that In Limbo tries to do is shed a bit of light on that. You ask more often if people are okay. When they say that they are, it's not always necessarily the full story. And it's about just trying a little further, it's about asking a little more and it's about checking on yourself. Everyone in In Limbo, we all have to pull from our personal worlds. This is an intimate story, and it's about family and it's about loss. So researching things like this, you have to draw from things in your own life, and then have an environment where you can leave that at the door and feel safe to expose it with other people and be safe going home afterwards. I think they very much made that environment for us." ON THE RESPONSIBILITY THAT COMES WITH TACKLING MENTAL HEALTH "It's not our responsibility to give answers or to hammer over the head any of our ideas around this — it's about starting a conversation, and I think that everyone in the creative process very much took that responsibility on board, and tried to keep that close through the shooting of it as our as our main drive. Our number-one prerogative was to take that responsibility seriously. You have responsibility to all characters you play. If you're doing it properly, it has to cost you something — and particularly with something like this, there's no phoning it in. So we made sure that being comfortable around dealing with these things, both as performers and as people, was right the forefront. And that we weren't trying to hand people any simple answers." ON WHAT CORR LOOKS FOR IN A PART "It can be a number of things, but usually something that challenges me or that I don't think I can do initially — something where I go 'all right, now we're gonna go over here'. It's about challenge and primarily it's about chase. It's about the pursuit of great writing and great directors. When you have language on your side, when you have great ideas on your side, that's the pursuit of this industry. It's raising to those writers and it's raising to those ideas — not making it about yourself and saying 'this is how it is when I feel', it's about trying to play your part in the whole of the narrative. It's really the pursuit of writing that excites me — and directors that, when you sit down and have meetings with them, the way they talk about their ideas gets you excited and inspires you, and you can see it as they talk. It's working with creatives who have a similar pursuit as I do." ON JUMPING FROM HOUSE OF THE DRAGON TO IN LIMBO "Obviously there's a difference in the scale and the reach, but honestly there's not a big difference between In Limbo and Thrones. There's more people, but it's ultimately always the same job. In fact, if anything, I find that the the bigger they get and the more expansive, the less personal they become, and the less involved with the people you're working with. You can shoot a scene over half a week [on House of the Dragon] — one scene of a sequence over half a week. On In Limbo, we're shooting 16 scenes the day and then waking up at 4am to do it again the next day. And we had bugger all time to do it in, like five weeks, so it becomes a completely different exercise in trusting each other. [With House of the Dragon] you just expand upon that. Instead of going into a house that we've decked out in Brisbane, it's a giant setpiece that is an operational castle — you can walk up the stairs, and there's 30 people teaching someone dance for next week, teams and teams of people. It's the same thing extended upon, obviously, because there's huge amounts of money involved, and because the shows are so big. I just tried to go in and fill Harwin's shoes the best way I knew how. There wasn't a huge amount of him in the book, so I had to fill in the lines. That part of it was exactly the same as sitting in the lounge room with In Limbo… working through these scenes, mining them for the best ideas, workshopping the best ways to do it, rehearsing it and then getting out there and trying to give it our all." ON THE PROJECT ON CORR'S RESUME THAT STANDS OUT "Honestly, every one — but two things. Kevin Jackson is my acting mentor who's just recently passed away — he was the acting teacher at NIDA for many, many years, and is responsible for framing the lives and artistry of many people that I know, including myself. I went at 17. I'd done teen shows, and I made the decision at that age — I was like 'I want take this seriously and I want to study it'. So I took myself out of the industry, went to drama school and that's where I met a man in Kevin that taught me what great writing was and how what we did was above ourselves. Like I say, he is 'the writer is God'. He's the reason that I pursue writing the way that I do. It's not about how you feel, it's not about bringing it down to you. It's about pain reaching these ideas. Can you make something of these ideas? And therefore it's universal. When I was growing up, I took a lot of my lessons, my understanding of emotion, my understanding of love, my understanding of grief, from a lot of the films that I inhaled. That was my go-to, that's what spoke to me and that felt important to me. And so, if I'm going to do it as my career, Kevin was very much a pivotal part of helping me understand what it is that we do. Also Holding the Man, I would say as an experience, as a film, working with [director] Neil Armfield, working with Tommy [playwright and screenwriter Tommy Murphy]. And having for the first time the yardstick of what I was doing, as my job slightly changed. It wasn't just 'here's my version of a character and I hope it's good' — it was someone's family. And I met that family, and I had them hand over their journals and their personal belongings, and I had his friends reach out from all throughout Melbourne. And we had the Victorian AIDS Council say, 'hey, can we can we do rehearsals here?'. I was just overwhelmed with the amount of compassion and the amount of love that reached towards us in doing it. And it made me realise that my job here wasn't to do a good job — it was to represent a real person's memory and their legacy and their love to the absolute nth degree that I possibly can. That felt important and, like with In Limbo, I felt a responsibility to the people that I was playing and to what it meant, and that really resonated with me throughout the years. It's not like you can have jobs like that all the time, but it really did entrench what this industry, what this thing that I call a job, what the arts can be and what it can do and how important it is." In Limbo streams via ABC iView. Read our full review. House of the Dragon streams via Binge. Read our full review.
First dropping anchor with its debut season in 2022, Our Flag Means Death didn't wash up on streaming's shores like an unexpected message in a bottle. With a treasure chest of impressive talents involved, it arrived with definite fanfare, as expected of a Rhys Darby (Uproar)-led and Taika Waititi-executive produced series that also features the Thor: Love and Thunder filmmaker as a key co-star — and the director of its premiere episode. But the feeling of watching, especially as Our Flag Means Death cruised through later chapters in its initial ten-episode run, resembled discovering a new world. What started out as a kindhearted and satirical 18th century-set pirate comedy also became a sweet and earnest queer rom-com. Folks on-screen waiting to walk the plank weren't the only ones all a-quiver. Our Flag Means Death's ensemble runs deep, with Samson Kayo (Bloods), Ewen Bremner (Creation Stories), Joel Fry (Bank of Dave), Kristian Nairn (Game of Thrones), Matthew Maher (Hello Tomorrow!) and Nat Faxon (Loot) adding to the familiar faces, plus Vico Ortiz (The Sex Lives of College Girls), Con O'Neill (The Batman), David Fane (The Messenger) and Samba Schutte (Forspoken) also among the regulars. As guest stars in season one, Leslie Jones (BMF), Fred Armisen (I Think You Should Leave with Tim Robinson), Will Arnett (The Morning Show), Tim Heidecker (Miracle Workers), Kristen Johnston (The Righteous Gemstones), Nick Kroll (Big Mouth), Kristen Schaal (What We Do in the Shadows), Claudia O'Doherty (Killing It), Angus Sampson (Bump) and Rory Kinnear (Men) made their presence known. Under creator David Jenkins (People of Earth), this group of actors helped the show find a mooring among the best new series that the year had to offer, and a renewal for a keenly anticipated second season. Now back from Thursday, October 5 via Binge in Australia and Friday, October 6 via Neon in New Zealand, Our Flag Means Death's return go-around is still a refreshing breeze and gleaming trove of gold. The premise has always glinted brightly itself, following Darby as self-styled 'gentleman pirate' Stede Bonnet. Born to a life of privilege, he felt that seafaring and swashbuckling was his calling, leaving his life on land behind to hop on a ship — details that all spring from reality. Jenkins isn't interested in telling the exact IRL tale, however. Consider those basics merely Our Flag Means Death's departure point. On-screen, Stede gets caught up in both a workplace comedy and a boatmance. The first springs from his certainty that there has to be a nicer way to glide through a pirate existence, and the second from his blossoming feelings for feared marauder Edward Teach (Waititi), aka Blackbeard. When season one wrapped up, Stede and Ed had found love in a buccaneering place, but also felt splashes of uncertainty about what their relationship means, leading to heartbreak and a breakup. Season two picks up with the show's motley crew of characters torn in two, with Stede and his loyal faction marooned on the island tourist destination that is The Republic of Pirates — fantasy is as much a part of Our Flag Means Death as comedy and romance — and Blackbeard back to his robbing and murdering ways on The Revenge. The series' attracted opposites will find their way onto the same deck again, but choppy waters are in store for their emotions. Similarly floating their way: rivalries, curses, old pals, new foes, betrayals, forgiveness, glorious silliness, trauma, lopped limbs and a merman. Before Our Flag Means Death, Darby and Waititi had teamed up on everything from Flight of the Conchords and the What We Do in the Shadows film to Wellington Paranormal and Hunt for the Wilderpeople. In what continues to be a dream pairing, the upcoming Next Goal Wins comes next. As Stede and Ed here, they're cutlass-crossed lovers learning how to genuinely be themselves, including going beyond easy archetypes. And, they're navigating complicated terrain in season two. Although joy still beams through Our Flag Means Death's second swim, warmth in its heart to hearts and laughs in general, darkness also lingers. If the first go-around was all about taking exuberant plunges, this follow-up is a season of yearning, coping, and directing hard gazes in Bonnet and Blackbeard's own directions in the always-complex pursuit of sincere happiness. That journey is shared around in Our Flag Means Death, as each member of Stede and Ed's crews — plus everyone that they cross paths with along the way — endeavours to carve out a space where only freedom swells. See also: the other romances that shimmer throughout the series like the waves, such as the Blackbeard-worshipping Black Pete (Maher) with Stede's offsider Lucius (Foad); and the nonbinary Jim (Ortiz) with their best friend Oluwande (Kayo) in season one, then with new crew member Archie (Madeleine Sami, Deadloch) in season two. Working out where everyone can belong beats at the heart of the show's workplace storylines, too. Whether fighting for better conditions or simply to avoid the worst of plundering the sea, the quest to truly feel at ease and at home keeps bobbing up. When Minnie Driver (Starstruck) and Rachel House (Heartbreak High) join the series as ex-pirates now selling antiques and poisoning each other to retain their amorous spark, the same notion sways through as well. It proves accurate again in the storyline surrounding Ruibo Qian's (Servant) Zhang Yi Sao, a soup seller who is more than what she seems — and takes a liking to Olu. While Our Flag Means Death constantly charts a course back to Stede and Ed, its exploration of identity, freedom and comfort spreads across its entire map. In season two, the series also dives deeper into not just subverting ideas of masculinity within the pirate realm, but into the experiences of women wanting to claim their own authentic lives. Parodying pirates with Darby and Waititi was reason enough to tune in when Our Flag Means Death first appeared, with a rewarding voyage resulting. Now that the show has locked in its ideal route, the delights keep coming. Waititi continues to demonstrate his knack for TV comedies, and for shows that fly like the wind in their own distinctive grooves. Reservation Dogs may've wrapped up perfectly with its sublime just-aired third season, but here's hoping that Our Flag Means Death joins What We Do in the Shadows in enjoying a hearty future. Check out the trailer for Our Flag Means Death season two below: Our Flag Means Death season two streams from Thursday, October 5 via Binge in Australia and Friday, October 6 via Neon in New Zealand. Read our review of season one. Images: Nicola Dove/ HBO Max.
Having brightened the workday week in the CBD for some time now, Cuff is now opening on Saturdays. Head in between 8am–2:30pm for a three-course brunch with the option of bottomless drinks. For a fancy take on the humble scrambled egg, go for the spicy chilli scramble. Your eggs will come peppered with chorizo, lashed with basil pesto, given a creamy touch with togarashi aioli, and finished with parmesan – all served on a flaky croissant. Sweet tooths might be more interested in the waffle crunch. It's a liege waffle plus a croissant, smeared with lemon curd, layered with raspberry coulis, and topped with strawberry wafers, fresh berries and a Drumstick. There's also a few lunch-y offerings, including seared crispy skin salmon with watercress green goddess sauce and a colourful red quinoa salad, as well as a decadent seafood risotto. To make a real occasion of it, add the Spritz and Giggles package, which gives you unlimited drinks for just 35 bucks. As always, Zest coffee is on brew, and you'll be soundtracked by a party-starting playlist.
When you think of crystal shops, you probably imagine a tiny, dark room decorated with purple velvet and cluttered with crystals, incense and fairy figurines — and it's probably the 90s and you're wearing a choker necklace. Delete that mental picture and step into Stoned Crystals, a light and airy space in Elsternwick that is worth a visit for its calming atmosphere alone. Whether you're a seasoned crystal enthusiast, a recent convert or just think they look pretty, Stoned Crystals offers a range of crystal decor, jewellery, self-care products, and raw and polished crystals. Plus, the store's knowledgeable staff host regular workshops to help you get the most out of your purchases.
Nestled down the quiet end of Brunswick Street since mid-2017, Fitzroy bar Amarillo sports a sunny disposition. Its name is Spanish for yellow, so the upbeat mood fits. Before evening arrives, it also boasts a light-filled space that's perfect for leisurely drinks — which is perfect for making the most of golden hour in a cosy, welcoming neighbourhood bar with a classic and timeless feel. Owner Adam Sime (Long Play) and his partner Adele del Signore have drawn upon Brunswick Street's European influence, decking the venue out with mid-century furniture and cultivating a relaxed, sophisticated atmosphere to match. Here, in the venue's two rooms, you'll pair salted cod, cuttlefish with chickpeas, manchego croquetas and crispy quail with spritzes, brews, and a curated selection of wines. Signature cocktails like the Momoko Spritz and the mezcal-infused Smokey Negroni — one made with Japanese whisky, peach liqueur, and lemon juice, then topped with soda and spiked with housemade Earl Grey syrup and orange blossom; the other pairing Vida Mezcal, Dolin Rouge and Campari — are well worth a look-in, too. Top image: Nicholas Wilkins.
"Those books were around at the time and they were just incredibly funny. And they had scenes in them. It just seemed like the kind of thing that could get done," explains Andrew Dominik. "It seemed to express a particular aspect of the Australian character that everyone recognised. The books were just really funny, and it was that kind of larrikin — I mean, Chopper always had the perfect line for any occasion, and he'd make you laugh." A stack of tomes penned by Mark Brandon "Chopper" Read about his underworld life, criminal activities and incarceration. A director embarking upon his first feature. From there, an Australian classic sprung. Of course Chopper took its own path. Indeed, there's far more to the film than just bringing the eponymous figure to the screen; however, it began with filmmaker Dominik (Bono: Stories of Surrender) taking inspiration from Read's own words, then being pointed towards more detail for a deeper interrogation by the very same. "When I started working on it, I think the first draft very much just took the books verbatim — I took them as though they were real, and there was something about it, it just felt a bit thin. So I started to do a bit of research into his life," the writer/director tells Concrete Playground. "I basically went through, he had his arrest docket in the back of one of the books, so we just rang up every cop that arrested him." "There were these two cops that he accused of corruption and, as a result of that, they'd done an inquiry into these two policemen. And because of that, they had to account for Mark's life for every day for a six-month period that he was out of jail. And it was extraordinary. One of them still had the hand-up brief and it was like 4000 pages. Sitting through and reading that, a very different picture of a person emerged," Dominik advises. "So all of the stuff from the books at that point just became the fireworks, if you like — his style of presentation, how he handled dialogue, basically. But the behaviour that's in the film largely comes from that, trying to make sense of this person who would shoot someone and drive them to the hospital. Like, what's going on there?" "And that's when it got really interesting. And at that point, I don't know, you just sort of muddled through it. I had to teach myself how to write when I was writing Chopper, because I'd never really written anything before. It took a while." [caption id="attachment_1019038" align="alignnone" width="1920"] Alessandro Levati/Getty Images[/caption] There's no sign of Dominik merely getting by in the finished film. Evident in every frame of the Eric Bana (Untamed)-starring crime dramedy — its guiding force considers it a comedy — is proof that this is one of Australian cinema's very best movies. Chopper kickstarted Dominik's feature career as a result, transformed Bana's from its Full Frontal and The Castle beginnings, and set the standard for every plunge into the Aussie underbelly that's followed. Twenty-five years on, it's still as much of a must-see as it was when it initially reached cinemas. The balancing act that the now-The Assassination of Jesse James by the Coward Robert Ford, Killing Them Softly, One More Time with Feeling, This Much I Know to Be True and Blonde filmmaker had to manage — one the one hand, boasting a wealth of material from Read himself to draw upon; on the other, also knowing how much of a grain of salt to take Chopper's own words with — is one of the reasons that it is the movie it is. How do you approach attempting to unpack someone as a character when they are, very famously and prolifically, spinning their own story about themselves as a character? And when they're really performing that character themselves? While we all tell, unfurl and consume narratives to make sense of the world, how do you dig into that when someone relays tales in such a dedicated, almost larger-than-life way, as Read did? Wrestling with these questions was also Dominik's task. Casting a lead actor that Read himself suggested, the impact of meeting Chopper's central figure on both the feature and Bana's performance, embracing the comic side, exploring human nature via a film about someone who was such a bundle of contradictions: these are all baked into Chopper's story, too, on its route to becoming an Australian classic. With the film back in Australian theatres since Thursday, August 21, 2025 to mark its 25th anniversary, we also chatted with Dominik about the above, whether there was ever anyone else in mind to play Read, digging into well-known figures across the filmmaker's career since — see: Jesse James and Robert Ford, Nick Cave and Warren Ellis, Marilyn Monroe, Bono, Mindhunter's serial killers — and what you learn when you make a feature like Chopper, plus more. On Balancing Read's Fondness for Storytelling — Including About Himself — with Reality and an Outside Perspective "Well, he's presented as somebody who has a passing relationship to truth anyway, that's a fantasist, in the film. I think most of the incidents in the film have some sort of counterpart in real life. There might be different people in them, but as far as the behaviour, it's all pretty —it doesn't come from nowhere. It's not made up in the sense that you might think. Even stuff like the dialogue between him and Jimmy Loughnan [Simon Lyndon, Troppo] in the courtroom is straight out of the court transcripts. And the stabbing is straight out of all of the statements that were taken at the time. So a lot of stuff is pretty accurate." [caption id="attachment_857753" align="alignnone" width="1920"] Scanned by Oscans Imaging in July 2021 on authority of Michele Bennett[/caption] On How Crucial Meeting with Read, After He Initially Declined, Was to the Film "It was amazing. It was kind of like I'd been dealing with something that was completely theoretical. I'd seen videotape of him. I'd exchanged letters with him. But to actually see the man himself and get a sense of him, and to get a sense of his emotional forcefield, if you like, it changed everything. It became a flesh and blood thing. And that first time I met him, I think I got more out of that conversation, Michelle and I went to Risdon Prison, and I just got more out of that than — it was extraordinary. That was where it really came to life, I think." On Whether It Was Always the Intention for Chopper to Have a Sense of Humour "I think of Chopper as a comedy. It's just that sort of thing of a human being a release valve is closer to the knuckle in Chopper, maybe. But he is, he's hilarious. I had a videotape of him from when Eric and I went and met him in Tasmania just before we started shooting, and it was about four hours long. And I remember I would put it in for people. They'd say 'what was it like?'. I'd say 'I'll show you'. And I'd just put it in for them, thinking 'okay, they're going to watch a few minutes of it' — and people would just sit there riveted for four hours watching the guy. He was such a great storyteller and so fucking hilarious. The stuff he would say. So it's just who he was. He can't help it. But even when you read police reports and stuff, the cops would be writing about how it was difficult to keep a straight face, 'he was hilarious as usual', that kind of thing." On Whether Dominik Had Anyone Else in Mind to Play Read, Apart From Chopper's Own Suggestion of Eric Bana "Not really. We must have seen over 300 people for the part. And there were a lot of actors who came in that were great and they could do a good performance and all that sort of stuff, but they weren't Mark. You needed somebody who could do the sort of anthropological aspects of character, too. And it was Mark who suggested him. I don't know what it was. He must have been watching Full Frontal or something, and thought 'maybe that guy could do me?'. And it just seemed like a ridiculous idea, like suggesting casting Martin Short or something. But Eric came in. We got him to come in: 'fuck it, we'll give it a go'. And the film, you could see it now. You could see it with him. He was very still. And Eric understood that he needed to create this person. It wasn't about doing a scene well, which is what all the other actors come in and want to do — a good job acting. Eric was creating a person that we could see, that we knew. By this stage, Mark was a public figure. There were various notorious interviews and stuff that he'd done." On Whether It Felt Like a Risk Casting Bana at the Time "I remember telling people that I was casting Eric Bana in the movie and they'd just look at you and feel embarrassed for you little bit. That, I guess, conjured up a picture of what the film was going to be based on what he'd done. But I'm always surprised with the actors I end up with. I didn't think I'd make a movie with Eric Bana and Vince Colosimo [The Family Next Door]. Vince, I just knew from like Street Hero. But he walked in the door and started talking, and it was just obvious. So I try not to be too — if anything, it just taught me to forget your expectations, just to take each person as you find them." On If There's Something That Draws Dominik to Digging Into Well-Known Figures "Well, I think so. I like people who are extreme, that seem to express something about human nature. But it's hard to say. I think that the real lure of a film is its emotional underpinning. The thing with Chopper was that he did stuff and felt bad about it. He seemed to be stuck in this kind of weird cycle of explosion and remorse, like he was trying to work some internal problem out. And I think the real attraction to it was just to show somebody being violent and then all of a sudden being conciliatory — and the conciliatory part is more alarming than the violence. I remember the first time seeing Chopper with an audience, and when he tries to give Keithy George [David Field, Spit] a cigarette after he stabbed him, you could really feel the bottom drop out of the room. The audience just didn't know where they were. And that's how I felt when I read about it. And that to me was just fascinating. And it's not intellectual ‚ it's a kind of a feeling. So with everything that I've done, there's always been some kind of — it gives me a feeling that I wanted to see if I can make manifest when you watch the film." On Getting Across the Film's Juxtaposition of Emotions — and Read's Contradictions "You shoot it until you believe it. He goes through such a wide range of emotions in that sequence [the Keithy George scene]. He's furious, and then he's upset with himself, and then he's looking for some kind of absolution or forgiveness from Keithy. And then he's just cracking jokes. Then he's completely callous about it, and just puts the whole thing away. It was just fascinating to watch it, to watch somebody in that state. But there's beats. You understand 'it's got to be like this and it's got to turn into that, and it's got to turn into this' — and it's all got to happen in a way that surprises you. So you shoot it and you come up with different ways of — when you're dealing with an actor, you come up with different jobs for them to try with each take until you get the one that works. But that was the whole process of making Chopper, it was that: how to bring it to life." [caption id="attachment_963203" align="alignnone" width="1920"] Simon Aubor[/caption] On What Dominik Learned From Making Chopper "I think you always want to be dealing with something that you don't know what you're doing, you don't know how you're doing it. Once you start playing to your strengths, then all of the energy goes out of the thing. So it's not like I have a set process about how to approach something. I'm always looking to stretch, if you like, or to be dealing with something that I don't know how to do it. It seems to me that when I do something that scares me or I'm not sure how I'm going to pull it off, that something much more interesting happens than when I'm doing something where I feel like I know what I'm doing. So I used to have various methodologies about how to approach shooting something or how to approach a performance or how I think should be. It was a very interesting thing when I started doing the documentaries, with Nick. It was the first time I went to work and I had no idea what I was going to do, because it's documentary — you turn up and you've got to make something happen. And I started to really follow my instincts, because there was no choice. I had to do something. So I just did whatever seemed right at the time. And what I discovered was that those instincts actually added up to something. Even if you couldn't see where it was going at the time, if you just kept following them to their logical conclusion, they would take you somewhere. And that really changed my approach to filmmaking. I used to be somebody who would do take after take after take, and the camerawork was very controlled, and there was a definite plan as to how the thing was going to be put together. And now I prefer to work faster, and I'm less interested in doing it well. I just want to do it. And there's a certain energy that comes from that that I really like, where I feel like the thing is more its own thing, and it's less an extension of me. It sort of gives back more — the process gives to me more than me just giving to the process." Chopper reopened in Australian cinemas for its 25th anniversary on Thursday, August 21, 2025.
It's been a huge few weeks for Australian tour news — Kraftwerk! Meredith! Strawberry Fields! This That! Summer Camp! Paul McCartney! Harvest Rock! Pendulum! Flight Facilities! Weezer! Beyond The Valley! Field Day! Bluesfest! — but only one big announcement can whip it, whip it good. When Good Things returns for 2023, it'll hit Sydney, Melbourne and Brisbane with new-wave icons Devo on the bill. The 'Girl U Want' band will be celebrating 50 years since first forming in 1973, and also saying goodbye on a farewell tour that'll mark their last-ever Australian shows. Devo's famous energy dome hats will be on display at Centennial Park, Flemington Racecourse and Brisbane Showgrounds this December, on a jam-packed Good Things lineup that is brimming with nostalgia-inducing acts — including Fall Out Boy. A day after teasing that they were heading Down Under, the group behind 'Sugar, We're Goin Down' and 'Uma Thurman' have been confirmed as festival headliners, playing both tunes dating back to their 2000s heyday and recent tracks. From there, Good Things keeps rollin', rollin', rollin', rollin' with Limp Bizkit; will see Slipknot frontman Corey Taylor hit the stage solo; and is guaranteed to burst with punk energy thanks to Pennywise. Bullet for My Valentine, Taking Back Sunday and I Prevail are also on the bill, plus Enter Shikari, Pvris, Behemoth and Sepultura. Fresh from featuring a reunited TISM in 2022, Good Things boasts a packed roster of local names in 2023, too, celebrating Australian alternative rock with Spiderbait, Frenzal Rhomb, Jebediah and Eskimo Joe. On both the international and homegrown front, the list goes on, including Hanabie, While She Sleeps, Magnolia Park, Short Stack, Boom Crash Opera, Luca Brasi and more. And yes, this is a fest where you can likely hear 'Whip It', 'Dance, Dance', 'Society' and 'Buy Me a Pony' live on the same day, plus 'The Last Fight', 'Leaving Home', 'Punch in the Face' and a very non-George Michael cover of 'Faith' as well. GOOD THINGS 2023 LINEUP: Fall Out Boy Limp Bizkit Devo (The Farewell Tour celebrating 50 years) I Prevail Bullet For My Valentine Corey Taylor Pennywise Spiderbait Slowly Slowly Enter Shikari Behemoth Sepultura Taking Back Sunday PVRIS Bloom Boom Crash Opera Eskimo Joe Frenzal Rhomb Hanabie Jebediah Luca Brasi Magnolia Park Make Them Suffer Ocean Sleeper Royal & The Serpent Short Stack Slaughter To Prevail Stand Atlantic Tapestry The Plot In You While She Sleeps GOOD THINGS 2023 DATES: Friday, December 1 — Flemington Racecourse, Melbourne Saturday, December 2 — Centennial Park, Sydney Sunday, December 3 — Brisbane Showgrounds, Brisbane Good Things will hit the Melbourne, Sydney and Brisbane in December 2023. Pre-sale tickets go on sale from 10am, Tuesday, August 22, and general sales from 10am on Thursday, August 24. Head to the festival website for more info and to register for pre-sales. Top image: swimfinfan via Wikimedia Commons.
For movie lovers, there'll never be anything quite like watching a film in a cinema. It's the place where big-screen dreams shine bright in the darkness, and where nothing — as long as your fellow audience is respectful enough — can get between you and its celluloid fantasies. It's also where the latest version of West Side Story looked an absolute treat when it hit picture palaces last Boxing Day; however, a great flick will still draw you in even if you watch it at home. Come Wednesday, March 2, this Steven Spielberg-directed, Golden Globe-winning, seven-time Oscar-nominated version of the beloved musical will hit streaming via Disney+, following a long list of recent movies — Dune, The Matrix Resurrections, The French Dispatch and Spencer among them — to get fast-tracked from cinemas to home viewing. So, if you missed it on the silver screen when COVID-19 cases went up over Christmas, or just didn't make it along because life doesn't always find a way, you can now settle in for the famed NYC-set spin on Romeo and Juliet on your couch. Yes, that means that the Jets and the Sharks are facing off once more — on your TV screen. If you're new to all things West Side Story, the two gangs have long been tussling within the movie's narrative, and also on the stage and in film. That first happened back in 1957 on Broadway, thanks to iconic musical figures Leonard Bernstein, Stephen Sondheim and Arthur Laurents. West Side Story has rarely been far from theatres worldwide since — and, in 1961, when the first movie version followed, it became an instant classic. The westside-set story: in fair NYC and its rubble-strewn titular neighbourhood where the flick lays its 1950s-era scene, the Jets and the Sharks aren't quite two households both alike in dignity. Led by the swaggering and dogged Riff (Mike Faist, a Tony-nominee for the Broadway production of Dear Evan Hansen), the Jets are young, scrappy, angry and full of resentment for anyone they fear is encroaching on their terrain (anyone who isn't white especially). Meanwhile, with boxer Bernardo (David Alvarez, a Tony-winner for Billy Elliot) at the helm, the Sharks have tried to establish new lives outside of their native Puerto Rico through study, jobs and their own businesses. Both gangs refuse to coexist peacefully in the only part of New York where either feels at home — even with the threat of gentrification looming large in every torn-down building, signs for shiny new amenities such as Lincoln Centre popping up around the place and, when either local cops Officer Krupke (Brian d'Arcy James, Hawkeye) or Lieutenant Schrank (Corey Stoll, The Many Saints of Newark) interrupt their feuding, after they're overtly warned as well. But it's a night at a dance, and the love-at-first-sight connection that blooms between Riff's best friend Tony (Ansel Elgort, The Goldfinch) and Bernardo's younger sister María (feature debutant Rachel Zegler), that sparks a showdown. This rumble will decide westside supremacy once and for all, the two sides agree. Also popping up among the cast: Ariana DeBose (The Prom), who looks set to win an Oscar for playing Bernado's girlfriend Anita, plus the great Rita Moreno (One Day at a Time) — who also played that exact role in the original movie and earned an Academy Award for her efforts. And, the film's long list of talent continues off-screen, thanks to a screenplay penned by Pulitzer Prize and Tony Award-winner Tony Kushner (Lincoln), and choreography courtesy of fellow Tony-recipient Justin Peck. The result is lavish and dynamic, with Spielberg pirouetting back from the awful Ready Player One to make one helluva first musical — a swooning, socially aware story of star-crossed lovers that dances across the screen with rhythmic swirls and thematic twirls. Tonight, tonight, there's only this lavish and dynamic version of West Side Story tonight. Check out the trailer below: West Side Story will be available to stream via Disney+ on Wednesday, March 2. Read our full review.
Willow Urban Retreat has a little something for everyone, with an onsite wellness retreat, yoga studio, spa and cafe tucked away on High Street. The wellness hub has been thoughtfully designed by architect Melanie Beynon and interior designer Megan Hounslow, featuring soaring ceilings and exposed concrete. In the yoga studio, expect a regularly rotating program of sound healing experiences, yoga, pilates, dance and fitness classes. Meanwhile, the wellness retreat is home to infrared saunas, holistic facials and massages which focus on recharging your mind, body and spirit. Head Chef Nick Cree (formerly Supernormal, Top Paddock) heads up the nutritional offering, focusing on brunch plates that are designed to satisfy and nourish. Seasonal avocado on toast is upgraded with baba ganoush and roasted heirloom carrots, scrambled eggs are paired with kimchi and pea tendrils, or for something sweeter, make a beeline for the banana pancakes with house Nutella, raspberry purée, hazelnut crumble and seasonal fruits. Images: supplied.
If you thought The StandardX couldn't get much better, think again. The design-forward Fitzroy hotel's rooftop bar and lounge, On Top, has finally opened to the public right in time for the summer months. On Top accommodates just 60 guests, but now that it's no longer exclusive to hotel guests, it's sure to fill up quickly with locals, in-the-know visitors, and those looking for a laidback yet luxe hang-out. Designed by Woods Bagot and Hecker Guthrie, the warm colour palette, soft lounge seating, and cosy fireplace lend themselves to lazy afternoons with friends, or romantic date nights, all with the glimmering Melbourne city skyline as a backdrop. Snacky bites will be served all day, and include the likes of smoked ocean trout with creme fraiche, chives and flatbread, and oyster mushroom skewers with shio koji and chilli crumbs. If you need to fill the tum, go for a brioche prawn roll, a wagyu slider with BistroX sauce or fried chicken with hot sauce and guindilla chillies. In this setting, it would be rude not to have a drink or two. There's Aperol Spritz, yuzu margs and lager on tap, and a sippable selection of signature cocktails. Try the Nude and Rude with mezcal, amaro, lemon, agave and bitter, a Cloud Clover with apricot brandy, Aperol, Lillet Blanc, and ginger or The Last Dance with vodka, lemon, passionfruit and Aperol. There's also a carefully curated wine list, created by The StandardX and wine importer Lo-Fi, showcasing local suppliers and producers of low-intervention and sustainable wines. For a bit of gimmicky fun, grab a pre-batched cocktail from the Japanese-style vending machine when you hop out of the lift. Rotating DJs will bring sweet sounds through curated sets that will transport patrons to the bars of downtown LA, the beaches of Lagos, and the streets of nineties Brooklyn. Images: Supplied.
After a sold-out run at Perth’s Proximity Festival, theatremaker and dramaturge Hallie Shellam will be bringing her show home for its Melbourne premiere. Is This Somewhere You’ve Been Before? is, in many ways, not your average theatre piece. To start with, the performance is played out with one audience member at a time. A one-on-one discussion turns into an interrogation, in an attempt to remember an event that never even happened. Secondly, it plays with the olfactory senses, such as smell and taste, to explore where memory and imagination collide. By integrating these senses, the theatre piece takes on an unexpected dimension, as well as commenting on the effect of the ephemeral in the digital age. This part forensic interview, part dramatic reenactment is as innovative as it is interactive. Is This Somewhere You’ve Been Before? is part of Metanoia Live Works Program at Brunswick’s newest performance venue, The Mechanics Institute. Bookings are essential, so don’t delay.
When you're feeling a little bit fancy, Left Bank Melbourne offers pretty great views of the Yarra and the city skyline, with the cocktails and lounge vibes to match. This bar and restaurant is open from the early morning to late into the night with a wide-ranging menu to suit any occasion. Kick the afternoon off right with a round of oysters prepared three ways ($16.50 for three and $29.50 for six) to try these slimy morsels drizzled in a raspberry mignonette, chilli mint mango and decadent caviar pickled ginger. Add a bottle of bubbles or a round of spritzes to the order and you're well on your way to having a luxurious day out in the city. As the day stretches on, you can opt for a series of small and large plates of modern Australian food as well as some classic pizzas and burgers. Left Bank Melbourne's supper menu is also a great win for those needing late night nibbles — served from 10:30pm. Grab some aged mozzarella and leek arancini ($18), wagyu sliders ($21) and some more pizza until the kitchen closes late in the evening Cocktails from the impressive bar menu will certainly be on the agenda, too. Grab La Dolce Vita ($23) made from blood orange gin, lemonade, blackberries sage and Prosecco or the Agave Inferno ($25) made with cumin infused tequila, lime juice, agave syrup, coriander and chilli. Alternatively, you can have a big day on the wines, beers or ciders. Whatever you choose, you'll have a super glam day or night down by the Yarra River. Head to Left Bank Melbourne's website to book a table.
Earlier this week, we were pretty floored by the sci-fi-turned-reality that is the underwater home. Now, the latest in architecture is once again daring us to new extremes — this time in the form of the jaw-dropping Cliff House. Conjured up by Melbourne company Modscape, the five-storey dwelling clings to your regular cliff face, affording dramatic ocean views, avoiding neighbours and enabling coastal development without the dreaded high-rise skyline. It's also the most terrifying holiday home we've ever seen. We're not sure who has the cojones to live here, as this is next level extreme real estate — for example, is that last storey a pool or a ocean-accessing hole? Overall, according to the Modscape site, the design is "inspired by the way barnacles cling to the hull of a ship... visualised as a natural extension of the cliff face rather than an addition to the landscape, creating an absolute connection with the ocean." The Cliff House came about as a response to an increasing number of requests from clients wanting to inhabit Australia's more treacherous coastal sections. Obviously, the big question — how does the house not plunge perilously into the ocean? Modscape's modular design and prefabrication technologies are crucial to the concept. Several modules are stacked on top of one another and kept in place with engineered steel pins. You enter the house through a top floor carport, where you meet an elevator that descends to each of the five floors. As far as interior design goes, the mock-up emphasises minimalism, allowing for total appreciation of the location. At this stage, the Cliff House is still in concept phase, but the company is confident that given the right cliff face, it'll be totally doable — if you're game. Via Inhabitat.
It's not often that you look at a Christmas present and you're more interested in the wrapping than what's inside. But with MECCA's Holiday 2023 artwork, this might just be the case. The Australian brand has become one of the biggest beauty retailers across Australia and New Zealand throughout its 17 year tenure, establishing itself as the place for Aussies and Kiwis to shop for high quality skin, make up, hair and fragrance products. For the past eight years, MECCA has worked with the National Gallery of Victoria in Melbourne to find an artist to create their holiday packaging, which adorns MECCA's carry bags and gift boxes throughout the silly season. The design also acts as a backdrop for MECCA's very own holiday gift sets, which include everything from Christmas crackers filled with sunscreen to tree ornaments made out of lip oil. Not only will MECCA's packaging get a makeover, the chosen artist will also have their designs shown in the National Gallery of Victoria, a huge platform for budding artists. The artist who was bestowed this honour for 2023 is Kaylene Whiskey from the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the northwest of South Australia. To create her design, Whiskey combined pop culture references – such as the Wonder Woman-inspired figure that appears throughout her work – with her knowledge of Anangu traditions,reflecting elements of Whiskey's life in her community. With her vibrant, colourful design, Whiskey wanted to show the culture of the Anangu community and what she learnt growing up, layered with how the current generation of children from her community are growing up. Created using former tourism flyers, Whiskey shows how these two generations can exist alongside each other, illustrating Anangu traditions like hunting amidst the Australian landscape while women sing and play instruments and a superhero figure flies above. Whiskey's artwork can be summed up by a phrase she plugged herself whilst creating the design, which hits the nail on the head when it comes to the holiday season and MECCA: "Everyone together, looking so good". MECCA Holiday 2023 is now available online and in stores throughout New Zealand and Australia. Head to the MECCA website to see the full range of Whiskey's artwork.
You could soon be the proud owner of your very own tram, thanks to the Andrews Government's new Retired Trams Strategy, revealed today. The plan's designed to give the city's old vehicles a new lease on life, allowing Victorians to apply to acquire their own tram for free. Expressions of interest will open on Monday, May 28, and run until July 6. They're not just giving them away to anyone, though — if you're keen to add one of the historic vehicles to your collection, you'll have to explain how you'll plan to restore, repurpose and maintain it, so it's preserved for future generations. Priority will be given to applicants who plan to keep the vehicles accessible to the public and of benefit to the community. The best part is that the trams will be completely free for Victorian community organisations, museums and not-for-profits. But those wanting to use the tram for commercial purposes (like accommodation or hospitality) will need to pay, as will interstate residents. There are 134 W-Class trams (the old rattly green and yellow ones) up for grabs, following a recent careful examination of the state's 237-strong retired fleet. Currently, they're sitting in storage at the Newport Railway Workshop. "Over the years, trams have transported millions of Victorians, connected our communities and are an integral part of our rich heritage," Minister for Public Transport Jacinta Allan explained. "If they're not going to be used on the network, we want to keep these trams accessible to the community." Expressions of interest can be made via the VicTrack website.
Though one of the smallest, Brother Baba Budan has to be one of the most frequented coffee shops in the CBD. The Little Bourke Street cafe has just 15 seats inside, so if you're heading in at coffee peak hour, you'll have to be lucky to snag a spot. Even getting a take away cup tends to be a cosy experience. But it's worth it for an expertly made Seven Seeds brew, either as an espresso, filter or nitro brew. A small selection of pastries and cakes are available on the counter as well. Appears in: The Best Coffee Shops in Melbourne's CBD
Each year for 17 years now, Australian beer lovers have voted on their top craft brews. Only twice has the same tipple won not just for two years in a row, but in three consecutive polls. The first to manage the feat was Feral Brewing Co's Hop Hog from 2012–14. Now, Mountain Culture's Status Quo Pale Ale has also notched up the same achievement, winning from 2022–24. Emerging victorious in the GABS Hottest 100 Aussie Craft Beers poll for 2024, this Mountain Culture sip just keeps living up to its name, clearly. The brew from the New South Wales outfit in the Blue Mountains was anointed 2022's top drop and dubbed 2023's best tipple as well. So, yes, there is indeed a status quo among Australian beer drinkers of late — and it keeps being maintained. This yeasty poll does for beer what Triple J's huge annual music countdown for bangers — and while there's only been two threepeats in the GABS list's history so far, it sure does love repeat winners. In both 2020 and 2021, Canberra's Bentspoke Brewing Co did the honours with its Crankshaft American IPA. In 2022 and 2023, that brew came in third instead, then picked up fourth place in 2024. In second spot this time: Coopers Brewery's Original Pale Ale, taking over from 2017 and 2018 winner Balter Brewing Company, with its Balter XPA notching up third place — slipping down from second in 2022 and 2023. Gage Roads Brewing Co's Single Fin Summer Ale took out fifth spot, followed by Range Brewing's Disco in sixth, Your Mates Brewing Co's Larry in seventh place, Philter Brewing's XPA in eighth, 4 Pines Brewing Company's Japanese Lager in ninth and One Drop Brewing Co's We Jammin' to round out the top ten. Mountain Culture, which is run by husband-and-wife team DJ and Harriet McCready — and has boasted Australian cricketer Pat Cummins as its first investor since November 2024 — also placed 31st with its Cult IPA, 60th with its Be Kind Rewind NEIPA and 87th with its Scenic Route brew. And yes, it had more than a little company. 2024's hottest 100 was whittled down from almost 400 vote-receiving breweries, with 70 different outfits making the list. State by state, Mountain Culture was the best New South Wales brewery, of course, while Coopers was South Australia's top spot, Balter is the highest-ranked Queensland name and Bentspoke flies the flag for the Australian Capital Territory. Bridge Road is Victoria's top representative, while Gage Road and Fox Friday earn that label for Western Australia and Tasmania, respectively. Held by GABS — or the annual festival also known as the Great Australian Beer SpecTAPular, which returns for 2025 this autumn — the countdown is a people's-choice poll decided by booze lovers around the country. If you're thinking "less background, more beer", here's what you've been waiting for: the rundown of the best beverages from the past year that just keep tempting tastebuds. Working your way through the whole 100 isn't just a great way to show your appreciation for locally made brews, either — consider it research for the 2025 countdown. GABS Hottest 100 Aussie Craft Beers of 2024 1. Mountain Culture Beer Co Status Quo 2. Coopers Brewery Original Pale Ale 3. Balter Brewing XPA 4. BentSpoke Brewing Co Crankshaft 5. Gage Roads Brewing Co Single Fin Summer Ale 6. Range Brewing Disco 7. Your Mates Brewing Co Larry 8. Philter Brewing XPA 9. 4 Pines Brewing Company Japanese Lager 10. One Drop Brewing Co We Jammin' 11. Bridge Road Brewers Beechworth Pale Ale 12. Young Henrys Newtowner 13. Stone & Wood Brewing Co Pacific Ale 14. Blackflag Brewing Rage Juicy Pale Ale 15. Pirate Life Brewing South Coast Pale Ale 16. Rocky Ridge Brewing Co Jindong Juicy 17. Capital Brewing Co Coast Ale 18. Bright Brewery Alpine Lager 19. Seeker Brewing Mystic NEIPA 20. Hawkers Beer West Coast IPA 21. Akasha Brewing Co Freshwater Pale Ale 22. Beerfarm Royal Haze 23. The Grifter Brewing Co Pale 24. Burleigh Brewing Co Burleigh Bighead 25. Black Hops Brewing G.O.A.T. 26. Hop Nation Brewing Co J-Juice 27. Blackman's Brewery Juicy Banger IPL 28. KAIJU! Beer KRUSH! Tropical Pale Ale 29. Reckless Brewing Co BX Lager 30. Fox Friday Craft Brewery Hazy IPA 31. Mountain Culture Beer Co Cult IPA 32. Little Creatures Pale Ale 33. Balter Brewing Eazy Hazy 34. Coopers Brewery Sparkling Ale 35. Mountain Goat Beer GOAT Very Enjoyable Beer 36. 10 Toes Brewery Pipeline 37. Better Beer Zero Carb 38. Hiker Brewing Co Horizon 39. Bodriggy Brewing Company Speccy Juice 40. Little Bang Brewing Co Sun Bear 41. Helios Brewing Co Dionysus Oat Cream DIPA 42. Range Brewing Lights + Music 43. CBCo Brewing CBCo Pale Ale 44. Banks Brewing Cake Eater 45. Moon Dog Craft Brewery Old Mate 46. Shout Brewing Co Mullet Pale Ale 47. Capital Brewing Co Capital XPA 48. Bad Shepherd Brewing Co Peanut Butter Porter 49. BentSpoke Brewing Co Barley Griffin 50. Matso's Mango Beer 51. James Squire One Fifty Lashes 52. Heaps Normal Quiet XPA 53. Margaret River Beer Co In The Pines 54. Moffat Beach Brewing Co Passenger Pale Ale 55. Heads of Noosa Brewing Co Japanese Style Lager 56. Green Beacon Brewing Co Wayfarer Tropical Pale Ale 57. Feral Brewing Co Biggie Juice 58. Wolf of the Willows Brewing Wolf PUP Hazy Pale Ale 59. Hawke's Brewing Hawke's Patio Pale 60. Mountain Culture Beer Co Be Kind Rewind 61. Lightning Minds Pale Ale 62. Balter Brewing Hazy IPA 63. Bridge Road Brewers Bling IPA 64. Sunday Road Brewing Cryotherapy 65. Brewmanity Mouth of Melbourne 66. Big Shed Brewing Concern Boozy Fruit 67. Coopers Brewery Australian Lager 68. Balter Brewing Cerveza 69. Capital Brewing Co Hang Loose Juice Hazy IPA 70. Coopers Brewery XPA 71. 4 Pines Brewing Company Pacific Ale 72. Black Hops Brewing East Coast Haze 73. Stomping Ground Brewing Co Gipps St Pale Ale 74. Byron Bay Brewery Premium Lager 75. Range Brewing Dreams 76. The Grifter Brewing Co Serpents Kiss 77. Wayward Brewing Co Hazy Mid 78. Curly Lewis Brewing Co Bondi Hazy Ale 79. Yulli's Brews Amanda Mandarin IPA 80. Hop Nation Brewing Co Rattenhund 81. Gage Roads Brewing Co Hazy As 82. Blackflag Brewing Affinity Tropical Pale 83. Hawke's Brewing Hawke's Lager 84. Future Magic Brewing Co Hazy Shade of Pale 85. Feral Brewing Co Hop Hog 86. Dangerous Ales Crispy Boi Lager 87. Mountain Culture Beer Co Scenic Route 88. 4 Pines Hazy Brewing Company Pale Ale 89. Gage Roads Brewing Co Side Track All Day XPA 90. Pirate Life Brewing Hazy XPA 91. Fox Friday Craft Brewery Pale Ale 92. Lord Nelson Brewery Hotel Three Sheets Pale Ale 93. BentSpoke Brewing Co Sprocket 94. Burleigh Brewing Co Twisted Palm 95. Mountain Goat Beer Tasty Pale Ale 96. Shelter Brewing Co Hazy IPA 97. White Rabbit Dark Ale 98. Jetty Road Pale Ale 99. Dainton Beer Blood Orange NEIPA 100. Bojak Brewing Calypso For more information about the GABS Hottest 100 Aussie Craft Beers of 2024, head to the GABS website.
Welcome to the Wasteland: a first look at the long-awaited Fallout TV adaptation is here, ahead of the streaming series' arrival on Prime Video in April 2024. Almost three decades after first hitting computers back in 1997 — and after three released sequels, a fourth on the way and seven spinoffs — the gaming franchise is getting a live-action take starring Ella Purnell (Yellowjackets), Walton Goggins (I'm a Virgo) and Kyle MacLachlan (Lucky Hank). HBO isn't behind this game-to-television series, unlike spectacular 2023 hit The Last of Us, but Prime Video is taking a similar approach by enlisting the creative forces behind one of the US premium cable network's past hits. Just as co-creator, executive producer, writer and director Craig Mazin made the leap from Chernobyl to a button-mashing favourite, so are Westworld creators Jonathan Nolan and Lisa Joy — who also executive produced Prime Video's own The Peripheral. Fans of the Fallout game will already know the show's setting: a post-apocalyptic future. The series takes place 200 years after everything went pear-shaped, with people living in luxe fallout shelters ever since. When some such folks leave their cosy confines, they find a hellscape filled with mutants, wild west vibes and plenty of violence. Purnell plays vault-dweller Lucy, while Twin Peaks great MacLachlan is her dad Overseer Hank, who — as his name suggests — oversees Vault 33. On the surface, Goggins is bounty hunter The Ghoul, who has a secret past — and Aaron Moten (Emancipation) also has a pivotal part as Brotherhood of Steel soldier Maximus. Expect to also see Moisés Arias (Samaritan), Sarita Choudhury (And Just Like That...), Michael Emerson (Evil), Leslie Uggams (Extrapolations), Frances Turner (The Boys), Dave Register (Heightened), Zach Cherry (Severance) and Johnny Pemberton (Weird: The Al Yankovic Story) on-screen as well — plus Rodrigo Luzzi (Dead Ringers), Annabel O'Hagan (Dear Edward) and Xelia Mendes-Jones (The Wheel of Time) — when this retrofuturistic dystopia starts hitting your streaming queue from Friday, April 12, 2024. As well as executive producing with Joy, Nolan directs the first three episodes. Geneva Robertson-Dworet (Captain Marvel) and Graham Wagner (Silicon Valley) are similarly among Fallout's executive producers, as well as the series' writers and co-showrunners. And yes, Bethesda Game Studios has a hand in finally bringing the games to the screen. There's no trailer for Fallout yet, but Prime Video have dropped a heap of pictures as an initial glimpse at what's to come — see above and below. Fallout will start streaming via Prime Video from Friday, April 12, 2024. Images: courtesy of Prime Video.
If you've ever seen Patricia Piccinini's Skywhale in full flight — or you've been lucky enough to catch a glimpse of its recent companion, Skywhalepapa — you won't have forgotten it. As these billowing balloons float across the sky, they bring the acclaimed artist's otherworldly creatures, and her fascination with the weird, the wonderful, and the lines between reality and science fiction, into the biggest arena there is. If you've been to one of her indoor exhibitions, you will have experienced the same feelings of awe, curiosity and intrigue, too. That's what her work conjures up with its hyper-real yet exaggerated forms that straddle the gap between art and science. Piccinini's latest such example: A Miracle Constantly Repeated, which was originally announced as part of this year's brand-new Rising Festival. The Melbourne arts event was impacted by Victoria's late-May lockdown; however, fans of Piccinini's inimitable art can now check out her current exhibition until Sunday, January 16, 2022. As announced today, Thursday, July 29, Rising has extended A Miracle Constantly Repeated's season for obvious reasons (since the exhibition opened, Melbourne has been through not just one lockdown, but two). When it has been able to welcome in punters so far, the Piccinini showcase has proven popular, attracting close to 20,000 visitors already. It's easy to see why folks have been flocking to the artist's latest creation. All of her signature touches are evident in its rooms of twisted flowers and eccentric bodies — and, whenever you walk through the former, it really does feel like stepping onto another planet. A Miracle Constantly Repeated also marks the Melbourne creative's first hometown show in almost two decades. And, it sprawls across the usually closed Flinders Street Station Ballroom. The venue hasn't been open to the public in more than 30 years, in fact. Now, both the ballroom and nine other surrounding rooms play host to Piccinini's pieces. This overall exhibition is designed to showcase the site, too, with the artist responding to the space as an organic environment. Accordingly, expect to see her critters placed amongst peeling paint and sat next to left-behind filing cabinets. [caption id="attachment_821137" align="aligncenter" width="1920"] Patricia Piccinini[/caption] Announcing the extension — a welcome kind of extension for once, given how often that term applies to lockdowns and restrictions of late — Rising Co-Artistic Director Hannah Fox said that "in an era marked by cancellations, shortened seasons and sudden ends, we are so delighted by the degree to which audiences have embraced this stunning exhibition by one of Australia's foremost artists." She continued: "that we are able to extend the season for A Miracle Constantly Repeated, ensuring more people get to experience this incredible space, while continuing to draw visitors back to the CBD as the city continues to recover and rebuild, is all the more gratifying." Tickets to visit the exhibition from Wednesday, September 1 onwards will go on sale at 10am on Friday, July 30 — and attendees can also listen to a personal tour from Piccinini, via an audio guide, as they wander through the space. Patricia Piccinini's A Miracle Constantly Repeated is on display at Flinders Street Station Ballroom, Melbourne, until Sunday, January 16, 2022. Tickets for dates from Wednesday, September 1 onwards will go on sale at 10am on Friday, July 30. Images: Eugene Hyland.
It seems Melbourne's love affair with pretty pastries and supremely attractive café spaces still has plenty left in it. South Melbourne café and patisserie, The Crux & Co., is a shiny new neighbour for the ever-stylish Kettle Black, gracing the lower level of The Emerald apartment building across the road. It's the brainchild of Kevin Li (Lights in the Attic, 3Lives), who's teamed up with ex-Brunetti pastry maestro, Louise MK Lee, and kitchen gun Oggie Choi (also of Lights in the Attic) to create Melbourne's newest destination of culinary decadence. The chic space comes courtesy of EAT architects, its '60s-style curves, pastel hues and riot of textures reflected in the array of downright gorgeous cakes, pastries and macarons on display. No sweet tooth? No worries. The savoury offering here is equally as impressive and every bit as pretty; the modern Korean-accented menu runs from artful brunches to pure lunch break gold. Choi might be pushing a few breakfast boundaries — think squid ink garlic toast — though, generally, this is a menu for anyone who gets excited about good food. MK Lee's house-made croissants come filled with smoked salmon and ricotta, while a scotch quail egg, an arancini ball and a falafel team up for one of the most multicultural dishes going around. Some clever hands behind the coffee machine — Yutaro Mitsuyoshi (Addict Food and Coffee) and Ratchanon Theppabutra (Manchester Press) — will be working with Five Senses, offering a "wine by the glass" coffee concept (whatever that means) to round out the Crux & Co. experience. This one promises to be nothing short of an all-round sensual feast, so get you sweet tooth — and your iPhone, of course — at the ready.
Move over tea with the Queen — the coffee in London has improved so much over the last few years even Lizzy would ask for a flat white over an English breakfast. We sacrificed the money we were saving for a house deposit to taste coffee all over the city, and here are five coffee shops worth hunting down while you're in town. [caption id="attachment_622923" align="alignnone" width="1920"] Levent Ali via Flickr.[/caption] MONMOUTH COFFEE, COVENT GARDEN Monmouth is the grand old dame of London coffee, and has been pumping out caffeine since 1978. And even though Monmouth likes to keep things fresh with an ever-changing selection of house-roasted beans, some things will never change, like the house blend, the queues and the fact that Monmouth makes the best coffee in Old Blighty. We've heard good things about the filter, but we only tried the flat white, because, well, why change when you're onto a good thing? Queen Lizzy gets it. [caption id="attachment_622924" align="alignnone" width="1920"] The Espresso Room via Instagram.[/caption] THE ESPRESSO ROOM, BLOOMSBURY The Espresso Room is so small it could double as Harry Potter's cupboard under the stairs, so it's a good thing you don't need much space to pump out great coffee (as the Japanese know). This Bloomsbury coffee shop is unsurprisingly known for its espresso, but for our money (too much of our money, to be honest — coffee here is more expensive than home), the flat white is where the magic is. Not too milky, not too strong — it's the best thing this side of getting a letter from Hogwarts. [caption id="attachment_622927" align="alignnone" width="1920"] Bex Walton via Flickr.[/caption] KAFFEINE, FITZROVIA You'll need coffee after spending time on London's most insane shopping artery, Oxford Street. Luckily Kaffeine is just a street or two behind the insanity, serving up damn fine coffee in a damn fine looking coffee shop. This is the place to go if you want a taste of classic Australian espresso-based coffee in London; you won't find American- and Scandi- style filter here. You can even grab an Anzac biccie to snack on if you're feeling seriously homesick. TIMBERYARD, SEVEN DIALS Timberyard is buzzing at all opening hours, and not just because of the free Wi-Fi — the coffee here, although although on the expensive side of things, hits the spot. The flat white is strong, flavoursome, with just the right kick of calcium. Grab a seat — try for one of the hotly contested window spots — and the staff will bring your coffee over on a wooden chopping board (because timber yard, geddit?). You'll want to stay for coffee number two. Your tastebuds will thank you, even if your wallet does not. ALLPRESS, SHOREDITCH You go to Kaffeine for a taste of Australia, but for a taste of New Zealand, head straight to one of Allpress Espresso's two cafes in Shoreditch. Founded in Auckland, Allpress is swiftly taking over the world, with cafes in Australia, Japan and London. And you can taste exactly why: their coffee is one of the best, wherever in the world you find it. The Shoreditch cafe has the antipodeon design look down-pat, with white walls and exposed pale timber. The espresso-based coffee, which uses Allpress roasted beans, is delicious, of course.
Danny Boyle directs. Alex Garland penned the screenplay. Oppenheimer Oscar-winner Cillian Murphy isn't listed among the cast, but is credited as an executive producer. In the latter's place on-screen, Jodie Comer (The Bikeriders), Aaron Taylor-Johnson (Nosferatu), Ralph Fiennes (Conclave), Jack O'Connell (Sinners) and Alfie Williams (His Dark Materials) are all tasked with navigating the remnants of a virus-ravaged world. That's the recipe behind 28 Years Later, and it looks set to unsettle — at least if the initial trailer from late 2024 and the just-dropped new sneak peek are anything to go on. Here, the zombie apocalypse has evolved. When just 28 days had passed, survivors faced a nightmare. Little had improved when 28 weeks had gone by. Now, following 28 years of chaos, life has been forced to find a new normality after dealing with the aftermath of a society decimated by a horrific infection for a hefty period. The setup this time around: almost three decades after the rage virus initially seeped through humanity after escaping from a biological weapons laboratory, some survivors have etched out an existence on a small island. Elsewhere, quarantine remains a key way of tackling the infection. With that starting point — and with unease dripping through both trailers so far, complete with stunning imagery — expect Boyle (Yesterday) and Garland (Warfare) to dig into the terrors that linger when two of the island's residents venture over to the mainland. Although 2030 will mark 28 years since viewers were treated to one of the best zombie movies ever, aka the Boyle-helmed, Garland-written 28 Days Later, the third flick in the same franchise — and second with Boyle behind the lens and Garland on scripting duties — arrives after 23 years. 28 Years Later was first confirmed at the beginning of 2024, and will hit cinemas Down Under on Thursday, June 19, 2025. The series' initial film has already spawned one follow-up thanks to 2007's 28 Weeks Later, but Boyle didn't direct it. Garland, who also penned Sunshine for Boyle, then hopped behind the camera himself with Ex Machina, Annihilation, Men, Civil War, Warfare and TV series Devs, wasn't involved with 28 Weeks Later, either. Their return restarts the saga, kicking off a new trilogy. The franchise's fourth feature 28 Years Later Part II: The Bone Temple has already been shot, in fact, with Candyman and The Marvels' Nia DaCosta directing. Boyle and Garland's first proper collaboration after Boyle adapted Garland's best-selling novel The Beach for the big screen two years prior, 28 Days Later still ranks among the best work on either's resume. It's the same on Murphy's as well, even if it didn't win him any of Hollywood's top shiny trophies for playing a bicycle courier who wakes up from a coma in a deserted hospital 28 days after an outbreak changed the world forever. And yes, the series is missing a 28 Months Later instalment. It was talked about for years, but the time has now passed unless the new trilogy includes a flick set between 28 Weeks Later and 28 Years Later. Check out the latest trailer for 28 Years Later below: 28 Years Later releases in cinemas Down Under on Thursday, June 19, 2025.
Every season, a new cocktail trend rolls into town. Often brightly coloured and served in a frou-frou glass, the excitement of a new-to-you cocktail is enough to whip any of us into a frenzy. But among the cocktails that come and go is one classic that never goes out of style: the highball. The classic whisky-based cocktail is one that everyone should have in their repertoire, and not just because of its simplicity. So, we've partnered with popular premium mixer brand Fever-Tree to give you a a proper rundown on the simple-yet-versatile drink. Better yet, to celebrate Fever-Tree's A-class dry ginger ale, we're spicing things up with a ginger highball recipe, too, so you can whip up one at home, then get reading. [caption id="attachment_743897" align="alignnone" width="1920"] Trent van der Jagt[/caption] A BRIEF HISTORY OF THE HIGHBALL The exact origin of the highball is hotly contested. However, what we do know is that during the late-19th century, there was a phylloxera (a common insect pest of grapevines) epidemic that wiped out vineyards in Europe. So, wine and spirits like brandy and cognac became less readily available than they had been. This lead the wealthier classes, who used to mix brandy and cognac with carbonated water, to opt for blended scotch whisky with soda instead. And so, most would argue, the highball was born — although the name was yet to come. So, from where does the term 'highball' stem? One story goes that English actor EJ Ratcliffe brought the concept to America in 1894, where a bartender at the Adams House in Boston dubbed it a highball, due to the vessel in which it was served. Others have sworn the name is a throwback to an old American railroad signal. It is also thought that the name's origin could be Irish or British, with the term 'ball' being common for a glass of the amber liquor in Ireland and, more specifically, it served in a tall glass in English golf clubs throughout the late-19th century. As we said, this tasty tipple's history is anything but linear. [caption id="attachment_743100" align="alignnone" width="1920"] Trent van der Jagt[/caption] FUN FACTS TO IMPRESS YOUR MATES WITH Two versions of the highball appeared in an American cocktail book called The Mixicologist in 1895. One under the name Splificator, which calls for whisky and naturally sparkling water in a 'medium thin glass'. According to lauded drinks writer David Wondrich, 'splificated' was Irish slang for drunk. The other drink was dubbed the High Ball, made with whisky or brandy and carbonated water. But over the years, the name highball stuck — and the rules for making one vary as much as the story of its invention. To make a highball, some say the whisky and ice needs to be stirred 13.5 times and soda water poured down the arm of the spoon. Others tell you to keep that spoon the hell away from it. Whisky highballs are so popular in Japan that it's become a top choice for punters. It's hardly surprising since Japan is known for its top-shelf whiskies. Plus, the drink's popularity is thought to be due to many Japanese people enjoying a drink with their meal, and sipping straight whisky doesn't have the same appeal as an ice-cold mixed bevvy. HOW TO MAKE A FEVER-TREE GINGER HIGHBALL Half the fun of mixing cocktails is putting your own spin on them. If you'd like to make your highball a bit more zingy, swap soda for ginger ale, which has become a common mixer for the tipple. By doing so you not only complement the whisky, but also add a more refreshing flavour into the mix. You can also look to shake things up by making yourself one of the many riffs on the ginger highball, such as the Whisky Buck and Mamie Taylor — both of which add lime juice into the equation. Whatever you decide, there are two ingredients that remain constant: whisky and ginger ale. Fever-Tree believes if three-quarters of your drink is mixer, you should only use the best. So, this recipe calls for one-part whisky to three-parts Fever-Tree Dry Ginger Ale. However, if you like your firewater more front-of-palate, simply use less mixer. Want to get even more creative? You can trial different garnishes, which means more taste-testing opportunities. INGREDIENTS 45ml Starward Two-Fold Double Grain Whisky (or the whisky of your choosing) 135ml Fever-Tree Dry Ginger Ale Plenty of ice Slice of grapefruit METHOD Fill a highball glass with ice cubes. Pour in whisky, then slowly pour in Fever-Tree Dry Ginger Ale. With a bar spoon (or any long-handled spoon), gently stir the concoction. For a bit of extra zing, garnish with a fresh slice of grapefruit. Want to hear top Aussie whisky producers talk about their secrets to mixing up a good tipple? See Fever-Tree's video below. https://www.youtube.com/watch?v=itnMTytOJmM Keen to whip up a highball at home? Purchase Fever-Tree Dry Ginger Ale via the Woolworths website and get mixing. Top image: Trent van der Jagt
The season remains in full swing, but it won't be long until the Suncorp Super Netball Grand Final takes over Rod Laver Arena on Saturday, August 2. While scoring any seat in the stands will give you a top-notch view of the action, the league has organised a pair of unique encounters for super fans looking to level up their experience. For the first time ever, fans are invited to board a special two-hour Grand Final cruise along the Yarra River. Departing from Federation Wharf, tempting nibbles, drinks and live music will flow for two hours before you dock on the doorstep of Melbourne Olympic Park, ready to head inside and soak up the big game. Meanwhile, the Mixed Social Club is also making its debut, with this pre-match party offering the ideal warm-up to the main event. Featuring canapés, a fully stocked bar and energising beats from DJ Kitty Kat, this is your chance to mingle with some of the SSN's most significant past and present stars on the rooftop of Rod Laver Arena. "The 2025 Suncorp Super Netball Grand Final isn't just about crowning our champion — it's about delivering unforgettable moments for our fans," says Netball Australia CEO Stacey West. "Whether you're joining us for the game, the events, or the entire week, this is going to be the biggest and most immersive Grand Final experience in netball history." Finally, the Grand Final Lunch is returning in 2025. Hosted at Centrepiece, just a short stroll from Rod Laver Arena, guests will relish a gourmet two-course dining and drinks experience as netball royalty shares fascinating insights on the sport and what it takes to secure its biggest prize. Best of all, you're invited to tailor your entire Grand Final day. The River Cruise can be purchased individually or added alongside the Mixed Social Club package, helping sports fans of all stripes take their experience to the greatest heights. The Suncorp Super Netball Grand Final is happening Saturday, August 2, at Rod Laver Arena. Head to the website for tickets, premium packages and more information.
In A Real Pain, as two cousins make a pilgrimage to walk in their dearly departed grandmother's shoes, the concept of alternative possible lives arises. Jesse Eisenberg's second film as a writer/director after 2022's When You Finish Saving the World doesn't hop between timelines science fiction-style; rather, when different pasts or futures come up, it follows a relatable Sliding Doors-esque train of thought about the events and decisions that've shaped David (played by Eisenberg) and Benji Kaplan's (Kieran Culkin, Succession) existences. They're in Poland, where their Grandma Dory grew up, and where they might've too if the Holocaust hadn't occurred. On their guided tour, Benji muses with David about their parallel-universe selves, where they're Polish with beards and everything that they've ever known is completely different. A Real Pain itself is the product of a comparable journey; it could've been a different movie and, originally, it was meant to be. Eisenberg was endeavouring to bring another project to the screen, adapting a short story that he'd penned for Tablet magazine. It was about two friends, not cousins, and instead of Poland they were travelling to Mongolia together. But the Oscar-nominated The Social Network actor, not to mention star of everything from the Zombieland and Now You See Me movies through to TV's Fleishman Is in Trouble, had himself been to Poland. He'd paid tribute to his own family history, visiting the house that his aunt Doris had lived in. He'd also been inspired by that trip to write 2013's off-Broadway play The Revisionist, about a young American man with an older Polish cousin who had survived the Second World War. An ad for "Auschwitz tours, with lunch", which Eisenberg randomly spotted online, helped him pull together influences from all of the above — the screenwriting task that he'd actually set himself, his prior play, his personal experiences and history — into A Real Pain. Audiences should be grateful that it did. Awards bodies have been so far, including via four Golden Globe nominations (for Best Film — Musical or Comedy, Best Best Performance by a Male Actor in a Motion Picture — Musical or Comedy for Eisenberg, Best Performance by a Male Actor in a Supporting Role in Any Motion Picture for Culkin, and Best Screenplay — Motion Picture, again for Eisenberg), plus love from the Gotham Awards and Independent Spirit Awards. At Sundance, where A Real Pain premiered, the dramedy took home a screenwriting accolade. Eisenberg isn't just filtering elements of his family's past into the movie, or recreating a trip that he took with his now-wife two decades back. As he did with the Julianne Moore (May December)- and Finn Wolfhard (Saturday Night)-starring When You Finish Saving the World, he's also tapping into his own IRL anxieties. What he's digging into is right there in A Real Pain's name. As he tells Concrete Playground, "I'm trying to examine and ask the question that I ask myself every day: is my pain valid?". When there's such bigger struggles, troubles and atrocities haunting the world beyond the everyday woes of a person with a largely comfortable life, how can someone feel angst and hurt while also confronted with the bigger picture? In A Real Pain, David and Benji were born mere weeks apart and were almost inseparable as kids, and now make a chalk-and-cheese pair — as is immediately evident while the former leaves a series of messages about meeting up at the airport, where the latter has already been contentedly for hours — but both have their own tussles. In their interactions one on one and with others, one is a ball of tension and apprehension, while the other is laidback and charming. (Based on casting, it's easy to pick which is which before even watching, although Eisenberg initially planned to play Benji.) Where David has also settled into adulthood while grappling with his stresses, however, Benji is in a state of arrested development. Their grandmother's passing hasn't helped. At a pivotal moment, chatting over dinner with the pair's tour group — which includes Will Sharpe (The White Lotus) as their guide, plus Jennifer Grey (Dollface), Kurt Egyiawan (The Agency), Liza Sadovy (A Small Light) and Daniel Oreskes (Only Murders in the Building) as fellow travellers — while Benji is in the bathroom, David unburdens his feelings in a powerful torrent. "I love him and I hate him and I want to kill him and I want to be him," he notes, getting to the heart of the cousins' complicated relationship. Earlier, they'd been at Lublin's Old Jewish Cemetery. The next day, they'll visit the Majdanek concentration camp. A Real Pain sees its titular emotion in micro and macro, then, and knows how awkwardly that the two clash. Just as with questioning the legitimacy of routine trials versus all of the worse things in the world, Eisenberg drew that crucial monologue from his own emotions and experiences. "It's also the most-personal part of the movie — and this is a movie that is very personal," he told us. We also chatted with the Rodger Dodger, The Squid and the Whale, Adventureland, The Double, Batman v Superman: Dawn of Justice, Vivarium and Sasquatch Sunset star about how A Real Pain came together, working with Culkin — including Emma Stone's advice as one of the film's producers that he shouldn't play Benji himself — and what he makes of his career 25 years after his screen debut in TV series Get Real. On What Keeps Drawing Eisenberg to the Question of 'What Pain Is Valid?' as a Writer/Director, First in When You Finish Saving the World and Now in A Real Pain "I've been in the arts since I'm a kid, and I married somebody who works in social justice. And so anytime time I feel I'm doing well or something, I'm reminded that my wife is maybe working with people in more immediate need than I am. And my mother-in-law ran a domestic violence shelter for 35 years, and was unimpressed that her daughter had been married to somebody in movies. So in that first movie, Julianne Moore plays a woman who runs a domestic violence shelter, and she's kind of unimpressed with her kid, who's her family, not doing anything of social value according to her. And then in A Real Pain, the characters are experiencing this very personal pain. My character has OCD, but medicates it away. And my cousin's character has very dark, dark demons inside of him, but it's on an individual level. And so I thought it would be interesting to put these guys against the backdrop of real historical global objective trauma, like the Holocaust. Because in both movies I'm trying to examine and ask the question that I ask myself every day: is my pain valid? I live in a comfortable apartment with a nice wife and kid, and work, I have a nice job. But yet I still feel miserable all day. And why do I have those feelings? So both movies are exploring that exact question. Questions of privilege versus pain — questions about how is it possible that we could feel bad for ourselves when there are so many worse things in the world? In the case of the first movie, it's about domestic violence, and in the case of this movie, it's the Holocaust. And that's just my preoccupation, which just comes from a very self-centred question of 'why do I deserve to feel self-pity?'. On A Real Pain Coming Together From First Trying to Write a Different Film, Then Seeing an Online Ad for Auschwitz Tours "with Lunch", and Also a Past Off-Broadway Play, Plus Eisenberg's Own Personal History and Trip to Poland "It's funny, my friend and I, he's a writer too, we write next to each other at the library every day, and he always says 'once you're on the downslope of the script, you know it's going well'. 'The downslope' in our lingo is basically just once you get past the point of setting everything up and the things are in motion and everything feels right, kind of resolving everything or maybe it's not resolving anything, but that downslope to the end is really smooth. So the last ten pages of this movie, I wrote, I think, in like five minutes, because my wife was texting me I'm going to be late to pick up my kid, and I was like 'I know, but I know the ending, I just have to..'. [caption id="attachment_985500" align="alignnone" width="1920"] Photo by Agata Grzybowska. Courtesy of Searchlight Pictures © 2024 Searchlight Pictures All Rights Reserved.[/caption] So I just wrote it really quickly and all this great stuff came out about me hitting him in the airport, and then this just sad ending of me going home to my family and him stuck at the airport, and it just happened because everything had been set up. And it was in my mind, as you mentioned, throughout several other plays and short stories and stuff, and a real trip with my wife. So once I was at that point, where the dominoes were all falling, I knew, 'oh, this is a story that feels complete'. And then I sent it to my parents and they had no idea what they were reading, because I sent it to them, I don't write in screenwriting programs, so I sent them an e-mail with no names above the characters. Anyway, they said 'this is terrible, what did you what did you do?'. And then I made it more official." [caption id="attachment_985499" align="alignnone" width="1920"] Photo by Agata Grzybowska, Courtesy of Searchlight Pictures, © 2024 Searchlight Pictures All Rights Reserved.[/caption] On What Eisenberg Was Excited About with Working with Kieran Culkin — and Casting Him in a Role That He Was First Planning to Play Himself "I was originally thinking I would play the role of Benji. And our producer is Emma Stone, and she is obviously a very successful producer/actress, and she told me just it would not be a good idea to play a character like that, who's so kind of unhinged and spontaneous, while also trying to direct the movie where I had to be in my other side of my brain of managing a crew. So once I decided I wasn't going to play that role and I was thinking about who could play it, the only person that seemed to me — it's strange, because he's not a Jewish actor — but the only person that seemed to me of my ilk is Kieran. [caption id="attachment_985496" align="alignnone" width="1920"] Tim P. Whitby/Getty Images for The Walt Disney Company Limited[/caption] I don't know what it is, that we're both from New York and speak in this kind of way, and have an energy about us that is similar, but I needed somebody similar and different to me. And Kieran is like me in so many ways and then completely the opposite of me in so many ways. He doesn't feel anxiety about acting. He doesn't think about it. He just wants to get to the set and to just perform. He doesn't want to talk. He does want to analyse it. He doesn't even sleep the night before, and he never wants to rehearse. And he's just comfortable in his own skin. He's now winning, like today, he just won two major awards for the role. I think he doesn't even care. I sent him a congratulations message. He's never going to get back to me. He just takes care of his kids and doesn't care about ambition, fame, success, any money, anything. He lives a really unusual life and it's exactly what I needed for the character. So what we were experiencing on set as colleagues was quite similar to what they're experiencing on set in character." On Capturing the Relatable Dynamic of Loving Someone But Also Hating Them in a Powerful Monologue — and How Pivotal That Moment Was for Eisenberg "Oh, very strangely pivotal in the sense that I was so conscious of the fact that I, as the writer/director, have a monologue in the movie. And I was so panicked about filming it, because I thought I would screw it up, and then I thought 'I don't want the other cast to be sitting there all day while I do this shot of myself'. So the cinematographer and the producer Ali Herting [I Saw the TV Glow, The Curse] basically forced me into doing this long shot that pushes in. We did one take and I was too embarrassed to do it again, because it just seemed indulgent. It's the only take we got. And because I knew I only wanted to one take, I put all the eggs in the basket of it, and so it was very lived in, so to speak. It's also the most-personal part of the movie — and this is a movie that is very personal. We film the movie at my family's house in Poland and it's about my family's history, and yet the most-personal part of the movie is where I say that stuff. Because I guess what I'm talking about is just the way I've felt in my relationships with other guys growing up, just finding people that I'm in awe of — not just guys, also women and family members and all sorts of people — where I have these dual feelings of wanting to be them and kill them at the same time, and loving them and hating them at the same time. I'm living in the shadow of Benji, but in some ways my life has greater stability than his. In most ways, my life has more stability. And so I understand that I've created the life I want, and yet still every time I'm with him he brings up those childhood feelings of envy." On What Eisenberg Makes of His Path From His Screen Debut in TV Series Get Real 25 Years Ago to Everything That's Come His Way Since, Including Writing and Directing "When I was like 16, I got my first professional acting job, which was acting in this TV show. And I'll never forget the audition, all the executives were there, and I remember I was just trying to be funny in front of them. And I was not thinking of myself as a funny person at that point. I was trying to be funny, and people were laughing, like adults were laughing. And I thought 'oh, that's interesting, I wonder if I'm allowed to just be funny the way I want to be funny — it can translate'. I didn't have to be funny like Adam Sandler or something. I could just be funny like myself. So that TV show allowed me to explore, let's say, my own voice as an actor. So that was a really, really lucky experience that no one watched. And since then, I've been very lucky to play roles where I can bring myself to it or bring my own sensibility to certain things, especially in a movie like A Real Pain, which is like my story, and I'm always surprised that anybody likes it. Because when you think of something that's your own, and that's private or artful or creative or something that's funny in your head, you never expect to have any kind of public reaction. But now I've found myself in this very weird position where I get to write stuff and can produce it, and it just feels quite strange because it all still feels very personal." A Real Pain opens in cinemas Down Under on Thursday, December 26, 2024. Images: Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
In this or any other galaxy far, far away, now and a long time ago alike, this is a first: an exhibition displaying the largest collection of life-sized Lego Star Wars models ever assembled, and ranking as the biggest touring Lego showcase ever. Lego Star Wars: The Exhibition was initially announced in 2024, and now unveils the scenes crafted from its eight-million-plus plastic bricks at Melbourne Museum on the best day for it: May the fourth. The force is strong with this one — the Lego-building force, that is, in this world-premiering exhibition featuring Lego models based on the George Lucas-created space saga. Locations, characters, duels: they're all included, such as the Millennium Falcon, Emperor Palpatine's throne flanked by two Royal Guards, a stormtrooper helmet, Luke Skywalker and Darth Vader facing off, and the Mandalorian and Moff Gideon doing the same. Lego Star Wars: The Exhibition hails from Ryan McNaught aka Brickman, who has indeed been spending time turning plastic rectangles, squares and other shapes into a recreation of the smash-hit franchise that's been soaring across screens big and small — and beyond — for almost five decades now. To build, the showcase took more than 25,000 hours at McNaught's headquarters in Tullamarine. As it constructs an immersive experience and follows in the footsteps of the Jurassic World series, which has also received the Lego treatment from Brickman, Lego Star Wars: The Exhibition has plenty of material to draw upon. On-screen, so far it spans the initial film trilogy that released from 1977–83, then the prequels from 1999–2005, then the sequels — including The Force Awakens, The Last Jedi and The Rise of Skywalker — from 2015–2019. Rogue One, Solo, The Mandalorian, The Book of Boba Fett, Obi-Wan Kenobi, Andor, Ahsoka, The Acolyte, Skeleton Crew: the list goes on across cinemas and TV, including the wealth of animated efforts in the saga. This is not just the first Lego showcase dedicated to Star Wars, but the only Lego showcase devoted to it. Another drawcard: being able to build your own Lego brick lightsaber, then giving it a swing in augmented reality. If you're keen to check it out and you don't live in Melbourne, you'll need to head to the Victorian capital to wander through Lego Star Wars: The Exhibition. Alongside the hosting the world-premiere season, which runs until Monday, January 26, 2026, the stint at Melbourne Museum is an Australian exclusive. "Building the Star Wars galaxy from Lego bricks has been a dream project, and I couldn't be prouder of what we've created. Lego Star Wars: The Exhibition takes some of the most-iconic moments from the beloved saga and reimagines them at a scale that's never been done before. The detail, the size and the sheer number of bricks used to make this exhibition is something truly special. Whether you're a lifelong Star Wars fan or just love to build, it's an experience that everyone can enjoy," said McNaught. "This world-first exhibition unites two of the most-iconic and -imaginative forces in global culture ‚ right here in Melbourne. Lego Star Wars: The Exhibition boldly blends creativity, storytelling and interactivity into an adventure for curious minds of all ages," added Museums Victoria Chief Executive Officer and Director Lynley Crosswell. Lego Star Wars: The Exhibition runs from Sunday, May 4, 2025–Monday, January 26, 2026 at Melbourne Museum, 11 Nicholson Street, Carlton. Head to the exhibition's website for tickets and more details. Exhibition images: Eugene Hyland, Museums Victoria / The Brickman.
It might seem like Melbourne's inner north has become overrun with breweries in recent years, but the beer-making traditions of Richmond, Abbotsford and Collingwood actually date back to the 1800s. But, it's safe to say, the beers have improved a lot, with innovative beer purveyors setting up shop in various ramshackle warehouses scattered over town. Strap on your walking shoes and plunge into Melbourne's immense beer culture. Visiting these five brewhouses is a beer lover's adventure so good you won't be going back to the standard swill anytime soon. FIRST, A FEW SIMPLE TIPS Start early —It's easy to lose track of time in a house full of beer. To fit all of these in, you'll need to get to the first brewery early. Go with a group — Sharing a beer with friends doesn't just spread the love for local craft brews but will also make the walking in-between go by far faster. Take advantage of tasting paddles — The most bang-for-your-buck option, paddles allow you to taste the brewery's range without going overboard. Schedule a brewery tour — There are few occasions in life when you get to see exactly where the product you're consuming is made. Take advantage of this moment. Pace yourself — Don't be a hero, you have a whole day of drinking ahead of you. This isn't a pub crawl for rowdy uni kids all wearing the same t-shirt. The breweries are community hangouts where friends gather to chill and grab a beer, best to keep that in mind. Eat, eat, eat — Drinking on an empty stomach leads to nothing but inevitable sadness; luckily, some of the breweries have food trucks parked outside or you can grab a bite to eat inside. Now, let's get walking. STARTING POINT: MOUNTAIN GOAT BREWERY & BAR The original brewery. The Mountain Goat Brewery is a fitting place to start this boozy walking tour as these guys have been around since 1997 — right back near the start of Australian craft beer. Emerging from Dave Bonighton and Cam Hines' backyard, it's now one of the industry's largest players and its dedication to the craft has stayed the same over the last 22 years. Featuring many old-favourite drops, the large-scale brick warehouse also has a novel selection on tap that you can only test out here. The North Street IPA is a fine choice with its fruity aroma and earthy hints, while the Fancy Pants Amber Ale makes for an easy-going drink — a good one to kick off the day's festivities. 80 North Street, Richmond. Open 5–10pm Wednesday, 5–11pm Friday, and 12–6pm Sunday. SECOND STOP: MOON DOG CRAFT BREWERY (15 MIN WALK) The casual brewery. Moon Dog may have recently announced some brand spanking new digs to open in Preston later in 2019, but for now its home remains on Duke Street, Abbotsford. Sink into the thrift store couches and get comfortable because there are a lot of great drinks to sample. The brewery might take on a pretty lo-fi appearance, but don't mistake it for a small-time operation. Moon Dog is already pumping out millions of litres of beer each year with more soon to come. There are ten taps on offer, pouring classics like Old Mate and Love Tap plus some seriously flavourful single kegs. Meanwhile, there's always free popcorn and a van serving woodfired pizza out the front. 17 Duke Street, Abbotsford. Open 4–11pm Wednesday to Friday, 12–11pm Saturday, and 12–8pm Sunday. [caption id="attachment_717784" align="alignnone" width="1920"] David Hyde Photography[/caption] THIRD STOP: STOMPING GROUND BREWING & BEER HALL (20 MIN WALK) The next-big-thing brewery. If Mountain Goat is responsible for helping launch craft brewing in Victoria, Stomping Ground is the crew pushing it forward. Having opened its massive Collingwood brewery and bar back in 2016, it's not uncommon to see the sprawling, 30-tap converted warehouse teeming every weekend. If the sun's shining, the beer garden is perfect with its semi-retractable roof, while there's a huge fireplace for those wintery Melbourne days. With so many beers on offer here, now is your chance to give a tasting paddle a try, with the Cicerone Selection ($26) featuring everything from tart goses to the smoky Hanging Rauch — a German-style smoked larger. 100 Gipps Street, Collingwood. Open 11.30am–late Sunday to Thursday and 11.30am–1am Friday and Saturday. FOURTH STOP: THE MILL BREWERY (15 MIN WALK) The relaxed brewery. Leave behind the powerhouse that is Stomping Ground and get yourself to a more intimate space at The Mill Brewery. This formerly dilapidated mechanic's workshop is one of the local residents' favourite haunts thanks to its chilled out atmosphere. Founder Mirek Aldridge is still very much a part of the everyday activities here and is always keen for a chat. Find yourself a spot at the solid red gum tables and sip a Jack D-licious — a golden ale with a slightly floral flavour at a very reasonable 4.8 per cent ABV. If you can still find a way to focus, there's also table tennis to test your hand-eye coordination. 40 Sackville Street, Collingwood. Open 4–10pm Wednesday to Thursday, 4–11pm Friday, 1–11pm Saturday, and 1–9pm Sunday. LAST STOP: FIXATION BREWING CO – THE INCUBATOR (5 MIN WALK) The obsessed brewery. If there's one thing that Fixation Brewing Co knows, it's IPA. That's because the entire brand is dedicated to making this specific type of beer as fresh and flavourful as possible. Fronted by experienced hop-head Tom Delmont, this place is Australia's only brewery bar that's dedicated to IPA so you can be sure that it delivers some serious quality. The namesake brew offers a hazy orange colour that comes loaded with fruity notes, while The Fix takes things up a notch with its punchy double IPA strength. Being the last stop on your potent brewery walking tour, let's hope you don't feel it too much tomorrow. 414 Smith Street, Collingwood. Open 4–10pm Wednesday to Thursday, 3–10pm Friday, 12–10pm Saturday, 1–7pm Sunday. Want more inner north breweries? Pace these six out. Top image: Stomping Ground
There's so much art in Melbourne, both inside and out, that getting around to see everything you should've by now is pretty much impossible. Frankly, as the days become increasingly wintery, it can be tempting to just hide away in bed. But instead, we're encouraging you to seize the chilly nights with the new Samsung Galaxy S9 or S9+ and make use of their brilliant low light camera — perfect for when the only lighting you have for your shot is but a single street light. Whether it's making up for lost time with NGV Friday Night's after-hours access or exploring the must-see street art of Melbourne's dimly lit alleyways, here's five artworks that you have to go out and capture for yourself. KEITH HARING'S MURAL ON JOHNSTON STREET, COLLINGWOOD Surrounded by trendy bars, cafes and restaurants, Keith Haring's Collingwood mural is one of the city's most well-known and loved examples of public art. Painted on the side of the former Collingwood Technical College right next to Circus Oz's quirky Melba Spiegeltent, the iconic figures appeared when the acclaimed New York artist arrived in Australia in 1984 to paint and speak on behalf of the Australian Centre for Contemporary Art. Snap some photos of this cherished mural and then find a warm bar nearby and grab yourself a drink. THIS SIDE IS THE OTHER SIDE BY SUBODH GUPTA AT NGV At first glance, This Side Is the Other Side by Indian artist Subodh Gupta can be viewed with all the wanderlust of a good ol' dusty road journey. And while travel is one of the key themes, the fact that Gupta was born and raised in India's poorest province of Bihar, it may not be the leisure travel your mind first jumped to. That said, his Hindu heritage places the divine in all objects, which explains the gold sheen over this humble, motor scooter hung with milk pails. This Side Is the Other Side is but one of the photogenic pieces in this thoughtful exhibition, aptly named Everyday Divine. INDIGENOUS BOY BY ADNATE ON HOSIER LANE, CBD Hosier Lane is famous for its graffiti and street art – and while most works get tagged and painted over with clockwork predictability, one piece stands out above all the others. Painted by admired Melbourne street artist Adnate, 'Indigenous Boy' is a 23-metre tall mural set against the rear of McDonald House. Drawing attention to the original Indigenous owners of the land that the Melbourne CBD is built upon, the photorealistic portrait is seen looking out towards Birrarung Marr. Head down after dark to photograph Adnate's massive artwork – and while you're there you might catch Melbourne's nocturnal graffiti artists hard at work. PIXCELL RED DEER BY KOHEI NAWA AT NGV Born in Kyoto in 1975, Japanese artist Kohei Nawa's work embodies numerous worldly influences. Drawing on everything from the symbolism of Buddhism and Japanese Shintoism, to the works of British and European sculptures he was exposed to while studying at London's Royal College of Art, Nawa is one of Japan's leading young artists. And lucky for us, the NGV was able to acquire one of Nawa's 'PixCell' works back in 2013. Coined by the artist himself, PixCell is the process of combining organic cells with minute digital pixels. With deer appearing throughout Nawa's work, this is a special piece in Nawa's collection and one you have to see in person to fully appreciate (but don't let that stop you taking a few snaps). FINTAN MAGEE'S MURAL ON AC/DC LANE, CBD Growing up in Brisbane, Fintan Magee has travelled the world painting massive murals and hosting exhibitions for his smaller-scale works. From London and Las Vegas to Tunisia and Turkey, Magee's brand of street art has earned him fans wherever he goes. Often creating work around the environment, climate change and the global refugee crisis, Magee's works make you reflect on the world around you. Tucked away down the end of the CBD's AC/DC Lane, hidden amongst the surviving dive bars and newcomer cafes, his Melbourne mural towers high above the streets, showing a man carrying a tree trunk through the densely urban landscape. It's a little less crowded than Hosier Lane too, so you'll be able to get plenty of snaps without the random strangers. Instead of spending your winter nights on the couch, discover all the after-dark happenings in your city here — and don't forget to document it all on the new Samsung Galaxy S9 and S9+, designed especially for low light so you can capture your best moments no matter what. Images: Cole Bennetts.
Each year since 2014, Melbourne's Queen Victoria Gardens has scored an impressive new addition, all thanks to MPavilion. When the end of each year rolls around, a new, specially commissioned temporary structure has popped up to host a summer-long festival of free events — with the pavilion itself designed by a top architect, and the accompanying community-focused cultural program covering talks, workshops, performances and installations that highlight design as well. In 2020, however, something different is happening. Yes, that's an easy way to sum up this strange and chaotic year in general; however, for MPavilion, it means that a new structure hasn't been commissioned. Instead, in a decision made in direct response to the COVID-19 pandemic, the event is activating the six pavilions from previous years rather than build something new. That was announced back in June but, in a new revelation, MPavilion has just advised that it'll also be taking up residency at the CBD's Parkade Car Park, too, in line with its 'adaptive reuse' focus for the year. Come January 2021 — with MPavilion running through until March — Melburnians will be able to head to 34 Little Collins Street for live music gigs, interactive installations, events focused on architecture and design, and school holiday workshops for kids and families. The Parkade Car Park will host MPavilion shenanigans seven days a week throughout the month, giving the Peter McIntyre-designed 60s and 70s-era site a new lease on life to start off the year. If the residency has you thinking about ways that existing spaces can be repurposed, that's a big part of the point. MPavilion focuses on a different theme each month, with January dedicated to 'Preservation: Propagating Knowledge' — and also featuring everything from circus architectural film screenings curated by architect and filmmaker Toby Reed to a roller disco. There's also a concert for dogs (and humans, of course), in collaboration with Melbourne Music Week. If you're still keen on checking out MPavilion's 2019 white lantern-like piece by Glenn Murcutt, its 2018s floating geometric building from Spanish architect Carme Pinós, 2017's inside-outside contemporary take on the ancient amphitheatre by Rem Koolhaas and David Gianotten, and 2016's huge bamboo structure from Indian architect Bijoy Jain — and Amanda Levete's forest-esque 2015 piece and Sean Godsell's 2014 creation as well — they're spread around different locations across the city until Sunday, March 21, 2021. And, as for what else is on the program, exploring both physical and virtual social spaces in December's spotlight — while February will highlight relationships of all kinds, and March will wrap things up with a month of temporal experimentation. MPavilion takes place around Melbourne until Sunday, March 21, 2021 — and will take up residency at the Parkade Car Park, 34 Little Collins Street, Melbourne, throughout January. For further details, head to the event's website. Images: Timothy Burgess.
In Melbourne's southeast, you'll find a blend of Malaysian, Chinese and Japanese cuisine at The Potsticker. Don't let the idea of a mish-mash put you off — it simply means you can have roasted peking duck in pancakes with nasi goreng and, of course, beef potsticker dumplings with black vinegar. Unsure of where to start? Sign up for one of the banquets (starting at $39.50 per person), which will get you a selection of dishes from across the varied menu. There's a decent range of vegetarian and gluten-free options on the menu, too. The Caulfield North restaurant is open for lunch (12–3pm) from Wednesday to Sunday, so there are plenty of opportunities to get your whole team out of the office to enjoy a huge selection of dim sum. And a bottle of wine, of course — corkage is $8 per person. The Potsticker offers BYO wine.
Do you have a book that's gone neglected, gathering dust in a bedside drawer or on a coffee table? Bring it out of literary hibernation thanks to Reading Party Melbourne — a rare chance to mix some quality reading time with a night out on the town. The event will be hosted at Mr Mills for one night only this December. Descend the chartreuse spiral staircase to the perfect alcove to tear through a couple of chapters — a moody bar replete with warm timber, plush booths and little lamps. Order snacks like olives, almonds and even a charcuterie plate with guindillas and manchego, and you've got the perfect setup for a reading sesh. Starting at 6pm, you'll get to enjoy some silent reading time with your fellow attendees (no awkward icebreakers or aloud reading needed) before it's books down to and time to get your mingle on. It's not so much a book club, but an excuse to enjoy your page-turner of the moment somewhere other than your usual reading spots. No pre-reading, no homework, no worries. Of course, the books are right there to get the conversation started. Swap recommendations, or break down the events so far, if someone happens to be reading the same volume as you. Your ticket includes a beer or a glass from Mr Mill's wine list. Tickets come in at $23 and you can be in bed by 9. What's not to love? Find out more and get your tickets via the website. Images: Supplied
International sportswear label Adidas continues its efforts to save the world's oceans, unveiling a new range of running kicks crafted ingeniously from recycled plastic pulled from the beach. It's the latest in a series of collaborations with environmental organisation Parley for the Oceans, with the two groups teaming up to reduce ocean plastic by transforming it into sports gear. Set to drop on April 16, the planet-friendly range features two slick new shoe designs — the UltraBOOST and UltraBOOST X — in variations for both guys and girls. The colour palette of deep blues and greens takes its cues from "the urban harbour", and an integrated NFC chip in the right sole lets you access learning experiences about plastic pollution with a few taps of your phone. But even better than looking and feeling good, each pair means that approximately 11 plastic bottles will prevented from reaching the ocean. This new line follows the success of Adidas' previous Parley collaborations, which sold over one million products in 2017 alone. This year, the two companies have their sights set on cracking the five million mark, which you have to agree is no small drop in the ocean. The UltraBOOST and UltraBOOST X will only be available for a limited time, though keep your eyes peeled for new and updated Adidas X Parley products dropping regularly throughout the year. Adidas has also committed to phasing out the use of newly-manufactured plastic in its products, and to supporting Parley in a range of research and development, innovation and education initiatives. Find the latest collaborative ocean plastic range online and instore.
When you're a single player in the arduous dating game, swiping can get old fast. You spend all your time sifting through the timewasters and sleazeballs, while your true love potentially slips through your too-busy-swiping fingers. Thankfully, lovers, there's a new app on the block pulling out all the stops to ensure you have a quality dating experience. The Inner Circle is a unique dating platform that brings together like-minded singles — online and offline. Turns out looking for love can be fun, after all. We've broken down the key features of the app below and paired them with a date idea for you to enjoy with your new flame. Bring on the lovefest. [caption id="attachment_637902" align="alignnone" width="1920"] Katje Ford.[/caption] NIGHTS OUT The Inner Circle brings members face-to-face through unique events. You can rub shoulders with other singles while enjoying a night out with friends. For a similar vibe, take your date to pub trivia and get to know them within a social setting — and maybe nab a sweet cash prize. It's a win-win, literally. Sydneysiders, head to the Botany View Hotel in Newtown for Thursday trivia with a cash prize. Melburnians, make tracks to The Penny Black for trivia in the beer garden, and Brisbanites, you can catch beer-garden trivia at The Wickham. NO CATFISHING With its involved screening process, The Inner Circle cuts out any risk of catfishing. Basically, all the rotten fish are thrown back to sea. See a literal representation of this and plan a date to go fish picking with your partner. Then, spend the evening cooking your catch with your other 'good catch' while enjoying a glass of crisp riesling. For an upscale fishmonger experience, head to the Fish Butchery (Sydney), run by the Saint Peter crew. Or, for a no-frills affair, head to Ocean Made (Melbourne) or The Fish Factory (Brisbane). PERFECT PAIRINGS The Inner Circle's dedicated team carefully considers each and every application to ensure members are well suited, much like pairing a good wine and cheese. To channel the same meticulous attention to detail and to sample some tasty treats, take your date to a cheese and wine tasting. There are loads of fromageries around, but we suggest, Formaggi Ocello in Sydney, Milk the Cow in Melbourne and Fromage the Cow in Brisbane. If all goes well, grab some gooey delights and vino to go and enjoy them together back at home. ON THE GO The Inner Circle has a ton of travel features that make it is easy to use at any time. So you have access to the best, even when travelling. Take your date on a scenic hike; it's a great way to get to know someone while you both enjoy a nice rush of endorphins from the exercise and get a dose of vitamin D. No matter where you are in Australia, you can always find a good trail. Check out our guides for Brissie, Melbourne and Sydney, then get planning. NO SWIPING Forget about the awkward left and right swipes that have started to hurt your fingers. Say goodbye to RSI. The Inner Circle has no swiping, which means your hands are free to do other fun things, like dabble in pottery or craft a terrarium. Plan a phone-free date with your new main squeeze and not only will you enjoy the use of both hands, but you'll pick up a new skill, too. To relive that pottery moment from Ghost and try your hand at ceramics, head to Bea Bellingham (Sydney) or Céramiques Elsternwick (Melbourne). Or, if you'd prefer something more organic, make a succulent-filled mini-garden at Work-Shop in Brisbane. Get off the tired, old dating apps and jump into The Inner Circle. Sign up here and get exploring.
To some she was a caregiver. To others, a recluse. Now, the world knows her as an artist. Vivian Maier had a lot of faces, all of which are revealed in a problematic new documentary releasing in cinemas this week. Directed by John Maloof and Charlie Siskel, the film pulls back the curtain on the life of its titular subject, a woman who, in the years since her death, has gone from a total unknown to one of the most acclaimed street photographers in history. That's the premise of Finding Vivian Maier. The problem is that it appears she never wanted to be found. The documentary begins in 2007, when Maloof, an author and amateur historian, was doing research for a book about Chicago. On a whim, he purchased a box of old, undeveloped photographs at an auction — photographs that just so happened to have been taken by Vivian Maier. Blown away by her talent, Maloof stuck her name into Google, only for his search to turn up a blank. So over the next few years, he continued to look, slowly uncovering more about the artist while shining an ever brighter spotlight on her work. As it turns out, Maier spent most of her life working as a nanny. Interviews with the children she cared for, now adults, paint an eccentric portrait of a bold, opinionated woman with combat boots and a phoney French accent, who would take them on outings to the rough side of town just so she could get an interesting picture. She was also a prolific hoarder, collecting not just photographs, but letters, receipts and stacks and stacks of newspapers. She never married, never had kids and, despite her remarkable body of work, appears to have died penniless and alone. It's certainly an intriguing story, one that Maloof and Siskel milk for everything it's worth. But, as the documentary goes on, it also becomes increasingly clear that Maier herself would have been uncomfortable with the attention she's being given. She never made any significant attempts to showcase her work while she was alive, and appears to have gone to great lengths to keep her private life hidden. Throughout the film, various people speculate, often rather tastelessly, about her feelings and state of mind. Ultimately, without the participation of Maier herself, it's simply impossible to know. Maloof, meanwhile, comes across as extremely unlikable; a self-congratulatory little hipster poking his nose where it doesn't belong. There are obviously a whole stack of moral issues at play here, but whether or not you can justify viewing Maier's work without her consent, it's pretty clearly not okay to rummage through her personal life just to satisfy a tawdry curiosity. Finding Vivian Maier smacks of gossip and exploitation. Let the poor woman rest in peace. https://youtube.com/watch?v=2o2nBhQ67Zc
Being houseproud is the new social. Whether you're an avid viewer of Grand Designs and invest hours lusting over interior design accounts on Instagram, or you're just feeling ambivalent towards your living space after having spent so much time in it recently, there's one thing worth remembering: even the subtlest of changes can make a big difference to how a room looks and feels. In partnership with Samsung, we have curated eight effortlessly stylish objects from makers in Australia and further afield. These homewares and furniture pieces will seamlessly complement the room of your choice while elevating it to new design heights. PERCY FLOOR LAMP, MCMULLIN AND CO ($449) McMullin and Co has a focus on simplicity in its creations, as well as a love for elegant scalloped edges and serpentine lines. The Percy Floor Lamp's powder-coated black stem is an example of the meandering curve that's been admired throughout art history for what it signifies: liveliness, activity and something of interest for the eye. Complete with a linen shade, this floor lamp casts a beautiful light and is just one of the many striking pieces of furniture and design wares offered by the Sydney-based design studio. We love imagining it next to one of McMullin and Co's bed heads as a floor or table lamp, or placed in the corner of the living room to bring an unimposing glow — perfect for mood lighting during a late-night movie marathon. THE SERIF, SAMSUNG (FROM $1249) Gone are the days where you need to hide your eyesore TV set or find some way to make a large black screen (and its many cables) work with your living room aesthetic. Stylish from any angle, Samsung's The Serif is an innovative format for home televisions that harkens back to the days of freestanding TVs, but with a modern update. Celebrated industrial designers Ronan and Erwan Bouroullec are behind The Serif's unique design, and it is fast building a cult following. What we love most about The Serif is its versatility — its 360-degree design, with a unique 'I'-shaped profile and removable legs means it looks great no matter where in the room you place it. But it's not only for the interior aesthetes. The visual harmony of the Bouroullec brothers' design is complemented by Samsung's QLED picture quality. It includes features like smart connectivity and Ambient Mode, where you can display your own photos and images (or one of the exclusive patterns from the Bouroullec brothers) on the screen, which also auto-adjusts to surrounding light settings. Plus, through NFC technology, you can place your compatible phone on the top shelf and play tunes through the TV speakers*. ECLIPSE #2098 RUG, PAMPA ($3260) This year's long winter stuck indoors really brought rugs and floor coverings into focus. Now, as we head into summer, a flatweave wool rug is an appealing addition to the floor of nearly any room in your house — and it's perfect to layer with heavier rugs as the cooler months return. This hand-woven piece from Pampa is made using the traditional practice by Argentinian weavers, where the looms used are the arm span of the weaver. The textile panels are then joined together to create the finished rugs, giving a lovely handmade touch to this investment purchase. Pampa's interest in colour theory is evident in this rug: the creamy beige becomes almost pink next to its complementary moss green. ANNA VARENDORFF, SMALL 'EDGING OVER' THICK TUBE VASE, ACV STUDIO ($290) We've seen vases in cylindrical form popping up in designer feeds recently. But this one by award-winning Melbourne-based artist Anna Varendorff is a little different. Each vase is individually handmade and has a buffed matte finish, bringing interest and imperfection to the smooth stainless steel. No two are exactly the same. The tube is wide enough to hold medium- and thick-stemmed fresh foliage and dried flowers. As you can tell from the image above, it will be a unique focal point in any room for you (and guests) to marvel at. OLIO ARMCHAIR, DESIGN BY THEM (FROM $3658) This chair is the work of three designers: Sarah Gibson and Nicholas Karlovasitis (who work together under Gibson Karlo and are co-founders of Design by Them), and Melbourne School of Design lecturer, Christina Bricknell. The Olio Armchair brings together the talents and interests of the Australian design trio in sculptural form, material and tactility to create this modern addition to your furniture collection. The piece features curved and cylindrical elements to create an inviting seat in which to rest, read and watch. It's available in a variety of coverings including a beautiful ivory bouclé, lush navy velvet and several leather options. CUSHION, VEIKKANEN ($225) If you're looking for a beautiful, graphic-print cushion to bring some colour to your interior ensemble, look no further than Veikkanen. The Melbourne-based brand offers a series of one-of-a-kind cushions with patterns, graphics and colours informed by its founder's training in both textiles and graphic design. Veikannen chooses natural and recycled materials wherever possible, and custom-makes each cushion using the process of hand-tufting. Watch out for each drop of limited-edition products on Instagram — they sell out fast. And if you're interested in taking these funky vibrant visuals to your wall, art and hangings are also available in limited releases or by commission. DREAMWEAVER LIGHT, POP & SCOTT ($890) With a steel frame hand-woven with organic cotton yarn and dipped in colour at its base, this lamp shade beautifully demonstrates strong elements coming together in harmony with a focus on function and form. Choose from a colour palette of rust, oatmeal, chartreuse, blush and navy to design your ideal lighting to suit your space. Pop & Scott has a passion for contemporary Australian design, and places a focus on sourcing quality materials and using ethical means of production to create timeless pieces. These shades are made to order by the family business, and a tree is planted for each purchase via Carbon Neutral. J4 TABLES, JAMES HOWE (ENQUIRE) Furniture and lighting designer James Howe has created a table that invites us to pay attention to light and shadow, and how they interact. Crafted with timber and acrylic, the varied surfaces speak to Howe's interest in materials and minimalism. The J4 table's name is perhaps a nod to Danish designer Børge Mogensen's J39 chair that Howe cites as his inspiration to become a furniture designer. To find out more about The Serif, visit the Samsung website. * Only supported by Android OS-based smartphones that support Near Field Communication (NFC) wireless information sharing.
The National Gallery of Victoria has just announced its 2019-20 Spring/Summer program — and it's sure to get more than a few people excited. Last winter, the NGV saw over 200 works from New York's famed MoMA and over summer it housed the Escher x Nendo: Between Two Worlds — an exhibition showcasing the works of both Dutch artist M.C. Escher and Japanese design studio Nendo. So, it had some big shoes to fill. Its summer blockbuster, announced this morning, is Keith Haring | Jean-Michel Basquiat: Crossing Lines — and the NGV has succeeded in bringing yet another world-class exhibition to Australian shores. Similar to the Escher x Nendo and 2016's Andy Warhol | Ai Weiwei exhibitions, it will showcase an intersection between the two artists' lives, ideas and practices, delving into their radicalism, socio-political standings and distinctive imagery. A world-premiere retrospective exclusive to Melbourne, Crossing Lines will feature over 300 works, including Haring's iconic dancing figures and Basquiat's crown and head motifs throughout a collection of painting, sculpture, objects, drawings, photographs, notebooks and pieces in public spaces. The exhibition will also house the artists' collaborations with some of the world's most-celebrated pop culture icons, including Andy Warhol, Grace Jones and Madonna. [caption id="attachment_717213" align="alignnone" width="1920"] Untitled 1982, Keith Haring, copyright Keith Haring Foundation.[/caption] On top of this stellar exhibition, the NGV will also host a number of smaller (yet no less impressive) exhibitions over spring and summer, including a look at New Jersey artist Brian Donnelly (aka KAWS) in Companionship In The Age Of Loneliness, and a collection of hyperreal photographs by Sydney-based artist Petrina Hicks in Bleached Gothic. A photography exhibition featuring the works of over 100 contemporary photographers from around the world, and a solo show by Australian photographer Polixeni Papapetrou round out the list. Keith Haring | Jean-Michel Basquiat: Crossing Lines will run from December 1, 2019—April 13, 2020 at the National Gallery of Victoria International, Melbourne. Top images: Portrait of Keith Haring by William Coupon; Keith Haring and Jean-Michel Basquiat, copyright George Hirose; Untitled 1982, Jean-Michel Basquiat, copyright estate of Jean-Michel Basquiat.
How do you know that a new year is officially in full swing? If you're a movie lover, it's when Australia's film festivals start dropping their lineups. The Mardi Gras Film Festival jumped in first for 2023, and next to unveil its program is Sydney and Melbourne's Europa! Europa — aka the cinema celebration that's all about new and classic flicks from across the entire European continent, and will screen titles from 24 different countries in February and March. 2023 marks Europa! Europa's second year, after debuting in 2022 with an impressive lineup — a feat it aims to match in its sophomore run. This time around, there's 29 movies on the bill, showing at Sydney's Ritz Cinemas in Randwick, and Melbourne's Classic Cinemas in Elsternwick and Lido Cinemas in Hawthorn between Thursday, February 16–Tuesday, March 7, and covering everything from awards contenders to beloved masterpieces. Hailing from France, eco-thriller The Blaze will kick things off, while Europa! Europa 2023 will come to a close with the Judi Dench- and Jennifer Saunders-starring British drama Allelujah. In-between, the range of flicks includes fare from Italy, Estonia, Ukraine and Croatia, plus Georgia, Spain, Germany and Romania. The list goes on, with France particularly well-represented. Gallic cinema buffs, consider this your warm up for the upcoming Alliance Française French Film Festival. An absolute must-see, especially if you've never had the pleasure before on a big screen, is Krzysztof Kieślowski's Three Colours Trilogy. With Three Colours: Blue starring Juliette Binoche (The Staircase), Three Colours: Red led by Irène Jacob (The OA) and Three Colours: White focusing on Julie Delpy (the Before trilogy), this trio of masterpieces are among the most influential international films of the past three decades. Each one will show as a 4K restoration, too. Among the new titles, eight movies on Europa! Europa's bill were submitted as their country's entries for this year's Best International Feature Film Oscar. Highlights include Armenian documentary Aurora's Sunrise, which tells a 14-year-old genocide survivor's story; Safe Place from Croatia, which unfurls its story over 24 hours; and Moldova's dark comedy Carbon, about the effects of war. Or, there's Il Boemo from Czech Republic, which steps through opera composer Josef 'Il Boemo' Myslivecek's tale — and road-trip effort Orchestra from Slovenia. Elsewhere, illness drama More Than Ever stars Vicky Krieps (Bergman Island), alongside Gaspard Ulliel (Moon Knight) in his last role; La Vie En Rose director Olivier Dahan is still in biopic mode, with Simone: Woman of the Century telling French feminist icon Simone Veil's tale; Wunderschön, about five women in Germany, was the country's highest-grossing local film of the 2022 box office; and the Charlotte Gainsbourg (Sundown)-starring The Accusation heads Down Under after premiering at the Venice Film Festival. Europa! Europa will screen in Sydney and Melbourne between Thursday, February 16–Tuesday, March 7. For more information or to buy tickets, head to the festival's website.
Moon Dog's new 800-person wild west-themed bar in Footscray's former Franco Cozzo building has not had an easy run. The size and ambition of the new Melbourne bar led to a few delays in building, but the worst came when the Moon Dog team had to cancel the launch party mere minutes before it was meant to begin. They blamed the council. The council said it had nothing to do with it. It was chaotic. But the rogue fire hydrant that caused the main kerfuffle has now been sorted, and the huge new Moon Dog Wild West is officially open as at Friday, April 26. So, it's time to don your favourite pair of cowboy boots and start exploring the huge saloon. Guests will now find bars on each level pouring Moon Dog beers and seltzers from over 100 taps. Three-time Australian Bartender of the Year Chris Hysted-Adams has also been brought in to design the cocktail list and shots menu. This includes an old-school pickleback shot, a regularly changing old fashioned that'll be served in a barrel for four people and a layered tequila sunrise slushie. A mechanical bucking bull takes centre stage down on the ground floor, where people can compete in actual tournaments with prize money. There's also a secret little Pianola Bar, an arcade, pool tables, a private dining space, a barrel-ageing room, and a stunner of a dog-friendly rooftop that's littered with cacti and fake dessert rocks. The Moon Dog crew has completely packed this space out. Then you've got the food, which is all Tex-Mex-inspired. The team is pumping out sizzling fajitas, buffalo chicken ribs, double-decker tacos, Mexican twists on prawn cocktails and a big ol' one-kilogram t-bone steak. "We're so excited to join the vibrant Footscray community in such an iconic location; the support has been overwhelming, and we can't wait to finally throw open the doors and welcome everyone in for a cold beer," said Moon Dog co-founder Karl van Buuren. Everything at the new Moon Dog Wild West in Footscray just screams unabashed fun. It's one of the brand's three planned new venues for 2024, too, alongside upcoming Docklands and Frankston sites. Moon Dog Wild West is located at 54 Hopkins Street, Footscray, operating from 3pm–late Monday–Tuesday and 11.30am–late Wednesday–Sunday. For more information, head to the venue's website. Images: Arianna Leggiero.
Yackandandah's historic pub is officially pouring again. First built in 1868, the beloved watering hole — known locally as 'The Bottom Pub' — has long been a social hub for the gold rush-era town located a nip over 300kms northeast of Melbourne, and it's now reopened with a refreshed look and a team of Melbourne hospitality veterans at the helm. Led by ex-Yolk Group Executive Chef Dale Kemp (Terror Twilight, Convoy, Hi Fi) and his partner Britney Hart, alongside mates and hospo pros Jackson Cartwright and Sian Haycock, the expansive pub has undergone a thoughtful restoration that preserves its old-world bones while adding a few new touches. There's still the original brown brick bar and ceiling plasterwork, which are now joined by plush tartan carpets, crackling fireplaces, a horseshoe-shaped bar top crafted from reclaimed red gum from a nearby farm and a large communal table fashioned out of a 500-year-old local tree. Out the back, a spacious, sun-washed beer garden features a raised cast iron chiminea for winter warmth and a stage for local musicians. [caption id="attachment_1016059" align="alignnone" width="1920"] Bec Haycraft[/caption] The menu keeps things familiar with a little finesse. The chicken parma, for example, is topped with smoked ham and vodka sauce, the pot pie is loaded with slow-cooked brisket and cheddar ale and served with roasted root veggies and onion gravy, while 24-hour lamb ribs are finished with a Sichuan-inspired coating and served with a bright cucumber and mint salad. There's also a steak selection starring regional cuts like Mitta Valley ribeye, plus hearty desserts like sticky toffee pudding spiked with Rutherglen muscat. Drinks also lean local. At the bar, you'll find craft beers from Bright Brewery and Bridge Road Brewers, wines from Beechworth and Rutherglen and a cocktail list that champions spirits by neighbouring Backwoods Distilling Co, alongside a stable of classic pub pours. Later this year, six charming upstairs rooms will open to the public, offering visitors a place to stay among the trees and rolling hills of Victoria's High Country and overlooking the streets of one of the state's most creative regional towns. [caption id="attachment_1016057" align="alignnone" width="1920"] Bec Haycraft[/caption] Images: Bec Haycraft.
When it comes to buzzy capital cities, Australia has no shortage of options — but Sydney really does have it all. From cutting-edge underground bars and classic pub fare to historic sights and iconic performances, Sydney is a rich tapestry of creativity, culture, and natural splendour. It's hard to go wrong here, but a little insider intel can help you get it just right. If you're planning a weekend in the Harbour City, Marriott Bonvoy is offering 10% off your stay across six hotels—all you need to do is sign up to become a member (for free). It's also the perfect excuse to extend your stay. To play the role of your well-informed mate on the ground, we've curated a short list of reasons why Sydney is always worth checking into. Descend Into Sydney's Awesome Subterranean Bars When it comes to vibey watering holes, Sydney's list just keeps growing. But when the lights dim and the city starts to wind down, the real magic begins underground. Scattered across the CBD and its surrounding boroughs, these hidden gems require a little insider knowledge — knowing which alley to turn down and which door to knock on. From Mucho Group's Herbs Taverne and Swillhouse's swanky new Caterpillar Club, to The Gidley and Double Deuce Lounge, Sydney's subterranean bar scene is constantly evolving. Check out our full guide here. Check Into a Cosy Hotel Choosing the right hotel can make or break your Sydney stay. While there are plenty of options, it's the city centre's stunning skyline, harbour backdrop, and expansive parklands that set it apart—so you'll want a base that captures all that charm. Marriott Bonvoy's collection of premium hotels promises a memorable stay, plus, with 10% off it's the perfect time to plan a quick trip or extended getaway. From luxury stays like The W Sydney, Pier One Sydney Harbour and the Sheraton Grand Sydney Hyde Park to stylish, family-friendly options like the Sydney Harbour Marriott Hotel Circular Quay and Four Points By Sheraton Sydney in Central Park, you're spoilt for choice. Watch a Performance at The Sydney Opera House Sure, visiting the Opera House for a quick picture is a Sydney bucket list moment for locals and travellers alike — but catching a show inside? That's when the magic really takes place. Beyond the grandeur of the Concert Hall, this cultural icon also houses intimate spaces that host everything from indie gigs and theatre to symphonies and ballet. Visit in the coming months and you can expect atmospheric sets by the likes of early-thousands throwback Bachelor Girl, Lime Cordiale with the Sydney Symphony Orchestra, and The Australian Ballet — plus a post-show drink with a view that's hard to top. If you're looking to stay within walking distance of the Sydney Opera House, check into the Sydney Harbour Marriott Hotel Circular Quay for a stylish slice of convenience. Devour an Award-Winning Steak at Bistecca When it comes to must-try meals, few live up to the hype — but Bistecca delivers. Tucked down a CBD laneway, this moody, Tuscan-inspired spot has earned international acclaim, and a place on our list of Sydney's best steaks, for its signature bistecca alla Fiorentina, a thick-cut T-bone, prepared over ironbark and charcoal. You'll surrender your phone at the door, leaving you to focus solely on your steak, vino, and conversation. Equal parts speakeasy and Italian fine dining steakhouse, it's a must for meat lovers and experiential diners. Catch a Film at Sydney's Revamped IMAX Theatre After a seven-year hiatus, Sydney's IMAX theatre has roared back to life — and it's bigger and bolder than ever. Now home to the world's third-largest screen (a jaw-dropping 693 square metres), the high-tech space is tucked beneath the W Sydney and reserved for only the biggest blockbusters. Whether you're seeing Superman, F1 The Movie, or Fantastic Four, expect next-level visuals via a 4K laser projection, crystal-clear surround sound, and custom-designed lenses that'll make every explosion, car chase and close-up feel massive. Tickets are limited, so get in quick. Oh, and be sure to grab a pre-blockbuster cocktail at the W Sydney's rooftop bar, 29/30. Hook Into a Sunday Roast at The Lord Dudley When it comes to winter pub fare, few places are as beloved as The Lord Dudley in Woollahra. Established in 1895, this old-school charmer channels the ambience of a British country manor, with its open fireplaces, dark wooden interiors, and traditional English ales. The main event? It's legendary Sunday roast — chicken or pork — served with crispy roast potatoes, steamed greens, rich gravy, and a golden Yorkshire pudding. Just be warned: if it's cold outside, or there's a good game on, you might be fighting for a patch of carpet, let alone a table. Wander The Halls Of Sydney's Art Institutions Art galleries say a lot about a city — and if Sydney's gallery walls could talk, they'd speak of multiculturalism, a complex past and an enduring thirst for artistic ingenuity. The city is home to a broad stroke of galleries, and wandering through them on a chilly winter's day is the perfect antidote to a deep chill. From intimate spaces like China Heights, Roslyn Oxley9 Gallery, and White Rabbit Gallery to internationally revered institutions like the Art Gallery of NSW and the Museum of Contemporary Art Australia, there's something to suit every creative appetite. Hot tip: The Art Gallery of NSW stays open late every Wednesday for Art After Hours, an enticing lineup of talks, art, and music, while White Rabbit Gallery is just a stone's throw from Four Points By Sheraton Central Park. Rug Up And Cheer On Your Team At Accor Stadium Another true Sydney bucket list moment? Watching your ride-or-die team go head-to-head at one of the country's largest and loudest stadiums. Whether you're into rugby league, rugby union, AFL, soccer or cricket, Accor Stadium creates an electrifying atmosphere—especially when 83,000 fellow fans surround you. This winter, the stadium will host a string of rugby league finals, plus the third and final State of Origin showdown. It's an easy trip by public transport, but if you're feeling fancy, split a limo with a few mates—it can cost about the same as a cab. Or better yet, check into the Moxy Sydney Airport Hotel and stay in style just a short drive from the action. Book your Sydney escape before September 30 to access 10% off your stay and dining with Marriott Bonvoy. All you have to do is sign up as a member—and it's completely free. Book 10% off your stay and rediscover Sydney. T&C's apply and vary by participating hotels including blackout dates, cancellation restrictions and more. Offer may not apply in properties not participating in the award and redemption of Marriott Bonvoy. By Elise Cullen
Situated on Wadawurrung/Wathaurong Country along the Surf Coast Highway, the Narana Aboriginal Cultural Centre is a non-profit centre that offers a welcoming introduction to contemporary Indigenous culture. Enveloped by native trees and surrounded by walkways and gardens, the multi-purpose space hosts interactive cultural programs for all age groups, while an on-site gallery showcases traditional and contemporary works by Aboriginal and Torres Strait Islander people from all over Australia. The gift shop stocks an impressive range of handmade Indigenous items from arts and craft to tools and artifacts, as well as native herbs and spices, sauces and jams. You can sample some for yourself at the on-site cafe, too, which showcases Indigenous ingredients in a relaxed setting, complete with an open fire.
If you've had the words "bring on the Deadpool and Rob McElhеnney" stuck in your head since 2022, or "we've got Mullin, super Paul Mullin" instead — or as well — then you're either a fan of Welcome to Wrexham or Wrexham AFC, or both. It was back in 2020 that It's Always Sunny in Philadelphia and Mythic Quest's McElhenney bought the Welsh football club with Deadpool & Wolverine's Ryan Reynolds. Two years later, a documentary series about that huge move dropped its first season on Disney+. Success has followed both on the field and on the screen, including a run of promotions for the club and three more seasons of the series — the latest of which, the fourth, arrives on Friday, May 16, 2025. Thanks to a show that's not too far from an IRL Ted Lasso, Wrexham's fanbase has gone global. Hollywood's involvement will do that — but, as the series has chronicled to touching effect, Reynolds and McElhenney have always put revitalising the club, its stadium, and the town and community around it first. In 2025, Wrexham are heading Down Under, too, in a literal sense. The club has announced three games across Australia and New Zealand in July, visiting the two countries on its pre-season tour. "From the very beginning, we wanted to help make Wrexham a globally recognised team, town and brand," said McElhenney and Reynolds, announcing the Down Under trip, which will see the team play in Melbourne, Sydney and Wellington. "We could not be more excited to bring the Red Dragons to Australia and New Zealand, and we are particularly proud that this announcement features neither a Men at Work or Hugh Jackman joke. The latter of which took maturity and tremendous restraint. We're proud of Ryan. Of course, we make no promises going forward." Wrexham will face off against a trio of local squads: lining up against Melbourne Victory at Marvel Stadium on Friday, July 11; taking on Sydney FC at Allianz Stadium on Tuesday, July 15; and competing against Wellington Phoenix at Sky Stadium on Saturday, July 19. For their past two pre-season tours, Wrexham have unsurprisingly journeyed to the US, including playing games against fellow UK sides Manchester United and Chelsea. Now, they're hitting Australia and Aotearoa as part of their plans to ideally be in the same league as both of those powerhouse English teams come the 2026–27 season. Since the 2022–23 season, Wrexham has been promoted every year under manager Phil Parkinson, first from the National League to League Two, then from the latter to League One — and next, in the 2025–26 season, they'll play in the Championship League, aiming to get promoted to the top-tier Premier League from there. If you can't make it to Wrexham's two Australian matches or one NZ game, they're being streamed via Paramount+. And for something to watch in the interim, check out trailer for Welcome to Wrexham season four below: Wrexham Down Under 2025 Fixtures Friday, July 11 — Melbourne Victory vs Wrexham AFC at Marvel Stadium, Melbourne, from 7.30pm AEST Tuesday, July 15 — Sydney FC vs Wrexham AFC at Allianz Stadium, Melbourne, from 7.30pm AEST Saturday, July 19 — Wellington Phoenix vs Wrexham AFC at Sky Stadium, Wellington, from 5pm NZST [caption id="attachment_1003973" align="alignnone" width="1920"] John Lord via Flickr[/caption] Wrexham's Down Under tour is taking place in July 2025. For more information, head to the Wrexham website — and for tickets, visit Ticketek in Australia and New Zealand. Welcome to Wrexham streams via Disney+, with season four arriving from Friday, May 16, 2025.
Melbourne's craft brewing scene has been getting hotter by the day, between the big-name venue launches and all those planned beer projects set to drop in the coming months. And now, South Australia is bringing some heat to the game, with the news Adelaide-based brewery Pirate Life is gearing up to launch its first Victorian outpost next year. The renowned label has revealed it's setting up shop in a former mechanics garage in South Melbourne, with founders Michael Cameron, Jack Cameron and Jared Proudfoot hoping to open the doors by mid-2023. [caption id="attachment_881349" align="alignnone" width="1920"] Pirate Life founders: Michael, Jared and Jack[/caption] We don't know much about the space just yet, but that it'll be rocking a fitout courtesy of a fellow South Australian crew and long-time collaborator — award-winning architecture and design firm Studio Gram. Word is, it'll boast a healthy dose of grunge, with plenty of murals, foliage and bold accents nodding to the site's industrial past. Founded in 2014 and now with four breweries under its belt, Pirate Life unsurprisingly has some very grand, very beery plans for its new Melbourne site. That'll involve the full core range of brews showcased on tap alongside a tidy rotation of special releases, from fruity sours to nitro-charged goodies. Fresh kegs are set to be shipped in directly from Pirate Life's Port Adelaide brewery. [caption id="attachment_881352" align="alignnone" width="1920"] Pirate Life SA[/caption] The venue's proximity to South Melbourne Market will help guide the food offering and, while there's no menu as yet, Jack explains: "we love cooking over fire, so anticipate charred goodness." In between the regular programming, Pirate Life Melbourne will also play host to a calendar of live music and art, exhibitions and guest chef dinners. "As a brand, we've been long-time admirers of Melbourne's hospitality scene and Pirate Life's new venue in South Melbourne finally gives us a chance to be part of it," says Jack. "We can't wait to get amongst it and show locals what Pirate Life is all about." [caption id="attachment_881351" align="alignnone" width="1920"] Pirate Life SA[/caption] Pirate Life is set to open at an unknown South Melbourne location in mid-2023. Stay tuned and we'll share more details as they drop.
Making its home on Collingwood's bustling Smith Street, co-working space Worksmith is focused on what the area does best — food and bev. In fact, it's specifically designed for those working in the industry and is set up to empower talented Australians, allowing a creative space for their professional development in the hospitality scene. Co-founded by hospo heavy hitter Michael Bascetta (Bar Liberty, Attica, Capitano) and his childhood friend Roscoe Power (a property development and construction specialist), the duo wanted to create a space that "encourages collaboration without limitation." "We've seen [Growth Assembly] bring together amazing talent, nurture friendships and provide a platform to inspire, learn and support one another within the industry," says Bascetta. "Worksmith takes it one step further by putting those amazing values into practice, every day." Launched in February this year, Worksmith supports its members by creating a community of collaborative spaces, industry events and member projects. In addition to 65 desks, as well as meeting rooms and a podcasting studio, Worksmith boasts an eleven-metre bar pumping out craft beers by partner Moon Dog and an event space that caters for up to 100 people. It'll soon open a fully-equipped commercial kitchen with a La Marzocco espresso machine. Membership ranges from a 24-hour day pass ($40) to a 'resident' ($690 per month) — the latter of which includes a permanent desk, 24/7 access, unlimited internet, coffee by local partner Square One, Unico Zelo wine, brews from a beer vending machine, a locker, bike storage and invites to all social events. Bascetta is also backed by other big wig founding members, including three-time Sommelier of the Year Banjo Harris Plane (The Wine Gallery, Attica, Bar Liberty) and Dave Kerr (The Beaufort), along with international pickup Luke Whearty (Operation Dagger, Singapore). And, in terms of members, the space has already attracted the likes of drink companies Four Pillars, Marionette and Archie Rose, plus start-ups such as posBoss, Dish app, Feastively, HoppApp, The Humble Dumpling and Eighteen Thousand Islands. The team is also looking to expand — both within Melbourne, thanks to its popularity over the past six months, as well as interstate. Find Worksmith at 450 Smith Street, Collingwood. To learn more, visit its website.
Gracie's Wine Room is one of Melbourne's latest hospitality success stories. In an industry full of shuttered venues, price hikes, and quiet nights, at Gracie's Wine Room in South Yarra you can find bottles being popped, a bustling golden hour courtyard, and bread always being broken with friends. For owner Kelsie Gaffey, whose TikTok videos showing her process of opening a venue from scratch amassed hundreds of thousands of views, the current climate of people spending less and staying in more was one her concerned family warned her of. [caption id="attachment_1036436" align="alignleft" width="1920"] Gracie's Wine Room[/caption] "Before opening Gracie's, our more conservative relatives warned us that people are spending less. [Gracie's] hasn't experienced this." According to Kelsie, Gracie's Wine Room's main demographic of 23–33 year old women are actually spending more on nights out with their girlfriends than anyone else. New data from Visa backs Kelsie's observation up. Melbourne is Australia's Number One Night-Time Hot Spot The Visa Australia Night-time Economy Index 2025 is a new in-depth analysis that measures data such as spending, vibrancy, and venues open in cities across the country. According to the index, Melbourne has been crowned the number one night-time hot spot. This doesn't come as a surprise to Kelsie. "Melburnians really know how to have a good time," Kelsie tells Concrete Playground. "The city has such a vibrant culture around wine, food, and spending quality time with mates, and we're genuinely spoilt for choice. There's always something happening, and that energy makes working in hospitality here incredibly dynamic and inspiring." [caption id="attachment_1028074" align="alignleft" width="1920"] Gracie's Wine Room[/caption] The Visa Vibe Economy report, also commissioned by Visa and conducted by McCrindle, found that venues like Gracie's Wine Room have hit the sweet spot when it comes to the reasons Australians love to go out. The main motivation for getting off our couches post-work is to enjoy a meal, catch up with friends and unwind from our busy schedules. Gen Z in particular are factoring night-time activities into their budgets with over half of them considering this type of social spending "essential". In fact, Kelsie has already seen an increase in patrons on weeknights as the weather has begun to warm up as well as a jump in their average spend per head. Kelsie recognised this cultural sweet spot within her demographic and created a curated menu of share plates for friends to split over a bottle of wine. Customers can enjoy freshly shucked oysters, focaccia, and a snack plate of cured meats, cheese, and lavosh. [caption id="attachment_1036434" align="alignleft" width="1920"] Gracie's Wine Room[/caption] "I wanted Gracie's to be known as a place where you connect with mates, drink some good wine and eat some good bread. I didn't want the frills and price tags that come with fine dining, and I really do believe that staying true to this is what has kept people coming back," says Kelsie. With 73 percent of Gen Z's going out once or more a week, tapping into her own peers has helped to increase revenue and patrons through the door — even on weeknights. How to Spend A Night Out in Melbourne What does a dream night out in Melbourne look like for the 25-year-old founder? Kelsie shares that it always starts with a sunny afternoon. "I'm definitely starting at Gracie's and then making my way down to Republic Economica before ending the night at HER Rooftop in the CBD." Data from the Visa Vibe Economy Report found that of all the generations, Gen Z is the most adventurous, choosing to stray away from their local haunts and try new things, and just under half plan two activities in the one night to make the most of their city after dark. Half of Gen Z also believe that nights offer more new experiences than the daytime. Kelsie agrees. "I love being able to experience something new every single time I leave the house for a night out. It's so exciting, and has unlocked some of my greatest memories with friends." Gracie's Wine Room hasn't yet operated for a full calendar year, but Kelsie is feeling optimistic about the state of hospitality and business projection. At the heart of her success lies the Gen Z community that she built through TikTok. "I never imagined it would grow into what it is today, but the community that's formed around Gracie's has been the most rewarding and unexpected part of it all." Discover the vibe near you. Lead image: Gracie's Wine Room
Early in The Super Mario Bros Movie, pop culture's go-to red-capped plumber (Chris Pratt, Thor: Love and Thunder) sits down to dinner with his brother Luigi (Charlie Day, It's Always Sunny in Philadelphia) and the rest of their family. Pasta is on offer for the Italian American brood, but it comes with something that the Nintendo favourite and gaming mainstay since 1981's first-ever Donkey Kong title quickly advises that he hates: mushrooms. Fans know that more fungi are in his future. In this animated take on the beloved character, his sibling, and their pals and adversaries, a trip to the Mushroom Kingdom is inevitable. And, while there, Mario will meet Toad — a pint-sized humanoid with a toadstool for a head, who is part of a whole race of such folks also called Toads. From the titular brothers through to Princess Peach (Anya Taylor-Joy, The Menu), the fire-breathing Bowser (Jack Black, Apollo 10 1/2: A Space Age Childhood) and even big gorilla Donkey Kong (Seth Rogen, The Fabelmans), The Super Mario Bros Movie stacks together the bulk of the gaming franchise's best-known figures — and Toad is one of them. It also assembles an impressive voice cast to help bring its players to life, including Keegan-Michael Key as its main mushroom man. Here, the actor and sketch-comedy great's tones prove as elastic as his face and limbs long have, especially in iconic skit series Key & Peele. How do you voice a diminutive critter who is as perky as he is tiny? Someone who Key likens to a golden retriever? With ample energy, as The Super Mario Bros Movie's viewers hear. While fellow Key & Peele namesake Jordan Peele followed up that five-season 2012–15 show with a jump behind the lens, helming Get Out, Us and Nope — and earning an Oscar for Best Original Screenplay for the former — Key has remained a constant on-screen. The pair also share Fargo, Keanu, Toy Story 4 and Wendell & Wild on their resumes, teaming up in front of the lens or through voice work on all four; however, Key's list of credits spans everything from Parks and Recreation and Schmigadoon! to The Predator and Dolemite Is My Name. He's broken out his vocal talents in Archer and Bob's Burgers, too, and in the photorealistic version of The Lion King as well. But signing on for The Super Mario Bros Movie couldn't have been an easier choice for the OG Donkey Kong aficionado. That instant enthusiasm comes through in a perky, peppy performance — a voice that's squeakier than viewers are used to from Key, but slides easily into a career that keeps bounding in every on-screen direction possible. During his Key & Peele days, he brought audiences President Obama's anger translator Luther, substitute teacher Mr Garvey and his creative pronunciations, a "Liam Neesons"-loving valet, one of the brilliant 'Aerobics Meltdown' sketch's fierce lycra-clad competitors and more. Of course he's been bouncing here, there and everywhere since. With The Super Mario Bros Movie now in cinemas, Concrete Playground chatted with Key about jumping at the part, finding his Toad voice, preparing for the part, drawing upon his improv background and what he looks for in a role. ON TURNING DONKEY KONG FANDOM INTO A SUPER MARIO BROS ROLE Do you need to be a Super Mario Bros fan to press start on being in one of the game's leaps to the screen? Bob Hoskins, who played the titular character in 1993's live-action movie, famously wasn't. But Key was — and instantly said yes to being involved in the second film bringing Mario and the game's characters to cinemas. "I was a fan of Super Mario, or Mario Bros in the beginning, from Donkey Kong. I was a big Donkey Kong fan way back in the day," Key advises. "So when they approached me and asked me to do Toad, I was like 'I'd be more than happy. I don't even need to see the script! I'm happy. I'm in. I'm your guy. Whatever you want, whatever you need, I'm your guy'." ON FINDING THE RIGHT VOICE FOR TOAD While Key sits among The Super Mario Bros Movie's well-known names, his vocal work stands out from Pratt, Day, Taylor-Joy, Black, Rogan and company. Listen to Mario, Luigi, Peach, Bowser and DK, viewers immediately recognise the actor behind them. That isn't the case with Toad and Key. "What I did is, I was impersonating a friend of mine and trying to get his vocal patterns and vocal rhythms. And I brought that to the table, and then the directors [Aaron Horvath and Michael Jelenic] and I both worked on the pitch, and trying to find where the right pitch would be — and if I could get the voice higher and higher, then higher and higher," Key notes. "And I finally got him some place up here [Key's voice gets higher], until we then got him even higher than that [Key's voice returns to its usual pitch]. Then, mostly the biggest trick was trying to figure out how to maintain that voice while I was in the booth — because sometimes you'd be in the booth for three-to-six hours, and you're trying to figure out how do you maintain that." "So I would just pretend I was — you know, I'm like: 'what would it be like if I was sucking on a helium balloon? How do I make my voice sound like that?'. And then I'm like: 'what else can I do? I don't know — wear tight pants? I'll wear tight pants!'. Anything to keep that voice at that high register." ON PREPARING FOR PLAYING A HUMANOID WITH A MUSHROOM FOR A HEAD The Super Mario Bros Movie starts in reality — animated reality, but in Brooklyn. Here, there aren't mushrooms as far as the eye can see, or coin blocks, or rainbow roads to race on Mario Kart-style. And there definitely aren't mushroom men like Toad. All it takes is a warp pipe to transport Mario and Luigi into the realm seen in Nintendo games for four decades now. That's where Toad comes in. Asked how you prepare for such a part — playing a toadstool-topped humanoid, specifically — Key is all about creativity and being upbeat (and one of humanity's favourite pets). "I think it's just making sure that you're sparking your imagination on any given day. Because what I did — I knew what Toad looked like, but I would just sometimes look at pictures of him and just go 'what am I getting from this picture? What am I getting about how I can portray this?'," he says. "There's something about him that's snappy and positive. He's also like a mushroom-man version of a golden retriever. I wanted him to have that kind of sensibility when I portrayed him." ON DRAWING UPON HIS SKETCH-COMEDY BACKGROUND In the sketch-comedy game, Key is a legend. Before Key & Peele, he spent six seasons on Mad TV, too, also often opposite Peele. And, prior to that, he's among the long list of comedy names to have come through improv troupe The Second City — as Peele also did, and Bill Murray, Mike Myers, Catherine O'Hara, Stephen Colbert, Steve Carell, Tina Fey and Amy Poehler as well. That background came in handy with The Super Mario Bros Movie, including getting into character. "I did get to improvise. I got to improvise quite a bit. A lot of it ended up on the cutting-room floor, but I like to use the improvisation to get into the spirit of it more than anything else," Key explains. "Sometimes I would just improvise right before the line and then jump into the line, and that would give the line the feeling I wanted it to have, the sense and the spirit that I wanted it to have." "Sometimes, you can just use improvisation in that way and it still helps." [caption id="attachment_896345" align="alignnone" width="1920"] Gage Skidmore via Wikimedia Commons[/caption] ON WHAT HE LOOKS FOR IN A PART Key's time on-screen dates back a couple of decades, including a one-episode stint in ER in 2001, plus 00s roles in Role Models and Due Date. What appeals to him now, after Pitch Perfect 2, Tomorrowland, Win It All and The Disaster Artist as well, and also Friends From College, Veep, No Activity and Reboot? Movies and TV shows that stand out. "I look for something in the project that's a little different. Something that catches my eye is always going to be something that I've never seen before. So, if you take a project like Schmigadoon!, I go 'oh god, I've never seen anything like that — if they're interested in me doing that, I want to do that'," Key says. "And the same thing with Super Mario Bros. I figured it would make a lot of sense — I understand what the movie looked like in 1993, when they made the live-action one, but I'm like 'what would it look like if it were this animated movie with the technology that we have today to make animation?'. I thought 'this thing's going to look amazing'." "So I try to jump onboard things that have a little twist to them — some kind of fun, clever twist that makes them different than whatever your run-of-the-mill project might be." The Super Mario Bros Movie released in cinemas Down Under on Wednesday, April 5. Read our full review.
Before getting a glimpse into everyone else's lives was as simple as logging into your social-media platform of choice, a game arrived that let its players do something similar with computerised characters. A spinoff from SimCity and its city-building follow-ups, The Sims allows whoever is mashing buttons to create and control virtual people, then step through their existence. First hitting in February 2000, it has spawned three sequels, plus a whole heap of expansion and compilation packs for each — and online, console and mobile versions as well. A quarter of a century since its debut, The Sims still keeps dropping new releases. To mark its 25th birthday, there's now The Sims: Birthday Bundle. That's one way to celebrate the game's latest anniversary. Here's another: stepping inside a three-day Australian pop-up dedicated to the beloved life simulator, which is heading to Melbourne's Australian Centre for the Moving Image from Friday, February 21–Sunday, February 23, 2025. Despite The Sims' more-recent titles, thinking about the game usually means thinking about the 2000s. So, this pop-up is taking that truth to heart by celebrating the Y2K era, too. Going along involves entering inside a 2000s-era pre-teen bedroom that's been decked out by Josh & Matt Design with all of the appropriate touches. Yes, it'll be nostalgic. Yes, there'll be CD towers and blow-up couches, just to name a few decor choices. The pop-up will also feature free stations where you can play The Sims: Birthday Bundle, if the best way for you to commeroate the occasion is by diving into the franchise virtually. In addition, there'll also be a free panel about the game on the Saturday, with speakers including Josh & Matt Design's Josh Jessup and Matt Moss — who are big The Sims fans — and EA/Firemonkeys' Simulation Division General Manager Mavis Chan. "As Australia's home of videogames, ACMI is so chuffed to be celebrating the 25th anniversary of The Sims! For 25 years, The Sims has provided a platform for so many kinds of imaginative play for multiple generations, allowing them to achieve great feats of digital architecture, guide their Sims to dizzying success — or cruelly remove their pool ladders. With each new expansion and sequel, The Sims has expanded its complex social world, reflecting changes to real-life society, and facilitating even more forms of self-expression in its passionate player base," said ACMI Curator Jini Maxwell, announcing the pop-up. "As a long-term Sims player myself, I'm so thrilled to celebrate the game's cultural legacy and personal significance in this event and free talk hosted by ACMI." EA Presents The Sims 25 is popping up from Friday, February 21–Sunday, February 23 at ACMI, Federation Square, Melbourne — head to the venue's website for more details.
Outdoor music festivals aren't solely synonymous with summer, but one event takes its winter setup to great heights in more ways than one. At Snow Machine, the weather won't just be a bit cooler. Wearing a jumper won't do, either. This is both a chance to enjoy live tunes and a ski trip — and it's returning to Queenstown in 2024. It's the hottest festival for the colder months, packed with five snow-filled days of music and adventure at two mountain-topping ski resorts. On the just-dropped lineup for this year sits a reliable list of must-see names, including Peking Duk, The Rubens, Angus & Julia Stone, Bag Raiders and Cub Sport, who all help to give Snow Machine's winter wonderland a thumping soundtrack. After launching in Japan in 2020 (and returning there this year), the festival was actually supposed to make its arrival in Aotearoa in September 2021 but was cancelled due to the pandemic. It finally debuted in September 2022, then returned in 2023. Next, it makes a comeback from Tuesday, September 3–Sunday, September 8, 2024. Attendees will be treated to action-packed days on the slopes, après ski events on both Coronet Peak and The Remarkables, and a hefty roster of talent against the idyllic backdrop of New Zealand's adventure capital. Also dropping in to share the stage will be Atomic Blonde, Danny Clayton, Jimi The Kween, Lee Mvthews and Matt Corby — and also Montell2099, Old Mervs, Sachi, SHOUSE, Sin & Brook, Snakehips, Teenage Dads, The Knocks and the Poof Doof Ski Club. Other than the wintry backdrop, one of the things that sets Snow Machine apart from other music fests is being able to book your entire getaway with your ticket. Packages span both five and seven nights of accommodation, and include access to all three evenings at the main arena, plus a five-day ski pass. If you'd rather make your own way or pass on the skiing, there are ticket-only options — and VIP packages if you really want to do it in style. Festival goers are also encouraged to immerse themselves in the adventure capital by adding on heli-skiing, jet boating, bungy jumping, canyon swinging and skydiving — and that's on top of Snow Machine's huge welcome party and other festivities. Another annual highlight: the Polar Bare, which endeavours to set a world record for the most amount of people heading down the slopes their swimwear. Snow Machine 2024 Lineup: Angus & Julia Stone Atomic Blonde Bag Raiders Cub Sport Danny Clayton Jimi The Kween Lee Mvthews Matt Corby Montell2099 Old Mervs Peking Duk Poof Doof Ski Club Sachi SHOUSE Sin & Brook Snakehips Teenage Dads The Knocks The Rubens Tom Tilley and Hugo Gruzman present First Base Snow Machine 2024 takes place from Tuesday, September 3–Sunday, September 8 in Queenstown, New Zealand. Presale tickets go on sale on from 12pm AEDT / 11am AEST / 2pm NZDT on Thursday, February 22, with general tickets available from 12pm AEDT / 11am AEST / 2pm NZDT on Friday, February 23. For more information, visit the festival's website. Images: Daniel Hildebrand/Pat Stevenson/Ben Lang. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
