With COVID-19 cases continuing to rise in New South Wales, Australia's internal borders have become a hot topic yet again. Since the new northern beaches cluster first came to light on Thursday, December 17, a number of states have changed their border arrangements — with Victorian Premier Daniel Andrews announcing today, Sunday, December 20, that his state is closing its borders to all of Greater Sydney and the Central Coast. Victoria is declaring both of the two regions a 'red zone' under its new border entry system, which came into effect at midnight as Friday, December 18 ticked over to Saturday, December 19. Originally, just the northern beaches received that designation — which means folks from the area are "not eligible to apply for a Victorian Border Crossing Permit and are prohibited from entering Victoria" — but that has now been expanded. Greater Sydney and the Central Coast will become red zones from midnight tonight (as Sunday, December 20 becomes Monday, December 21), which means that anyone who lives in, has visited, been in, or travelled through from either area who wants to go to Victoria will not be permitted to enter. As Premier Andrews explained, "nobody who is from those parts of Sydney, or Greater Sydney, or has visited that part of Greater Sydney will be allowed to travel back to Melbourne or any part of Victoria". If people who have been in those NSW regions do arrive in Victoria and receive an exemption to enter, they'll be required to go into hotel quarantine for 14 days. An exception applies to Victorians who are returning home, as they'll receive an extra day — until midnight on Monday, December 21 — to return; however, they must quarantine in their homes. After that, though, the same rules apply to Victorians. "The door will close for home quarantine for Victorians on midnight Monday night," the Premier said. "If they don't get back in the next day and a half then, regardless of whether you are Victorian or not, you will go into 14 days of mandatory hotel quarantine." If you're wondering what that means on the roads around the New South Wales-Victorian border, a hard border will be put into effect, which Premier Andrews also explained. "There will be 700 members of Victoria Police who will have various checkpoints, many, many checkpoints along the New South Wales–Victoria border. There will be a permit system, so if you want to travel to Victoria by road you will need to get a permit. You will need to get another permit if you had one issued yesterday, because circumstances have changed." But, residents of border communities won't require permits. "For local communities, all the local government areas on the New South Wales side of the border and on the Victorian side of the border will have freedom of movement. Just by simply showing your driver license to show where you live and you are from that bubble, if you like, you will be able to move back and forth," said the Premier. As for how long the aforementioned changes will be in place, an end date wasn't given. Although the NSW Government has set 11.59pm on Wednesday, December 23 as its planned date to end the northern beaches lockdown, the request for Sydneysiders to cancel all non-essential activities and the new ten-person cap on gatherings at home, Victoria isn't working towards that date regarding the border. "They will not be open on midnight Wednesday night. I want to be clear on that... these arrangements will not be lifted on midnight Wednesday night," Premier Andrews advised. The move comes as NSW recorded 30 new locally acquired cases of COVID-19 in the 24 hours to 8pm on Saturday, December 19. Victoria has now gone 51 days without any local COVID-19 cases. From midnight on Sunday, December 20 anyone who has visited the Greater Sydney and Central Coast areas in the past 14 days will not be allowed to enter Victoria unless they are a returning resident or are entering for one a few essential reasons. For more information, head to the Victorian Government coronavirus website.
In need of some perspective? Spend a weekend with your head in the clouds at Sky High Mount Franklin. This next-level luxury holiday house is perched atop a ridge just next to Mt Franklin and affords 360-degree views of rolling paddocks and forests, backdropped by spectacular mountains. The sunsets are off the charts. During the day, plan a hike and picnic atop Mt Franklin, a (now extinct) volcano, and come evening, take in the stunning sunset from your outdoor saltwater plunge pool. If you'd rather get cosy, snuggle into your king-sized bed and enjoy the show via epic floor-to-ceiling windows. The home is located just a stone's throw from Daylesford, so you can indulge your lush side even further on a trip into town.
Last year, Four Pillars dropped a boozy ode to the legendary haunt that is The Espy. Fittingly dubbed Sticky Carpet Gin, the creation was crafted in celebration of the historic pub's much-hyped reopening. But, you couldn't actually buy it — you could only try it in cocktails at the St Kilda pub. Now, the Healesville distillery has dropped a super limited release of the gin on its online store. There are only a very small number of the $85 bottles available, and they're limited to two per person, so don't sleep on it if you want one. If you do miss out, however, there'll be a few available to buy from the distillery door from Saturday, September 14, too. [caption id="attachment_701623" align="alignnone" width="1920"] Lauren Bamford[/caption] With this drop, Four Pillars co-founder and distiller Cam Mackenzie set out to capture the spirit of a venue that's meant many different things to different people. To lend an unmistakable pub feel and give a malty edge, the gin uses local Watts River roasted dark stout in its base. On top of that, some roasted barley and cascade hops push the beer flavour a little further, mingling with other botanicals like juniper, coriander, green pepper, honey and cassia, and a fresh hit of lemon peel and ginger. The result is a little bit deeper and darker than your usual gin of choice, aptly described by Cam as "a gin for beer lovers". Even the Sticky Carpet Gin's packaging gives a firm nod to The Espy, with old band posters recovered from the venue used on the underside of the labels. Four Pillars Sticky Carpet Gin is available to purchase online, and from the Four Pillars distillery, 2A Lilydale Road, Healesville from Saturday, September 14. Top image: Lauren Bamford.
UPDATE: July 13, 2020: 2040 is available to stream via DocPlay, Binge, Foxtel Now, Google Play, YouTube and iTunes. When An Inconvenient Truth ostensibly turned a PowerPoint presentation into an Oscar-winning film, the world took notice. An impassioned overview about the biggest threat to the earth that humanity is ever likely to face — that is, climate change — will do that. But it also set a precedent for eco-conscious documentaries, stressing the undeniable, existence-shattering doom and gloom of the situation. The reasoning is simple, not to mention completely justified: what else but the worst possible scenario could convince everyone to drastically alter their ways? (As history has shown to the planet's detriment, not even that is proving enough.) Arriving 13 years later, after a sequel to Al Gore's movie and countless other environmental docos too, 2040 adopts a different approach. This time, it's both personal and positive. Of course, the fate of this giant rock we all live on has always been personal, however director Damon Gameau frames his plea for change as a letter to his now-four-year-old daughter, hypothesising how the state of the environment could potentially improve in the next 21 years for her benefit. It's a smart, savvy move, asking viewers to similarly think about the world they want to leave for loved ones, kids and future generations in general — while offering solutions that, as based on technology available today, could genuinely make an impact. Gameau previously put himself front and centre when he made That Sugar Film, acting as the doco's own Super Size Me-style sucrose-guzzling guinea pig. That movie was not only a record-breaking box-office smash, becoming the highest grossing non-IMAX Australian documentary in history at the time, but also sparked a widespread dietary movement. Once again venturing around the world to speak to the brightest minds on his chosen subjects in episodic segments, the actor-turned-filmmaker certainly makes a compelling case in 2040. Choosing his examples wisely, each technology he champions basically sells itself. From community-level solar electricity grids in Bangladesh and self-driving cars in Singapore, to marine permaculture off the US coast and innovative agriculture practices in Australia, it's impossible not to see how Gameau's proposed solutions would enact considerable, much-needed change. To make his points crystal clear — and to firmly demonstrate how they could make a difference — he intermittently cuts to an idealised version of the future, complete with actor Eva Lazzaro playing his daughter, to literally show how life in the year 2040 could look. While these crystal ball moments sometimes overplay their earnestness and attempted humour to the point of becoming clunky, they tie into another of Gameau's key skills as a documentarian: presentation. Global warming is a daily topic of conversation for many, as it should be, and yet a constant stream of news headlines and cries from scientists can be all too easy for both the masses and their elected representatives to ignore. In addition to its unfettered optimism, 2040 packages its segments in engaging ways, whether discussing alternative energy solutions by placing its talking heads atop a towering wind turbine, or using animated dioramas. It's another technique brought over from the similarly bright, breezy, accessible yet informative That Sugar Film, and once again, it works. Also effective is 2040's overall aim, with the film staring climate change in the face, slapping on a smile and striving to get people motivated about such a crucial matter. The doco provides an upbeat top-level view, as well as an easy-to-glean list of talking points — favouring the bigger picture, plus a few case studies, over the bleak current-day political, social and economic reality. And yet, that's also what leaves a strange sensation. 2040's vision of the future is so welcome, but it's also just that: a vision. Even if you're not innately cynical about the world, there's a difference between knowing what's possible and thinking that it'll actually happen. 2040 trades in hope, which will never fail to be important, however there's still no escaping reality. https://www.youtube.com/watch?v=p-rTQ443akE
UPDATE: May 24, 2020: Child's Play is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube and iTunes. Black Mirror, meet 80s cinema's favourite flame-haired, knife-wielding plaything. That's Child's Play circa 2019 straight out of its gleaming box. Chucky has never gone away, with the last flick in the initial seven-film franchise hitting home entertainment just two years ago. An eight-part series called Chucky is headed to TV screens next year, too, from the original movie's Don Mancini. But updating the carnage-inflicting toy for today's incessantly-online, internet-of-things environment was always going to happen, jettisoning the notion of a doll possessed by a serial killer for something considerably more high-tech. It's a premise rich with possibilities — dissecting humanity's growing subservience to technology, our fear of artificial intelligence, the reality that all-powerful companies may not have customers' best interests at heart, and showing how increasingly aggressive times can create a dangerous and deadly loop of vicious behaviour. Sadly, although the new Child's Play doesn't shy away from its many timely ideas, it doesn't do anything more than push them through a horror assembly line. A standard slasher flick made from well-worn parts remains just that, even when it has been given a famous name, plenty of topical talking points and a slick visual makeover. In fact, the fact that this do-over tries so hard to pair its murderous robotic figurine with timely observations, while also happily sticking to a bland, broad, surprise-free playbook, is its most grating trait. Perhaps it's simply peddling another piece of social commentary: that movie studios, like toy corporations, can release whatever generic fare they like as long as they make it appear shiny enough, and consumers just have to stomach the resulting havoc and dreck. Whether you're buying the latest gadget or heading to the cinema, that's the cost of making a purchase today. Single mother Karen Barclay (Aubrey Plaza) doesn't actually hand over any hard-earned cash for a walking, talking Buddi doll (which speaks with the voice of Mark Hamill). Instead, the department store employee convinces her boss to let her take one of the returned, malfunctioning toys home as a gift for her hearing-impaired son Andy's (Gabriel Bateman) birthday. Almost a teenager, the boy is hardly overjoyed about his present. Still, he's lonely and in a new city, the computerised plaything clearly adores him like it is programmed to, and it also helps him befriend a couple of neighbourhood kids (Ty Consiglio and Beatrice Kitsos). That said, that something is astray is clear from the moment that Andy's plastic buddy decides its own name is Chucky. As the movie's opening scene shows, a disgruntled sweatshop worker has removed the figurine's appropriate language and anti-violence filters in an act of employee-level corporate vengeance. So while Chucky might seem like little more than an eccentric and clingy android BFF to Andy, the smart doll is willing to do whatever it takes to keep their friendship alive — including slaughter anyone who gets in the way. If first-time feature director Lars Klevberg and debut screenwriter Tyler Burton Smith are trying to pre-empt criticism by having their mechanical villain love something so much that it turns into a toxic fan, slaying everything in its path irrationally and indiscriminately, that's one of their big swings and misses. It's better reading into their other big theme, and one that Chucky demonstrates again and again in trying to resolve Andy's woes with a knife: being careful what you wish for. For material so rife with potential, Child's Play remains content to make the easiest and most apparent statements in routine and uninspired ways. It's also happy to follow cookie-cutter characters, throw in the expected deaths and just generally follow the operating manual. And while there's undeniable pleasure in hearing Parks and Recreation alumni Plaza say the name 'Andy' repeatedly, she headlines an entirely wasted cast. Playing a cop whose mother lives in the same building as Karen and Andy, Atlanta's Brian Tyree Henry falls into the same category. So do Hamill's creepy but never overly menacing vocals. When Chucky keeps killing over and over again with a single-minded focus, Child's Play begins to resemble another tech-heavy, needlessly rebooted, never-say-die franchise: the Terminator. It's not that these sagas don't know when to end; rather, they keep kicking on without justifying why. The same can be said for recent instalments in other long-running series, such as X-Men and Men in Black. But, simultaneously glossy and formulaic where its predecessors were gleefully makeshift and off-kilter, Child's Play couldn't try harder to stress that it's a new beginning. It is, and yet starting over again isn't always a good thing. Credit where credit is due, however. Who dies, and when, never comes as a shock, but this horror flick does value a great bit of gore. While the bloodshed takes time to splatter across the screen, when it comes, it's memorable. If only Klevberg and Smith had expended the same energy and inventiveness on the rest of the film as they do on Chucky's growing pile of bodies. Their one other playful attempt arrives via the movie's blackly comic tone, endeavouring to ape The Texas Chainsaw Massacre 2, and even using clips of the 80s slasher sequel to teach the picture's homicidal robot how to stab, slice and snatch people's faces off. If you're thinking the obvious, though, you're right — whether it's reimagining its source material, adhering to topical and filmmaking trends, or nodding to other genre fare, Child's Play follows poorly in everyone's footsteps. https://www.youtube.com/watch?v=PeHNLikDiVw
Each year, we all anticipate the arrival of December 25. Because of the day off, that includes the promise of an afternoon spent dozing in a hammock — and for dessert fiends, it also includes Gelato Messina's annual Christmas cake. We hope you like a certain quintessential Australian dish, because that's what is on the gelato chain's menu again. Yes, Messina is bringing back its version of the trifle. The Christmas Coma will return for its fourth year running — and this time it's particularly decadent. In fact, it's a gelato rocky road trifle, and it comes in a pack with a dulce de leche sourdough panettone, as made in collaboration with Sonoma Bakery. First, the epic ice cream creation. In 2020, the Christmas Coma will once again feature layer upon layer of everything that is good about Christmas — but instead of being soggy and slightly regrettable, this one will have you licking the glass bowl. So what's in it? Well, Messina is going with layers of cherry flummery, rocky road crunch, coconut cream, chocolate mud cake and milk chocolate gelato, then topping it with caramelised peanuts and glace cherries. Plus, it'll come with some Messina brandy custard to douse all over the mess. And, it all serves 20–30 (or less if you really commit). With the 750-gram sourdough panettone, you'll be getting a spiced brioche whipped up by Sonoma's executive pastry chef Alejandro Luna and his team. It takes 36 hours to make, and it's stuffed with Messina's dulce de leche and chocolate, plus Italian dried fruits, nuts and spices. All of the above comes in a Christmas Coma mega pack, which costs $200 and can be pre-ordered from a yet-to-be-revealed date in the week commencing Monday, November 9. Sign up to Messina's VIP list, and you'll get access to a 24-hour pre-sale window before pre-orders open to everyone, too. You'll then be able to pick up your Christmas Coma between Friday, December 18 and Thursday, December 24, all within regular store opening hours — and from all Gelato Messina stores across Sydney, Melbourne and Brisbane except The Star. It comes in a Messina cooler bag and, if you keep it in there all sealed up, can survive for up to one hour. In each of the last few years, the trifle sold out super fast, so we suggest you don't wait on this one. The Christmas Coma will be available to order from sometime during the week commencing Monday, November 9. Keep an eye on the Messina website for further details — or sign up to Messina's VIP list to get access to a 24-hour pre-sale window before pre-orders open to everyone.
Twenty-five years ago, a TV sitcom about six New Yorkers made audiences a promise: that it'd be there for us. And, as well as making stars out of Jennifer Aniston, Courteney Cox, Matthew Perry, Matt LeBlanc, Lisa Kudrow and David Schwimmer, the hit series has done just that. Sure, Friends wrapped up its ten-season run in 2004, but the show has lived on — on streaming platforms, by sending an orange couch around Australia and by screening anniversary marathons in cinemas. In news that was bound to happen someday — no pop culture entity truly comes to an end in these reboot, remake, revival and spinoff-heavy times — it looks like Friends is going to live on in a much more literal sense, too. The Hollywood Reporter reveals that a deal is in the works to bring back the show for a reunion special on HBO's new streaming platform HBO Max. Naturally, if it happens, all of the gang will be involved. Almost certainly set to be called 'The One with a Reunion', the special will be unscripted — which means that Aniston and company aren't likely to actually step back into Rachel, Monica, Chandler, Joey, Phoebe and Ross's shoes; rather, they'll chat about their experiences on the show. Still, they'll all be on-screen at the same time celebrating the series that so many folks love, which is probably enough for fans. And, really, who knows what could spring from there. We're purely speculating, but if other big 90s sitcoms like Will & Grace, Mad About You and apparently Frasier can make a proper comeback, then surely everyone's favourite Central Perk regulars can as well. Friends creators David Crane and Marta Kauffman are also slated to join the reunion special, if it comes to fruition. If you're wondering when it could happen, THR notes that it'll largely depend on the relevant parties' schedules — although HBO Max is due to launch in the US in May 2020, so perhaps it'll be sooner rather than later. For folks Down Under, there doesn't seem to be a current plan to bring the streaming platform to our shores. Instead, the company appears to be continuing to focus on its existing arrangements with local channels and streamers for the time being. Via The Hollywood Reporter.
Think you know Tropfest? On the eve of its 21st birthday, see the iconic short film festival in a whole new, more mature light with this ultimate VIP package, up for grabs in both Sydney and Melbourne. You and a friend can get off the grass and enjoy luxury pre-drinks before heading to Tropfest with VIP red carpet tickets, which let you watch the competition unfold from the comfort of the invite-only marquee. End the night sleeping in style at the Vibe Hotel Savoy Melbourne. It's Tropfest how (we imagine) the celebs do it. The film festival that began in Sydney's Tropicana Cafe has captured the world's imagination like few others. A lot of the appeal lies in the festival's 'signature item', around which all the entrants must tailor their maximum-seven-minute films. This year it's 'balloon', so whimsy suggests itself, but the unexpected will reap reward. To be in the running for this VIP experience, subscribe to our newsletter (unless you're subscribed already) and then email melbourne@concreteplayground.com.au with your name and address. Tropfest is held on Sunday, February 17, at the Sidney Myer Music Bowl. The competition is subject to these terms and conditions.
If someone emails you a link tagged NSFW — Not Safe For Work — you know to be cautious of it. So when Red Stitch’s final play of the year has this snappy 'nudity/grossness/weird shit ahead' warning as its title, it is only reasonable to expect something a little shocking. NSFW is a recent work from Lucy Kirkwood, best known for being one of the writers of TV show Skins but also a prolific young British playwright. It takes place in the oh so British world of trashy tabloids, from boob-happy lad mag Doghouse, to style-crazy women’s magazine Electra. Through a couple of set pieces — a scandal at the lad mag and a job interview with Electra’s editor — he exploitation on both sides of the gender fence is showcased. The edginess promised by the title and this enticing premise was not, however, realised on stage in Red Stitch’s production. Is it telling you anything new to say that lad mags are exploitative? Or that women’s magazines can be too? No, not really, and the play took an hour and a half to reiterate that familiar message with all the subtlety of a page three spread. While the script demonstrated a kind of sitcom competence, delivering gags and dramatic counterpoints in all the right places and including some truly good one-liners, it didn’t add anything new to the discussion of gender roles in the media. The characters were a roll call of familiar archetypes: the shifty sleazebag boss (Ben Prendergast), the eccentric ageing fashionista (Olga Makeeva), the arrogant trust fund kid (Mark Casamento) and not one but two young idealists (Matthew Whitty and Kasia Kaczmarek) driven by the economic climate to take work in an environment they secretly despise. We know these archetypes already and the play offered no fresh angles on them. The performances — mostly in British accents which were serviceable provided you didn’t question too hard which part of Britain they were meant to be from — were mostly one-note, with both gags and dramatic moments heavily over-played. Prendergast delivered a nervous blustery performance as the lad mag boss, with none of the comic nuance the script seemed to be crying out for, and while Okeeva had fun as Electra editor Miranda, her overboard battiness made the character a cartoonish parody. Actors noticeably dropped their lines or broke character by smirking at their own jokes with surprising frequency for the ensemble of an established company. NSFW promised edgy and incisive but instead delivered fluff. It was enjoyable enough to watch but ultimately not much less shallow than the magazines it was so savagely criticising. Sadly, the most shocking thing on opening night was nothing on stage but instead the behaviour of the audience who, having been generously plied with complimentary drinks, started to get a bit NSFW themselves. Several were raucous, one appeared to go to sleep (admittedly act two was kind of slow) and one randomly harassed your correspondent from Concrete Playground in the foyer afterwards. Obviously this experience wouldn't be common to all viewings of the show, but it did cast an unpleasant pall on my night. This on top of the pall already cast by an indifferent play depicting a bleak and sleazy view of the world. I came away feeling uncomfortable, disappointed in my fellow humans and thinking “I wish I hadn’t bothered with that.” Which admittedly is the same suite of emotions I’d normally get from clicking on a link tagged NSFW so I guess the show delivered what it promised after all. Image: Jodie Hutchinson.
Disney is back in the fairy princess business, and by god it wants you to know it. Except, it doesn’t want young boys to know it, which is why this film is called Frozen instead of The Snow Queen. When Disney finally bought Pixar in 2006, the deal essentially saw Pixar's creative team taking control of Disney’s animated output. Given the strong quality control Pixar has over its products, this was no bad thing. But not all of the experiments worked. Determined to resurrect Disney's tradition of hand-drawn animation, they made The Princess and the Frog in 2009, a tremendously underrated film which moved the classic tale to 1920s New Orleans. The film’s undeserved financial failing made Disney gunshy, and their takeaway was this: stick to computer animation, and no more princesses in the titles. In fairness, this shift didn’t kneecap the quality of the films. 2009’s Rapunzel film Tangled is an outstanding work, with rich characters, beautiful animation and incredibly catchy songs. Tangled really worked, which is why it appears to be the template Disney has used for its newest animated feature, Frozen. Based loosely on Hans Christian Andersen’s The Snow Queen — a story Disney has been trying to adapt since the 1940s — the film follows Anna and her sister Elsa, two princesses who are left alone when their parents die at sea. The relationship between the two is difficult: Elsa has magical powers, which due to an unsatisfactorily explained plot contrivance, have been wiped from Anna’s memory. To keep Anna safe, Else keeps her at arm’s length as they grow up. But on the evening of Elsa’s coronation, she accidentally creates a permanent winter in the kingdom and retreats to a remote ice palace of her own making. It’s up to Anna to save her sister and her kingdom. The parallels with Tangled are striking. Both changed the name of their original story to a more marketable, generic title. Both feature a similar working-class man developing a love-hate relationship with a princess. Both have a crazy, anthropomorphised horse/moose for company. Both even feature a princess whose power is represented by a streak of colour through the hair. The comparisons, though superficial, reveal an attempt at a modern formula. And although Frozen is enjoyable enough, the characters aren’t quite as engaging as they ought to be, the songs not quite memorable enough. The animation, however, is superb. On a technical level, it’s a marvel. Frozen represent the middle of the bell curve in terms of animated features. It’s a far cry from the insufferable toy-selling, pop-culture spewing, catchphrase-ridden films churned out during at the beginning every school holiday period, but nor does it hit the heights of Disney’s best output. It is admirable, enjoyable, but ultimately unmemorable.
We thought it was pretty cool when we found out you can rent a cave off Airbnb. We got pretty excited when 'Van Gogh' put up his room for rent in Chicago, and we were a little horrified (and, y'know, curious) to know that beds were up for grabs in the Catacombs. But Airbnb have taken their farfetched ideas on where to spend a night to a whole new terrifying level — they're holding a competition to win a night's sleep surrounded by sharks. Blending two things that most of us don't ever want to associate with each other — sharks and sleep — Airbnb are offering three lucky (or unlucky, depending on how you look at it) winners and their guests the chance to spend the night in the Aquarium de Paris. They will sleep in a suspended circular room inside the tank, meaning they will be literally surrounded by 35 circling sharks all night long. Who even needs nightmares? Naturally, the listing for the night at the aquarium has a few house rules. Guests are advised to refrain from taking selfies, avoid seeing Jaws in the nights prior to the visit and to "keep heads and feet in the bedroom at all times". The Airbnb host is freediver and underwater photographer Fred Buyle (we checked out his profile, and he seems legit). He'll introduce the guests to their neighbours for the night, take them on a tour of the aquarium and even get in the tank and "dance" with the sharks. The best news about all of this is that Airbnb will fly the winners to Paris from anywhere in the world. To enter, you've just got to tell Airbnb a little about yourself, where you live and why you belong with the sharks for a night in 550 words of less. Enter here by 11.59pm CET on April 3. Let's hope your Airbnb reviews are good ones.
Josh Niland has achieved a lot. He's opened many of Australia's top restaurants, written two acclaimed books (and just dropped a third), challenged how we see seafood in the kitchen and been named in the world's top 100 best chefs. Now, he's taking his success to the world, opening his first international restaurant at The Singapore Edition hotel. Niland's new opening will be the signature restaurant at the soon-to-open 204-room hotel, Edition's first foray into Southeast Asia. At the core of its offerings will be the chef's distinct passion for sustainable seafood — but, unlike Niland's Sydney openings, the hotel venue will be open for breakfast, lunch and dinner. After initially making a splash with Saint Peter, Josh and his partner Julie Niland have taken the Sydney culinary scene by storm with a series of openings including Fish Butchery, Charcoal Fish and Petermen. The duo are also revamping The Grand National Hotel, moving Saint Peter from Oxford Street into the pub. Niland's Singapore outpost will be one of five restaurants and bars that are set to open inside The Singapore Edition. The lavish accommodation is located in the downtown Orchard district and also promises to offer a rooftop pool, a spa and a fitness centre. [caption id="attachment_910017" align="alignnone" width="1920"] Petermen[/caption] The menu will be a la carte, featuring fish cut to order including rib on the bone, crown roasts and cutlets. As with all of Niland's operations, the restaurant will work with world-class ethical producers and suppliers — and minimising waste will be a top priority, with the menus at the restaurant and lobby bar working in unison to ensure all produce is used to its fullest. The Singapore restaurant doesn't have an exact open date quite yet, but it's expected to swing open its doors in November of this year. [caption id="attachment_771911" align="alignnone" width="1920"] by Rob Palmer, from Josh Niland's The Whole Fish Cookbook[/caption] If you want to get a taste of this world-class sustainable seafood operation without venturing over to Singapore, you have a few options. Book a table at the intimate Saint Peter for the classic Niland experience, or head to Charcoal Fish for a more casual takeaway-style offering. And, you can venture over to St Leonards for his newest offering Petermen, which just launched a weekly pescetarian-friendly Sunday roast. [caption id="attachment_826817" align="alignnone" width="1920"] Saint Peter[/caption] Josh Niland's new Singapore venue will open at The Singapore Edition, 38 Cuscaden Road, Singapore — it's expected to launch in November 2023. Top image: Alan Benson.
UPDATE: OCTOBER 3, 2020 — Due to worldwide cinema closures and other concerns around COVID-19, No Time to Die will no longer release on Thursday, November 12. Instead, it will now release on Thursday, April 1, 2021. This article has been updated to reflect that change. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Shaken (not stirred) martinis are back on the menu, and so are suave secret agents, sinister plots to destroy the world and big-screen espionage thrills. Yes, it's James Bond time again, with No Time to Die finally set to reach cinemas in 2021 — and dropping a brand new trailer to tease the British spy's 25th official cinematic outing. On offer, as fans initially glimpsed in the first sneak peek in 2019, are all the franchise staples. World-in-peril action, savvy ladies, plenty of gadgets, eye-popping stunts and spectacles, an Aston Martin — they're all accounted for. And, because no Bond movie would be complete without a formidable villain, No Time to Die serves up two: an unhinged, mask-wearing new adversary called Safin (Bohemian Rhapsody Oscar-winner Rami Malek), plus imprisoned ex-opponent Blofeld (Christoph Waltz). Daniel Craig returns as 007, marking not only his fifth stint as the spy since 2006's Casino Royale, but his last — and he has company in the 00 stakes. Following the events of 2015's Spectre, Bond has left active service and started a new life in Jamaica, causing MI6 to recruit someone else to cover his turf. That'd be new agent Nomi (Captain Marvel's Lashana Lynch), and you can obviously expect the pair to cross paths. Bond being Bond, he was never going to be able to escape his line of work easily, after all. Here, he's brought back in by CIA agent Felix Leiter (Jeffrey Wright) to help with a mission to rescue a kidnapped scientist. Directed by Cary Joji Fukunaga (True Detective, Maniac) and penned by a team that includes Fukunaga, The Report director Scott Z Burns and Fleabag's Phoebe Waller-Bridge, this Bond instalment also brings back all the usual Bond offsiders. Ralph Fiennes returns as M, alongside Naomie Harris as Eve Moneypenny, Ben Whishaw as Q and Rory Kinnear as MI6 head Bill Tanner. Lea Seydoux is back as psychiatrist Dr Madeleine Swan, too — and, reuniting with Craig after co-starring in the fabulously entertaining Knives Out last year, Ana de Armas also joins the cast. Of course, as Bond aficionados won't have forgotten, No Time to Die has had to overcome a few setbacks off-screen on its path to cinemas. Originally it was due to release in April this year, but became one of the first films to delay its opening date due to COVID-19. It was then slated to hit the big screen in November, but has now been postponed until April 2021. Watch the new No Time to Die trailer below: https://www.youtube.com/watch?v=vw2FOYjCz38 No Time to Die will no longer hit Australian cinemas on November 12, 2020, with its release date postponed until April 1, 2021. Top image: James Bond (Daniel Craig) and Paloma (Ana de Armas) in No Time to Die, an EON Productions and Metro Goldwyn Mayer Studios film. Credit: Nicola Dove. © 2020 DANJAQ, LLC AND MGM. ALL RIGHTS RESERVED.
It seems like someone at The Bridge Hotel might have misplaced their calendar, because Halloween is still ten full months away. That being said, who amongst us can resist a good old-fashioned haunted house? On New Year's Eve, the Richmond venue is whipping out the cauldron and fake cobwebs for a truly spook-tacular party. Your ticket ($120) gets you access to a four-and-a-half-hour food and beverage package, including a cocktail on arrival. There'll be live entertainment until the early hours of the morning...we just hope you survive past midnight to enjoy it.
In 1961, on an assignment from the New Yorker, superstar academic Hannah Arendt travelled to her native Germany to cover the trial of Adolf Eichmann, 'architect of the Holocaust'. Instead of being struck by his coldness or inhumanity at the trial, Arendt found Eichmann an "unimpressive" and "unremarkable" figure who presented himself a bureaucrat who merely followed orders. Her reaction was not the one she expected, nor one many people wanted to hear, but her bafflement went on to inform a work which helped readers understand how an almost unfathomably dark chapter in human history had unfolded. The main focus of the biopic Hannah Arendt is the fallout after that article (which was expanded into a book) was published. Many thought it a betrayal of her own Jewish heritage or a slanderous, self-serving provocation. The university where she once received gooey-eyed affection from her adoring students asks her to justify her continued employment there and social schisms spring up as former friends and allies turn against her. Directed in solid, determinedly no-frills style by Margarethe Von Trotta, Hannah Arendt is a reminder that a work which is now almost universally accepted as a key insight into the horrors of the Holocaust and the operation of a genocidal machine was considered incendiary and worse at the time of publication. Read our full review of Hannah Arendt here. Hannah Arendt is in cinemas on Thursday, March 13, and thanks to Curious Distribution, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=WTQNWgZVctM
We really must stop being so surprised each time Ben Affleck does something good. Three grand directorial efforts in, and we still think of subpar rom-coms and tabloid relationships before we remember that the man actually won an Oscar for screenwriting at the age of 25. He's clearly observed each moment around the camera since Good Will Hunting, because everything he does as a director is interesting. He's a little like Clint Eastwood (minus the sting of Republicanism). After Gone Baby Gone and The Town, Affleck's third film is Argo, a nail-biter based on the 2007 Wired article 'How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran', written after the details of the far-fetched espionage story became declassified. It happened during the 1979 Iranian Hostage Crisis, in which 52 Americans were held for 444 days by militants angry about the US giving shelter to their overthrown monarch, Mohammed Reza Shah Pahavi. At the time the embassy was breached, six diplomatic staff escaped and hid secretly at the Canadian ambassador's house, until CIA agent Tony Mendez (Affleck) could organise their exfiltration (or 'exfil', as its snappily referred to throughout) — yes, using the totally improbable cover of a sci-fi film called 'Argo'. It's a fascinating study, but what's remarkable is that this largely bureaucratic process has been rendered so tense and so funny by the director and his team. It will put you closer to the edge of your seat than likely any other film this year. Most of the laughs come courtesy of John Goodman and Alan Arkin playing lauded make-up artist John Chambers and producer Lester Siegel, who come on board to make the fake film look real. Their dry, cynical banter about the ins and outs of Hollywood filmmaking are a down-to-earth intrusion into a fantastical turn of events. After an impressive two hours, what turns out to be most impressive is the end credits, which place historical images alongside stills from the film so you can see the Mad Men-like attention to detail that has gone into re-creating this period in time. You can practically feel the polyester under your eyes throughout this Oscar contender, while the softly grainy texture of the film allows archival footage to be smoothly integrated. It is a bit disappointing, then, that the historical accuracy turns out to be so patchy. The role of the CIA, as opposed to Canada, is exaggerated for effect, but what's perhaps more damning is the lengths the film goes to demonise and dehumanise the Iranian people just to heighten the feeling of threat (any one of them could attack!). Arguably, given its bank of suspense, Argo could have afforded to swap some tension for a little more understanding. https://youtube.com/watch?v=QQkdOSwz2Kw
"For never was a story of more woe," said William Shakespeare of Romeo & Juliet. To be accurate, he had the iconic play announce that itself in its second-last line. In the four centuries since the famed tale was first penned, never was there a tragic romance that's better known, either. Few works have been adapted and performed as much as this story of the warring Montague and Capulet families, and the heartbreak that ensues when their children fall in love — but Benjamin Millepied's Romeo & Juliet suite still stands out. Australian audiences will be able to discover why for themselves when winter hits in 2024, when the world-famous choreographer's take on Shakespeare's star-crossed lovers will make its Aussie debut. Playing exclusively at the Sydney Opera House from Wednesday, June 5–Sunday, June 9, the ballet will fill the Joan Sutherland Theatre and other spaces with a mix of dance, theatre and cinema that defies genres, as well as a modernisation of the narrative that sees love first, not gender. Three versions comprise the suite, each with a different couple. On the production's first night and its Saturday matinee, an all-male pairing will bring Romeo & Juliet to life. On the second evening and the Saturday night, two female dancers will play the lead parts. And on the Friday and Sunday, a male-female duo will take to the stage. Millepied's Romeo & Juliet hails from the LA Dance Project, which he co-founded and acts as its Artistic Director. The company's ensemble will perform on the opera house's stage and also throughout the building, which is then broadcast live back to the audience inside the Joan Sutherland Theatre. So, the Romeo & Juliet suite plays with form, too — and even if you think you've seen every iteration of R&J before, this one is unique. Bringing the ballet Down Under for the first time marks Millepied's latest project in Australia. His last: making his film directorial debut with Carmen, which starred Melissa Barrera (Scream) and Paul Mescal (All of Us Strangers), reimagined Prosper Mérimée's novella and Georges Bizet's opera, and shot in the outback New South Wales town of Broken Hill. The dancer, choreographer and filmmaker's resume before that spans joining the New York Ballet as a teen, choreographing and co-starring in Black Swan, a stint as Paris Opera Ballet's Director of Dance and creating the sandwalk for Denis Villeneuve's versions of Dune. "I am deeply proud of LA Dance Project, the artistic journey I've embarked on over the past decade alongside my dedicated partner Lucinda Lent and our exceptional team. The opportunity for our company to grace the stage of the Sydney Opera House is a dream realised," said Millepied, announcing the Romeo & Juliet suite's Australian debut. "This moment holds profound significance, not only because the Sydney Opera House is an emblem of global culture, but also because Australia and its people hold a unique space in my heart. Sydney, I eagerly anticipate our reunion!" The Romeo & Juliet suite will take over the Joan Sutherland Theatre, Sydney Opera House from Wednesday, June 5–Sunday, June 9, 2024. For more information and tickets, head to the venue's website — with presales from 9am on Tuesday, February 6 and general sales from 9am on Friday, February 9. Read our interview with Benjamin Millepied about Carmen. Images: Julien Benhamou, Paul Bourdrel and Josh Rose.
Five minutes into Sex Idiot I had to put my reviewer’s pad and pen away — halfway through scribbling the immortal lines “pre-cum doesn’t count”. Bryony Kimmings has brought Melbourne a show that’s so tender, sly and warm that it’s impossible to look away. It’s a deceptively simple premise: Kimmings gets an STI test, discovers a common sexual disease and gets in contact with her former partners. On the surface it might sound like a familiar formula; the kind of narrative that’s convenient to market and even easier to hang jokes on. But Kimmings stretches the stale traditions of stand-up in every direction at once, making a work that straddles (and grinds) the line between comedy and her background in performance art. She wrings the story through so many different styles and costume changes with a delivery that oscillates so quickly between mock seriousness and devastating confession that we’re left reeling. The responses to emails from her partners are bound up in anecdotes about each lover, before she rebirths each in song, dance or movement. At some points the unspoken, physical narrative that pours unspoken from Kimmings’ body is so breathtaking that it’s easy to forget you’re watching a comedy. But that’s the beauty of Sex Idiot — by embracing the tragedies bound up in sex and love the show becomes as true to life as it is funny. Moreover, though most comedians like a bit of audience involvement — whether it’s making fun of punters for coming in late or inviting heckles from the floor — Kimmings leaves them all for dead in Sex Idiot’s inevitable climax. After inviting audience members to harvest their pubes, she gathers them all up and sticks them to her face as a prop moustache. See? Impossible to look away. Unmissable at this year's comedy festival. For more coverage of the Melbourne International Comedy Festival, check in with our regularly updated diary.
What would you do if you were a little less freaked out by consequences? Would you talk to more new people, fear a bit less, dance a little more like FKA Twigs, quit your desk job and start that business you've always wanted to give a red hot go? Some sparkling young Australians are already flinging their inhibitions into a ziplock bag and seizing this little ol' life with both hands. Concrete Playground has teamed up with the Jameson crew to give you a sneak peek into the lives of bold characters who took a big chance on themselves. They've gone out on a limb and rewritten their path, encapsulating 'Sine Metu', the Jameson family motto which translates to 'without fear' — getting outside your comfort zone and trying something new. After all, we only get one shot at this. Take notes. Dreaming big is easy. Following through on that dream — that's where the hard work begins. Junky Comics' owner Vlada Edirippulige knows this, but a year after opening her own store, she wouldn't have it any other way. Also known as illustrator Junky and as a member of local band Major Leagues, her commitment to boosting Brisbane's arts scene shows just what can happen when you embody 'Sine Metu', set your mind to something and throw caution to the wind. We had a chat to Vlada about how taking a big chance has paid off in a big way. You can read the interview over here. Want to experience a little bit of 'Sine Metu' yourself? Vlada's being a total legend and helping us give away $1000 worth of rare comic books from her own Junky Comics collection, so you can see for yourself what happens when bold humans take big creative chances with big payoffs. This whopping prize includes the complete Walking Dead series 1-23, Hip Hop Family Tree by Ed Piskor, the complete Scott Pilgrim colour hardcover series and The Complete Wimmen's Comix. Enter here to win. And enjoy Jameson responsibly, folks.
Just in time for your summer binge sessions, streaming platform Stan has revealed their next huge addition: a hefty lineup of films and TV shows from The Walt Disney Company. From Friday, December 14, the Australian service will welcome the wonderful world of Disney to its selection. And, that doesn't just mean Disney's own animated and live-action efforts, but movies and series from Disney-owned companies Pixar, Marvel and Lucasfilm, too. Whether you want to enjoy gorgeous animated stories, jump into the Marvel Cinematic Universe or head to a galaxy far, far away, the Disney range will bring a heap of your favourites to Stan — think all three Toy Story flicks, the live-action likes of Maleficent and Cinderella, this year's big superhero hits Black Panther and Avengers: Infinity War, and both Star Wars: Episode VIII — The Last Jedi and Solo: A Star Wars Story. Want to catch up on the original The Lion King before the new version comes out next year? Fancy watching all three Thor films? They're also on the lineup. Other Disney and Pixar titles heading Stan's way include Wall-E, Beauty and the Beast, The Little Mermaid, Finding Nemo, Cars, Cars 2, Monsters Inc., Monsters University, The Incredibles and Big Hero 6 — and, if you just can't let it go, Frozen as well. From Marvel's slate, the three Iron Man movies, the first two Captain America films and the initial Ant-Man are all on the bill, and the first two Avengers flicks alongside Infinity War. For younger viewers, animated shows including Tangled: The Series, Star Wars Rebels and Duck Tales will also hit Stan's queue. That's your holiday viewing sorted — and while you can reasonably expect that this big batch of Disney content will be available for a while, it's likely a short-to-medium term arrangement, given that Disney is launching its own streaming platform in 2019. Stan's Disney lineup will be available from Friday, December 14.
We don't need no hateration, holleration in this dancerie, because Mary J. Blige is bringing her unique blend of hip hop, rhythm, blues, and soul to Melbourne in April. As part of her trip to our great southern land with Bluesfest, one of the most notable figures in the scene is hitting up Hamer Hall on April 12. Blige has played her part in redefining the genre of rhythm and blues since the early nineties, with her twelve albums since 1992's What's The 411? selling over fifty million copies. Her second release, My Life, has been rated one of the greatest albums of all time. Aside from the records and accolades that all come tumbling down at her feet, Blige's mixture of rich, soulful vocals and sharp lyricism with slick hip hop beats defines her as one of the true greats of the R'n'B genre. Rather than becoming just a trip down memory lane, Blige continues to record new tunes, cementing her status as royalty. Her latest single, U + Me (Love Lesson), is an absolute certified banger that blends old school sound with modern production techniques that lends a fresh life to her style, so get down to watch a legend of the game Work That. Catch Mary J. Blige at Bluesfest 2017 in Byron Bay, or at her Melbourne sideshow at Hamer Hall on Wednesday April 12.
You swing by Starbucks before work, longing for a latte or flat white to bring you to life before a morning full of meetings. The barista hands over your cup of energy for the day and with a smile on your face you continue your journey to the office. You finally lift the cup to take a sip, and much to your dismay instead of enjoying the first taste of caffeine your tongue is brutally scalded by the piping hot liquid. You now have a temporary lisp and food is tasteless for the next three days. Not anymore — Coffee Joulies have come to the rescue of burnt tongues everywhere. The coffee-bean sized capsules are made of a thermodynamic, non-toxic material surrounded by stainless steel and are designed to cool hot beverages three times faster than normal and maintain a "perfect" drinking temperature for twice as long. How does it work? The Joulies are made to melt at about 60 degrees Fahrenheit (coffee is typically brewed at 90, give or take), and as they melt they absorb that extra heat from the drink. When the drink starts to cool down, the Joulies release that heat and begin to re-solidify. They may be called Coffee Joulies but they work for any hot drink, tea, hot chocolate, you name it.
A Secret Service agent-turned-bodyguard falls for the superstar singer he's been hired to protect. It's pegged as one of cinema's most iconic love stories, with Whitney Houston and Kevin Costner first tugging at our heartstrings back in 1992. And now, The Bodyguard is set to come alive for the Australian stage, with producers David Ian, Michael Harrison and John Frost today announcing they'll be bringing their award-winning musical show Down Under next year. Set to kick off in Sydney in April 2017, this local production of The Bodyguard — which follows the just-as-awesome news that Moulin Rouge! will finally be made into a stage show — comes off the back of a wildly successful and star-studded run in London theatres, and record-breaking UK tour, which commenced in February this year. Based on the eponymous Warner Bros. film and adapted for the stage by Academy Award winner Alexander Dinelaris, The Bodyguard musical features all those epic Houston tracks that audiences fell in love with the first time around. According to co-producer Frost, the emotionally-charged storyline, along with those "soaring ballads" — like 'Queen of The Night', 'I Wanna Dance With Somebody' and the legendary 'I Will Always Love You' (you know the ones) — were simply destined for the stage. The album is still the biggest selling movie soundtrack of all time. Yep. Still. The Bodyguard The Musical will come to Australia in 2017, and will start its national tour in Sydney. More details, including tour dates and additional cities, will be released soon. If you're a keen bean, a waitlist for priority tickets is now open at thebodyguardmusical.com.au.
Technology just keeps getting smaller and smaller. UK game developer David Braben has created the prototype for a mini computer, so tiny and efficiently manufactured that it could be provided to school kids for free. It's called the Raspberry Pi USB computer, and it functions as a real PC, with USB and HDMI ports meaning you can hook it up to a keyboard and television screen in no time. The Raspberry Pi Foundation exists to promote the study of computer science and related topics, especially at school level, and to put the fun back into learning computing. "We plan to develop, manufacture and distribute an ultra-low-cost computer, for use in teaching computer programming to children. We expect this computer to have many other applications both in the developed and the developing world," reads a description of the Pi project on the foundation Web site. https://youtube.com/watch?v=pQ7N4rycsy4 [Via Mashable]
For the past 11 years, Australians that are fond of a tipple have been familiar with one particular figure: two standard drinks per day. Equating to 14 drinks per week, that's the maximum number of standard beverages that Aussies were told they should consume to minimise the risk of health repercussions from their boozing, as per the National Health and Medical Research Council's (NHMRC) guidelines on the subject. But that amount has just been revised as part of the first revamp of those recommendations since 2009. Now, as initially flagged this time last year but officially confirmed today, Tuesday, December 8, by the NHMRC, only ten drinks per week is recommended. Staying within that number will "reduce the risk of harm from alcohol-related disease or injury" in healthy men and women, the organisation advised. And if you're wondering how many of those ten tipples you should have in one sitting, the NHMRC says you shouldn't exceed four standard drinks on any single day. If you need a reminder, a standard drink is defined as ten grams of pure alcohol, no matter what type of beverage you're sipping. That's around 285 millilitres of full-strength beer or a can of mid-strength beer — and 100 millilitres of wine or a single shot of spirits. Sticking within the new guidelines — which aren't rules or laws, but recommendations — means that you'll have "less than a one in 100 chance of dying from an alcohol-related condition", Australia's Acting Chief Medical Officer Professor Paul Kelly says. "Every year there are more than 4000 alcohol-related deaths in Australia, and more than 70,000 hospital admissions. Alcohol is linked to more than 40 medical conditions, including many cancers," he explains. Just how many bevvies you should have a week and a day comprises the first guideline. You'll already be well aware of the other two. They recommend that children and people under 18 years of age should not drink alcohol — which has been legislated, of course — and that women who are pregnant, planning a pregnancy or breastfeeding shouldn't either. The change to the number of standard drinks recommended per week came about after a wide-ranging analysis and review by the NHMRC — into "health effects of drinking alcohol, modelling, data on Australian drinking patterns and best practice guideline development processes", the statement about the change advises. An Alcohol Working Committee was formed, featuring independent health experts such as doctors, medical and public health professionals, researchers and consumer representatives, to guide the development of the new guidelines. And then the NHMRC Council, which includes the Chief Medical Officers of the Commonwealth and each state and territory, endorsed the new guidelines. Alcohol industry body Alcohol Beverages Australia has already voiced its unhappiness about the new recommendation, while the Cancer Council has come out in support of the changes — with the latter noting that three percent of cancers diagnosed in Australia are caused by alcohol. For more information about Australia's new guidelines for reducing the health risks from drinking alcohol, head to the National Health and Medical Research Council website.
After bringing Harry Potter and the Philosopher's Stone, Harry Potter and the Chamber of Secrets, Harry Potter and the Prisoner of Azkaban and Harry Potter and the Goblet of Fire back to the big screen with a live orchestra soundtrack, the Melbourne Symphony Orchestra is giving the fifth film in the franchise the same movie-and-music showcase. Across three sessions between Thursday, August 15 and Saturday, August 17, Hamer Hall will come to life with the sights and sounds of the Ministry of Magic, 12 Grimmauld Place and the return of He-Who-Must-Not-Be-Named, because JK Rowling's boy-who-lived and his pals are never far away from a theatre — or a concert hall. And tickets for Harry Potter and the Order of the Phoenix live in concert are now on sale. This time around, viewers can expect something a little different. While the event will run as usual, it's the score itself that'll stand out. After doing the honours on the first three HP flicks, veteran composer John Williams stood aside, with two-time Oscar nominee Patrick Doyle (Hamlet, Sense and Sensibility) in charge of the fourth, and Nicholas Hooper whipping up wondrous wizarding soundtracks for the final three.
By this stage, most of us have come to terms with the fact that jetting off to USA or Europe is a seriously long slog, made worse by unavoidable (sometimes long, always painful) stopovers. But that European or American trip could soon become a whole lot more bearable, with Qantas not only working towards launching direct flights between the east coast and both London and New York by 2022, but beginning to run trial journeys this year. In October, November and December, the airline will pilot three ultra long-haul research flights, using new Boeing 787-9s. The aircraft will simulate two routes that are at the heart of Qantas' proposed new non-stop plan, which is called Project Sunrise, flying from New York and London to Sydney. That New York trip will mark the first world's first flight by a commercial airline direct from the Big Apple to Sydney, while the London jaunt will be the second time such a journey has been made. The last time the latter happened was back in 1989, when Qantas made the trek on a Boeing 747-400 with just 23 people on board. Don't go packing your bags, though — the aim is to gather data about inflight passenger and crew health and wellbeing, with only around 40 people making the trip. They'll be comprised of crew and Qantas employees, and they'll be fitted with wearable technology devices to monitor their monitor sleep patterns, food and beverage consumption, physical movement and use of the entertainment system during the flights. The results will then be assessed by scientists and medical experts from the Charles Perkins Centre. Pilots will also take part, working with Monash University researchers to record their melatonin levels before, during and after the flights, as well as their brain wave patterns and alertness — to help ascertain the best work and rest pattern when they're commanding those long-haul services. While spending nearly a day on one single plane is better than jumping on and off different vessels multiple times, it's not without its physical, mental and emotional toll — as anyone who has made the trip with Qantas from Perth to London knows, which is what makes this testing so important. Announcing the trial, Qantas Group CEO Alan Joyce explained that, "for customers, the key will be minimising jet lag and creating an environment where they are looking forward to a restful, enjoyable flight. For crew, it's about using scientific research to determine the best opportunities to promote alertness when they are on duty and maximise rest during their down time." Back in 2017, Qantas first revealed that it was exploring non-stop routes from Sydney — routes that would eclipse those direct flights between Perth and London, which launched in March 2018. Since then, the airline has been pursuing the idea enthusiastically, putting out a call for aircraft that can handle the trip and widening their plan to include departures to and from Brisbane as well. In numbers, the planes will need to be able to handle more than 19 hours in the air (around 20 hours and 20 minutes between Sydney and London, and 18-hours and seven minutes from Sydney to New York). The airline has done its homework, analysing a decade's worth of wind and weather data to confirm the lengthy routes are actually possible. Now it just needs the aircraft, with Airbus and Boeing both pitching vessels (A350 and 777X) that are capable of doing the job. Qantas is expected to announce their decision, including whether the whole project will progress to making commercial flights, by the end of December 2019. Right now, the world's longest direct flight clocks in at over 19 hours, with Singapore Airlines flying 15,322-kilometres along its Singapore-to-New York route. Previously, the journey from Doha and Auckland earned that honour, taking around 18 hours to travel 14,529 kilometres.
One of the bright stars of Canadian comedy, the pint-sized, high-energy, ukulele-playing DeAnne Smith (self described as looking like “a nerdy Justin Bieber”) is back at MICF for the fifth time in her career. Get Into It is the name of her latest show, one that she says you’ll enjoy “if you like super fun and great things that make you laugh and also feel less alone in the knowledge that everything is meaningless”. Despite that, she’s probably one of the cheeriest comics you’ll see at the festival. She even has a song about love... sort of.
Omega Ensemble is widely recognised as one of Australia's most dynamic and forward-thinking classical music groups. Their next tour, Distant World, brings together a lineup of four emotionally charged works that explore humanity's relationship with nature, and what happens when that relationship breaks down. The program opens with Arvo Pärt's cult-favourite Spiegel im Spiegel – a deceptively simple duet written for piano and cello that you may have heard in shows like 'Ted Lasso' and Guy Ritchie's 'Swept Away'. "It doesn't tell you how to feel," says Omega's Artistic Director David Rowden of the piece. "But it somehow allows you to feel more deeply." From there, the mood shifts. Jabra Latham's Fire Music, composed after the Tasmanian bushfires, captures both devastation and renewal. "You can hear the full range of the fire's impact," says Rowden. "From brutal ferocity to gentle smouldering and the quiet resilience of a landscape beginning to heal." [caption id="attachment_1002879" align="alignnone" width="1920"] Laura Manariti[/caption] There's also the world premiere of DuskLit by Melbourne composer Miriama Young, which is a new work built from voice memos and soundscapes submitted by young people across regional Victoria. Haunting, hopeful, and rooted in real stories of place and change, "It's like being transported to a private, sacred memory," says Rowden. "Audiences will be taken on a journey of reflection, from the stillness of Arvo Pärt to the profound resonance of local voices like Jabra Latham and Miriama Young. It's music that invites you to pause, feel and consider our world as well as our place within it." Distant World is far from background music. It's a live experience that invites you to feel, and be completely present in a room full of people, for 90 unforgettable minutes. Melbourne: Distant World is playing at Melbourne Recital Centre on Tuesday, May 13 at 7pm. Secure your tickets now at Omega Ensemble.
A glorious handful of Australia's most celebrated restaurants will be waking up with a big ol' smile this morning, finding a spot amongst the mightily prestigious World's Best Restaurants list overnight. Sydney's Sepia and Quay nabbed a highly coveted spot on the list, as well as Victoria's Brae, with the top 51-100 announced separately for the first time ever. Judged by international critics and industry heavyweights, the World's Best Restaurants is a worldwide poll holding some pretty heavy weight. Sydney's longtime culinary leader Quay came in at 58, while super Sydney hotspot Sepia (who was just voted by Australia's top chefs and restaurateurs as Best Restaurant in Australia in the Australian Financial Review Top 100 Restaurants) came in at 84. Dan Hunter's Birregurra restaurant Brae in Victoria came in at 87, a win for the non-CBD-dwelling establishment. The top 50 has yet to be announced, in fact, it's a first that the World's Best list organisers have revealed the 51-100 list already. The top 50 will be announced in London next Monday, at a super fancy awards ceremony with probably insane function food. Who's up for the top spots? Last year's list saw Copenhagen's Noma take out the top spot, followed by El Celler de Can Roca in Girona, Spain and Massimo Bottura's Osteria Francescana in Modena, Italy. There are high hopes for Ben Shewry's Attica, which came in at second in the AFR Top 100 and hit number 32 in the World's Best list last year — the only Australian restaurant in the Top 50. The Top 50 World's Best Restaurants will be announced next Monday, June 1. For this year's 51-100 list, head over here. Via Good Food.
If you happen to be in Thailand in February and you spy Harry Potter's Jason Isaacs, Mission: Impossible's Michelle Monaghan, The League's Leslie Bibb and all-round icon Parker Posey, congrats: you will have spotted some of the cast of The White Lotus season three in the country to film the hit HBO show's next batch of episodes. The best new series on TV in 2021, and one of the best returning series of 2022 as well, The White Lotus is heading to the Asian nation after spending season one unleashing ultra-lavish hell in Hawaii and season two getting scathing in Sicily. Season three's location isn't new news, but the fact that Isaacs (The Crowded Room), Monaghan (The Family Plan), Bibb (God's Favourite Idiot), Posey (Beau Is Afraid), Dom Hetrakul (The Family) and Tayme Thapthimthong (Thai Cave Rescue) will be experiencing a chaotic getaway — or somehow involved with a White Lotus hotel — is a fresh development. [caption id="attachment_934932" align="alignnone" width="1920"] The Crowded Room[/caption] The Mike White (Brad's Status)-created, -written and -directed series will also bring back a familiar face from its first season, as it did in season two. As fans of the Emmy- and Golden Globe-winning drama know, sadly Jennifer Coolidge (We Have a Ghost) won't be returning, unless the anthology series tells a prequel in the future, gets the undead involved or makes heavy use of flashbacks. Someone she spent a heap of screen time with in The White Lotus' debut season is popping up again, however: Natasha Rothwell (Wonka) as Belinda Lindsey, the spa manager who had been hoping to get Coolidge's Tanya McQuoid to invest in her dream business. Rothwell, Isaacs and company will obviously have more company, but that's the full list of cast members that've been revealed for now. No storyline details have been unveiled, and neither has a premiere date — but you'll be waiting till 2025 to see what happens in The White Lotus realm next. [caption id="attachment_934934" align="alignnone" width="1920"] Beau Is Afraid[/caption] The show will shoot its third season in Koh Samui, Phuket and Bangkok, with HBO partnering with the Tourism Authority of Thailand "to support the filming and promotion of the third installment", the US network advised. Yes, expect everyone you know to want to vacation in Thailand as a result. Thapanee Kiatphaibool, the country's Governor of the Tourism Authority of Thailand, certainly does. "Thailand has long been considered one of the world's favourite filming locations. The White Lotus project will certainly strengthen the kingdom's status as a preferred filming destination and a beacon of experience-based tourism, inspiring even more visitors to amazing Thailand," Kiatphaibool said in a statement. Based on past seasons, the nation will backdrop a searing — and supremely entertaining — takedown of one percent, their lavish getaways, their deep-seated problems, and the gross inequality between the haves and have nots. And, it'll spark sleuthing, given that someone winding up dead has been part of all prior seasons as well. HBO announced that it was bringing The White Lotus back for a third go-around mere episodes into season two. Originally, the show was meant to be a one-and-done miniseries, but it was that excellent (and that popular) that it's now running with the anthology setup. White has hinted at focusing on "death and Eastern religion and spirituality" in season three. "It feels like it could be a rich tapestry to do another round at White Lotus," he said in a clip at the end of season two's finale. There's obviously no trailer yet for The White Lotus' third season, but you can check out the trailers for seasons one and two below: The White Lotus' third season will arrive sometime in 2025, but doesn't yet have a release date — we'll update you when one is announced. The first and second seasons of The White Lotus are available to stream via Binge in Australia and Neon in New Zealand. Read our full reviews of season one and two. The White Lotus images: Fabio Lovino and Mario Perez / HBO.
Across its 12-season order to-date, the best episodes of Bob's Burgers have always resembled exactly what they should: a delicious serving of the meat-and-bread combination that shares the hit sitcom's name. There's a knack to a great burg — to a tastebud-thrilling, so-appetising-I-need-more-now example of this extremely accessible culinary art — and it's all about perfecting the absolute basics. No matter what else gets slotted in (and plenty of other ingredients can), every burger's staples should be the stars of the show. Indeed, a top-notch burg needn't be flashy. It definitely mustn't be overcomplicated, either. And, crucially, it should taste as comforting as wrapping your hands around its buns feels. On the small screen since 2011, Bob's Burgers has kept its version of that very recipe close to its animated, irreverent, gleefully offbeat heart. Unsurprisingly, the show's creators whip up the same kind of dish for The Bob's Burgers Movie, too. It's a winning formula, and creator Loren Bouchard knows not to mess with it while taking his beloved characters to the big screen. Co-helming with the series' frequent supervising director Bernard Derriman, and co-writing with long-running producer Nora Smith, he experiments here and there — in filmic form, Bob's Burgers is a tad darker, for instance — but he also knows what keeps his customers a-coming. That'd be the goofy but extremely relatable Belcher clan, their everyday joys and struggles, and the cosy little world that sprawls around their yellow-hued Ocean Avenue burger joint up the road from seaside fairground Wonder Wharf. Bouchard also knows that if you make something well enough time after time — be it a burger or a TV show that's spawned a movie; both fit — it'll be warmly, reliably and welcomingly familiar rather than just another helping of the same old nosh. With that in mind, it's a compliment to say that The Bob's Burgers Movie could've easily stayed on television, slotting in among the 238 episodes that precede it — but longer. Vitally, however, it doesn't ever simply feel like a few TV episodes simmered together. That can be the television-to-film curse, as Downton Abbey: A New Era demonstrated recently. Thankfully, as The Simpsons Movie and all three SpongeBob SquarePants films so far have also achieved, that isn't the case here. Instead, this super-sized stint in the Belcher family's company sports as much care, attention to detail, plot, gags, character-building moments, in-jokes, puns and musical numbers as a 102-minute portion of Bob's Burgers needs. It features the same colourful animation that works such a treat on TV, with added shadows for a cinematic feel, plus the lively voice acting that's the heart and soul of the show — but it's its own meal, and never merely four servings of fries passed off as something more substantial. As always, the action centres on the film's namesake — the diner where patriarch Bob (H Jon Benjamin, Archer) sizzles up punningly named burgs to both make a living and live out his dream. And, as the show has covered frequently, financial woes mean that Bob and his wife Linda (John Roberts, Gravity Falls) have more to worry about than cooking, serving customers, and their kids Tina (Dan Mintz, Veep), Gene (Eugene Mirman, Flight of the Conchords) and Louise (Kristen Schaal, What We Do in the Shadows). Their solution: a burger, of course. But their bank manager isn't munching when they try to use food to grease their pleas for an extension on their loan. That mortgage also involves their restaurant equipment, leaving them out of business if they can't pay up. As their seven-day time limit to stump up the cash ticks by, Bob sweats over the grill and Linda oozes her usual optimism — only for a sinkhole to form literally at their door. As trusty as Bob's Burgers gets, and still refreshingly committed to depicting the daily reality of its working-class characters, that above setup is the movie's buns. Layered inside are tomato, lettuce, cheese, pickle and beetroot, aka the narrative's well-balanced fillings. First comes a murder-mystery ensnaring the Belchers' eccentric landlord Calvin Fischoeder (Kevin Kline, Beauty and the Beast) and his brother Felix (Zach Galifianakis, Ron's Gone Wrong). Springing from there is Louise's determination to solve the crime to save the diner and prove she isn't a baby just because she wears a pink rabbit-eared hat. Then there's Tina's quest to make her crush Jimmy Jr (also voiced by Benjamin) her summer boyfriend; Gene's need to get The Itty Bitty Ditty Committee, the family band, a gig at Wonder Wharf's Octa-Wharfiversary celebrations; and Bob and Linda's attempt to sell burgs at the amusement park using a barbecue on wheels MacGyvered up by number-one customer Teddy (Larry Murphy, The Venture Bros). Meat-slinging, killer-hunting, carnival-frolicking mania and mayhem is the name of the game — dripping one-liners and puns, too, including the obligatory next-door store gag ("Sew You Think You Can Pants" is the film's offering) — and it all makes the leap to cinemas with well-oiled ease. So does the non-stop onslaught of quick gags, verbal and sight included; the extravagant musical numbers and action-flick-esque setpieces, which are all gorgeously choreographed even though they're animated; and the always-loose vibe that can entertainingly feel like the voice cast are just riffing. And, while it might've felt gratuitous, Bouchard and company's efforts to find space for plenty of the series' motley crew of neighbours and other supporting players is as natural as dipping chips in whatever sauce takes your fancy. Also part of this animated gem: robot aliens who hate music, a village inhabited by Wonder Wharf workers called Carnieapolis, fantasy horse rides, creepy skeletons and an underground lair that Wes Anderson could've dreamt up. And, obviously, the overflowing affection for its oddball family that's always made all things Bob's Burgers as engaging as it is firmly remains on the menu as well — as eagerly sprinkled with fondness for the Belchers' many quirks, their routine woes, and their daily efforts to just get by, be happy, love each other and enjoy their modest existence. Without that, The Bob's Burgers Movie would've just been any old film. With it, it's exactly what viewers have adored for over a decade. This show doesn't need to be your regular dish to fall for its charms, though. Whether it's your first bite or your 239th, it's a delight.
With restaurant doors closed to dine-ins and weekend getaways on hold, lots of Victorian producers are living life on the back foot right now. But of course, there's always room in your life for some locally made or -grown goodies, pandemic or otherwise. And now, you can find countless ways to support our homegrown heroes from the comfort of your couch, with the Victorian Government's new Click for Vic campaign. This new website's all about celebrating Victorian businesses and encouraging users to continue shopping local via a curation of online stores. Scroll through to find a handy edit of local booze brands, coffee merchants, fashion retailers, makers and creatives, food producers and more. You can hone in on giftwares to find that special pressie, take a virtual shopping tour of your favourite weekend destination, or browse a selection of eateries offering takeaway and pick-up fare. [caption id="attachment_775941" align="alignnone" width="1920"] Maha on Providoor[/caption] Click for Vic's also partnered up with a handful of other specialised sites to help keep Melburnians connected to their local producers, all of which can be accessed here as well. The Regional Pantry's online store is stocked with a range of goodies from all Yarra Valley producers, while High Country At Home showcases products from across the High Country region, along with expert-led virtual experiences like gin appreciation sessions and cooking classes. Co-Lab Pantry is slinging ready-made meals and pantry staples from a lineup of much-loved Melbourne venues, and over at Providoor, you can order chef-prepared dishes from favourites like Supernormal and Bomba, designed to finish and devour at home. Plus, you'll find a sprawling selection of homewares, gifts, fresh produce, booze and more, to browse and buy online from the Victorian Country Market website. Set up like a virtual marketplace, this one's easy to shop by category or region, with a broad lineup of offerings promising hours of retail therapy. Shop a huge range of local wares by heading to the Click for Vic website. Top images: Co-Lab Pantry
Thanks to the success of Beef, the past year has been huge for Ali Wong. It was back in April 2023 that the hit series arrived, getting audiences obsessed and sparking plenty of accolades coming Wong's way. She won Best Actress Emmy, Golden Globe, Film Independent Spirt and Screen Actors Guild awards for playing Amy Lau, who has a carpark altercation with Danny Cho (Steven Yeun, Nope) that neither can let go of — and that changes both of their lives. The last 12 months have also been massive for the American actor and comedian onstage, all thanks to her Ali Wong: Live tour. Wong has been playing to full houses in the US, and also in Paris and London — and Down Under audiences are just as keen to see her. Before general tickets even go on sale for her Australian visit, she's added extra gigs. [caption id="attachment_946690" align="alignnone" width="1920"] Andrew Cooper/Netflix © 2023[/caption] Wong will head to Australia and New Zealand in July 2024. She initially announced four dates, kicking off in Auckland, then jumping over to Melbourne. From there, she'll work her way up the east coast, next hitting up Sydney before wrapping up in Brisbane. Now, both Melbourne and Sydney have scored extra gigs thanks to the huge demand during the ticket pre-sale period. Behind the microphone, Wong's comedy career dates back almost two decades, including three Netflix stand-up specials: 2016's Baby Cobra, 2018's Hard Knock Wife and 2022's Don Wong. And, as an author, Wong also has 2019's Dear Girls: Intimate Tales, Untold Secrets & Advice for Living Your Best Life to her name. On-screen, Wong doesn't let go of grudges easily, at least in Beef. In rom-com Always Be My Maybe, she's also been romanced by Keanu Reeves. Tuca & Bertie had her voice an anthropomorphic song thrush, while Big Mouth sent her back to middle school. Beef, on which Wong was also an executive producer, earned just as much love for the show overall — including the Emmy for Outstanding Limited or Anthology Series; Golden Globe for Best Television Limited Series, Anthology Series, or Motion Picture Made for Television; Gotham Award for Breakthrough Series under 40 minutes; Film Independent Spirt Award for Best New Scripted Series; and PGA for Outstanding Producer of Limited or Anthology Series Television. [caption id="attachment_722120" align="alignnone" width="1920"] Ed Araquel / Netflix[/caption] Ali Wong: Live Tour Dates — Australia and New Zealand 2024: Monday, July 8 — The Civic, Auckland Thursday, July 11–Friday, July 12 — Palais Theatre, Melbourne Friday, July 19–Saturday, July 20 — ICC Theatre, Sydney Monday, July 22 — Brisbane Convention and Exhibition Centre, Brisbane Ali Wong is touring Down Under in July 2024, with general sales from 9am local time on Friday, March 22 — head to the tour website for further details. Top image: Andrew Cooper/Netflix © 2023.
Whether you were one of those iso bakers tending to your sourdough starter, or simply glued to MasterChef's elimination challenges these last months, there's certainly been something comforting about spending more time in the kitchen right now. And someone who's made a career out of joyfully sharing his passion for at-home cooking is The Living Room co-host and I'm a Celebrity...Get Me Out of Here! winner for 2020, Miguel Maestre. The Murcia-born, Australian chef is well known for repping Spanish cuisine, as well as for his flamboyant presenting style. He's the author of best selling cookbooks Miguel's Tapas and Spanish Cooking, as well as being the ambassador for Stockland Shopping Centres and the owner of Maestre Enterprises — one of Australia's largest Spanish food importers. But not everything Miguel cooks is Spanish leaning. In this live-stream cooking class, he'll show you how to make an easy, midweek meal that'll take just 15 minutes to knock up at home. Miguel's Chicken San Choy Bow borrows from Hong Kong origins and is a zesty crowd-pleaser, plus he'll show you a veggie option and some handy cooking skills along the way. You'll also learn how to whip up Miguel's Fudgy Chocolate Cake with chocolate glaze, as another family favourite. Cook along with Miguel from 6pm AEST on Thursday, June 18. The online cooking class is free to watch, and you can find all the necessary ingredients here. Simply click through to the Facebook event post and click 'going' to make sure you're updated with the live-stream link on the day. And if you're keen to share your prep ahead of or during the event, use the hashtag #stocklandfood for your chance to win a gourmet hamper worth $300. Competition ends at 6pm AEST on Sunday, June 21.
If Four Weddings and a Funeral can come back as a television series, then it appears that another beloved rom-com from the past few decades can too. Continuing a trend that's never going to end — aka building pop culture's future out of its past — How to Lose a Guy In 10 Days is the latest flick getting the small-screen remake treatment. And we do mean small, given that streaming platform Quibi is behind the series. Founded by ex-Disney and Dreamworks bigwig Jeffrey Katzenberg, the newcomer won't launch until next year, but it's being designed as a short-form, smartphone-only service. That means content broken down into eight–to–ten minute chunks for ease of viewing when you're somewhere other than the couch. So, How to Lose a Guy In 10 Days isn't just getting a modernised do-over, but one that'll unfurl in bite-sized pieces. Few details about the rom-com remake have been announced as yet, although it'll be penned by The Mindy Project writer Guy Branum. The underlying premise has been given a bit of a makeover, focusing on an online columnist and an advertising executive who need to prove that they can be monogamous, as TVLine reports. Who'll be stepping into Matthew McConaughey and Kate Hudson's circa 2003 shoes, and whether either will pop up, will be revealed down the line. A release date hasn't been set as yet either, although Quibi is set to drop in April 2020. If and when it'll be available Down Under also hasn't been announced. Until more details hit, check out the trailer for the original How to Lose a Guy In 10 Days below: https://www.youtube.com/watch?v=EFGr2_cOOTk
This post is presented by the All New Toyota Corolla Sedan. The best urban adventures are not only beautiful, stimulating and stacks of fun; they're fresh. They put you ahead of the curve. They make you one of the testers and connoisseurs. And they probably give you the Instagram coup of the day. There's plenty of fun to be had in this city each week, but there's only a small handful of these intrepid moments. We've partnered with Toyota to find the very best shiny-new experiences in Melbourne. Presented by the All New Toyota Corolla Sedan, these are our picks to put you on the road to a life of goodtimes. Now your only challenge is getting to them all. Eat: The Tippler & Co Tucked into a small but well-designed space in East Melbourne, this new bar/restaurant boasts a clean, wood-based aesthetic, and a detail-oriented selection of food and drink that somehow feels both innovative and unpretentious all at once. Instead of a formal dining experience, staff on the floor offer relaxed table service to anyone who so desires and will cheerfully run through the short menu with you. What could at first be overlooked as a small bar menu is in fact a nuanced and varied offering of ornate dishes with both vegan and gluten free options. Our top pick is the beef short rib. Served with sesame spinach, apple and daikon slaw, and edamame (S$22, L$26), the meat in this dish was so tender it just fell off the bone. What more could you want? 58 Wellington Parade, East Melbourne Drink: Nieuw Amsterdam Nieuw Amsterdam is a sophisticated new late-night bar and restaurant full of natural light, dark wood, exposed bricks and an air of class without any of the pretense. Operating over two levels — a light filled restaurant upstairs and a dimly lit bar downstairs, perfect for those late night drinks — this venue is set to become a new favourite. The cocktail menu in particular is vast and inviting, full of inventive twists on the classics and some unusual and tasty original concoctions. The menu is separated into categories such as sweet and sour, stiff, spritz'd (all sparkling) and an entire section featuring drink formulas from some of the best bartenders and bars around the city, including The Alchemist and Polly. There is also an impressive collection of 12 local and imported beers on tap and some well-curated bottled ciders and beer. 106–112 Hardware Street, Melbourne See: New14 Each year the Australian Centre for Contemporary Art offers up some of the country's brightest emerging talent on a platter, commissioning a series of original work that captures the diversity of contemporary practice. Now that ACCA have given such an enormous amount of support to these young artists we get to swoop in and reap all the benefits with a fantastic free showing of all their work. For the exhibition, Danae Valenza is creating a colour organ out of a grand piano and coloured lights, with accompanying photographic 'portraits' of the performances played on it, while Kenny Pittock will showcase a large number of drawings and videos of Melbourne passengers in transit. Get along and spot yourself looking bored on the 112 tram. March 15 to May 18, ACCA, 111 Sturt Street, Melbourne Do: Festival of Live Art Good things are coming in big packages these days. White Night devoured the CBD whole last month, the Melbourne International Comedy Festival is right around the corner, and in the meantime we've been offered up the very first Festival of Live Art — a behemoth of a thing bustling with new and exciting work that closes the increasingly ambiguous gap between art and theatre. In a joint venture between Arts House, Theatre Works and Footscray Community Arts Centre, the festival will take place at multiple venues over the two-week period, and better yet: most events are free. Take a look at the program and plan your full experience, or drift in and out of our top ten picks. March 14-30, all around Melbourne
Two Australian music legends. Decades of collaboration. One long-awaited album. One huge tour. That's the maths behind the Australian leg of Nick Cave and Warren Ellis' Carnage tour, which Cave first announced was in the works back in early February via his The Red Hand Files email list. Now, after already locking in dates in Hanging Rock — which have sold out, unsurprisingly — the duo have unveiled their full 2022 Aussie tour schedule. Yes, this is some news to come sail your ships around — with 15 gigs slated in five states and one territory, all from mid-November through to mid-December. The tour will kick off with a two-night stop in Adelaide, before heading to those Macedon Ranges gigs, then to Canberra, Melbourne, Perth, Brisbane, the Gold Coast, Tamworth and Newcastle. And, to cap things off, Cave and Ellis will hit up the Sydney Opera House's newly revamped Concert Hall for a two-gig big finale. [caption id="attachment_845539" align="alignnone" width="1920"] Palma Sabina[/caption] The pair are doing the rounds to support the 2021 album that shares the tour's name, which actually marks Cave and Ellis' first studio album as a duo. Bandmates across several projects since the 90s — including Nick Cave and the Bad Seeds, and Grinderman — Cave and Ellis are Aussie icons, with careers spanning back decades. Together, they also boast more than a few phenomenal film scores to their names as well, including for The Proposition, The Assassination of Jesse James by the Coward Robert Ford, The Road, West of Memphis, Far From Men, Hell or High Water and Wind River. Cave and Ellis are heading home after an American Carnage tour, and following Cave's subsequent tour with the Bad Seeds in Europe. "I can't begin to tell you how happy Warren and I are to be finally returning to Australia to perform. The wait has been way too long. See you all soon for the Carnage experience!," said Cave, announcing the news. [caption id="attachment_845538" align="alignnone" width="1920"] Laurine Payet[/caption] It's already been a big year for fans of Cave and Ellis, thanks to film This Much I Know to Be True, as directed by Chopper, The Assassination of Jesse James by the Coward Robert Ford and Killing Them Softly filmmaker Andrew Dominik. It explores Cave and Ellis' creative relationship, largely through watching them at work in stunning live scenes. Dominik also made 2016 Cave doco One More Time with Feeling, and his latest flick is available to stream now. [caption id="attachment_845537" align="alignnone" width="1920"] Laurine Payet[/caption] NICK CAVE AND WARREN ELLIS 'AUSTRALIAN CARNAGE' 2022 TOUR: Tuesday, November 22—Wednesday, November 23: Festival Theatre, Adelaide Friday, November 25—Saturday, November 26: Hanging Rock, Macedon Ranges — SOLD OUT Monday, November 28–Tuesday, November 29: Canberra Theatre, Canberra Friday, December 2: Palais Theatre, Melbourne Monday, December 5—Tuesday, December 6: Riverside Theatre, Perth Friday, December 9: Brisbane Convention and Exhibition Centre Great Hall, Brisbane Saturday, December 10: Gold Coast Convention Exhibition Centre, Gold Coast Monday, December 12: Tamworth Regional Entertainment and Conference Centre, Tamworth Wednesday, December 14: Civic Theatre, Newcastle Friday, December 16—Saturday, December 17: Sydney Opera House, Sydney Nick Cave and Warren Ellis' Australian Carnage tour will head around the country in November and December 2022. Tickets go on sale at 10am local time in each city on Friday, July 29 — for more information, head to Nick Cave's website. Top image: Megan Cullen.
Having cemented its status as a firm favourite in the Mornington Peninsula beer scene, one young brewery now has its sights set on the big smoke. Dromana's locally made and locally loved Jetty Road has announced plans to open a huge brewery and gastropub in the heart of South Melbourne. The team has lodged an application to transform a sizeable chunk of real estate on Market Street into a multi-storey beer oasis, complete with a fully operational microbrewery, a 250-seat modern Australian restaurant and a mezzanine dining space. The new venue is set to bring Jetty Road's trademark laid-back coastal vibes to the city, reimagined with an urban edge. More concrete plans will be revealed once the project's officially been given the green light, though we do know Head Brewer Blake Bowden is keen to start working on some new experimental beers and launch a barrel-aging program. [caption id="attachment_736959" align="alignnone" width="1920"] Jetty Road Brewery, Dromana[/caption] The team is still waiting on planning approval for the new South Melbourne site — which should come through, hopefully, next month — but hopes to open the doors by late 2020. Jetty Road's Mornington Peninsula brewery launched in late 2018, making its home within the now buzzing Dromana Industrial Estate, and is known for its signature easy-drinking brews including a pale ale, an IPA and the mid-strength Steady Street. Jetty Road Brewery is slated to open at 139–145 Market Street, South Melbourne in late 2020, pending approval of its development application. In the meantime, you can find Jetty Road Brewery at 12–14 Brasser Avenue, Dromana. Image: Jetty Road Brewery, Dromana
Move over Vault. Move over giant french fries that farewell you as you leave for the airport. Melbourne just got another confusing public artwork. But this one actually has a very useful function. Unveiled today in the Queen Victoria Gardens (opposite the NGV), MPavilion is Melbourne's newest cultural institution — a temporary purpose-built structure to house 118 free events over the next four months. Commissioned by philanthropist Naomi Milgrim and designed by architect Sean Godsell, MPavilion was built with the goal of facilitating important public discussions and art events in Melbourne. Though it launches this week as part of the 2014 Melbourne Festival, it will also have an important role to play in Melbourne Music Week, various events from ACMI, and many initiatives with local arts organisations. Splitting its regular programming into MTalks, MMusic and MMeets, the new space will be constantly packed full of talented people and exciting events. Each Tuesday night, designers, academics and curators will host stimulating panels. Sunday afternoons from October 19 will see the pavilion filled with free concerts. And on Wednesdays and weekends the space will be a clubhouse for different activities — from expert tea-drinking to a themed bike ride around the city. But it's not just the huge program of events that makes this project interesting; the structure itself is a bit of an enigma. "[It was] conceived s architecture that 'blooms like a flower'," said architect Sean Godsell. "The pavilion will 'open' each morning and 'close' at the end of the day in a number of different configurations ... It has a mysterious box-like quality at night." Inspired by the pavilions that pop up at London's Serpentine Gallery, MPavilion aims to push the boundaries of public architecture and place Melbourne on the cutting edge of modern design. And, though the great metal beast may appear odd plonked in the middle of city park, it looks relatively tame compared to some of its incredible predecessors. Nonetheless, we couldn't be happier about it. You can check it out for yourself from Tuesday, October 7 as it launches to the public, or wait until it's abuzz with Melbourne Festival goodness from October 11. All events are free of charge, but some may be ticketed due to capacity limitations. Even if the pavilion's full, we highly recommend eavesdropping while splaying out on the grass. Your picnic plans just got a whole lot more arty. Photos: Earl Carter.
Whether you've never ice skated before or you're the next Torvill or Dean, you'll feel totally comfortable doing your thing at the Rink on Watton. This family-friendly pop-up is for skaters of all levels. You'll find it in the car park at Wyndham Cultural Centre, around 40 minutes' southeast of the Melbourne CBD. But you'll have just nine days — from Saturday, July 5–Sunday, July 13 — to check it out. On top of regular ice skating, which happens from 10.30am–8.30pm daily, keep a lookout for themed sessions and sets by live DJs. Plus, in between spinning, jumping and criss-crossing, you can refuel at the onsite food stalls, where local businesses are peddling winter-inspired treats. Can't find time to make it to Wyndham this July? There are plenty of other spots to ice skate around Melbourne — from O'Brien Icehouse in Docklands to IceHQ in Reservoir. And we're expecting more rinks to pop up this winter, so watch this space.
Nothing starts a week on a high note quite like a good old fashioned boogie. Especially when you can really let loose, dancing free of inhibition at No Lights No Lycra's Monday night East Brunswick session. Born in Melbourne and now loved the globe over, this free-form dance class invites punters to sweat and groove in their own style, the room dimmed to nix any of the self-consciousness that sometimes comes from dancing in front of strangers. Expect cranking tunes, a fun and friendly atmosphere, and a high-energy workout guaranteed to get your blood pumping.
As it continues in a push to produce more inclusive exercise gear, Lululemon has this week launched a new range of workout hijabs across selected international stores. The performance and lifestyle hijabs come in two styles available to buy now across New Zealand and Australia, with a third set to launch later this year. Each hijab is made using the buttery soft, sweat-wicking fabric Lululemon is famous for and offers a series of adjustable fits suited to the gym, a home workout or just those humid days of summer. The pin-free Performance Hijab ($55 AUD/$65 NZD) comes in both black and blue, and features an adjustable drawstring so it stays fitted into place while the user is working out — perfect for runners and HIIT lovers. The more traditional Scarf-Style Hijab ($49 AUD/$55 NZD) comes in soft jersey fabric and can be worn tied, twisted or tucked depending on preference. This one might be more suited to lower intensity styles, like pilates and walks. Lastly, the OTM Pull On Hijab ($49 AUD/$55 NZD) which is set to launch later this year, also has an over the head design and can be worn wrapped around the shoulders or tucked into the front of the shirt. Luluelmon certainly isn't the first activewear company to produce a hijab suited to exercise: Adidas has an option available to purchase online with its famous three stripe logo and Nike also has a monochromatic range. Under Armour also has an option with built-in headphone access. It would be great to see more brands follow suit, including locally made and designed options. The Lululemon performance hijab range launched Monday, June 6 and can be found now in select stores across Australia and New Zealand. For more information, head to the website.
Chinese New Year is coming up, and in 2016 we’ll be ringing in the Year of the Monkey (goodbye Year of the Sheep, go sleep it off). And what’s the best way to partake of the celebration? We’ve got it right here and it’s more fun than a barrelful of monkeys. Well, actually it is a barrelful of monkeys. Dumpling masters Din Tai Fung are offering new limited edition ‘Monkey Buns’ for the month of February and they are literally the cutest food we’ve ever seen. Just look at them. Din Tai Fung are famous for their dumplings and are known to release beautiful and novelty dumplings for special occasions (check out these adorable little lamb buns from last year). The monkey bao buns are steamed-to-order and stuffed with a sweet filling of chocolate and banana. They’re part of a series of new dishes being added to the menu from February 1 including crispy golden seafood roll, braised Szechuan sliced beef noodle and vegetarian egg fried rice with mushroom and truffle oil. The only problem we can foresee is that eating those sweet little monkey faces may be hard…but we’ll probably manage it. Monkey Buns are available for $4.80 per piece from Din Tai Fung restaurants from February 1 – February 29.
Some film festivals take audiences to corners of the globe they won't visit in the multiplex, shine a spotlight on different cinematic voices, and showcase the wealth of talent working beyond the English-speaking realm. That's not the British Film Festival's remit. Here, you'll find recognisable names and faces aplenty as the best new movies Old Blighty has to offer embark on a tour of the antipodes. Taking place between late October and early November at Palace Cinema Como, Palace Balwyn, Palace Brighton Bay and The Astor Theatre, this year's lineup includes Andrew Garfield and Claire Foy in opening night film Breathe, which marks the directorial debut of The Lord of the Rings star Andy Serkis, as well as Nicole Kidman and Elle Fanning in the eagerly anticipated How to Talk to Girls at Parties. The former tells a true tale of a couple striving to overcome a death sentence from polio, while the latter is a queer sci-fi rock-punk comedy based on a Neil Gaiman short story and directed by Hedwig and the Angry Inch's John Cameron Mitchell. Yep, this program might speak the same language as Australians, but it's serving up a variety of stories. If you're going to put one flick to put on your must-see list, make it The Death of Stalin. It's the latest from The Thick of Itand Veep creator Armando Iannucci, and features everyone from Steve Buscemi to Jeffrey Tambor to Michael Palin. Other highlights include Fanning again in Mary Shelley, a biopic about the writer behind Frankenstein that's helmed by Wadjdadirector Haifaa Al-Mansour, as well as England is Mine, with Dunkirk's Jack Lowden playing none other than Morrissey. Elsewhere, Saoirse Ronan stars in On Chesil Beach, her latest Ian McEwan adaptation after coming to fame in Atonement, while true story 6 Days recreates the 1980 storming of the Iranian embassy in London with Mark Strong, Jamie Bell and Abbie Cornish. BFF also boasts docos about Manolo Blahnik and Eric Clapton, a biopic about AA Milne and the genesis of Winnie the Pooh, and one of the last films to feature the late John Hurt in That Good Night. Looking back as well as forward, a selection of Agatha Christie adaptations round out the lineup. Timed to coincide with the new version of Murder on the Orient Express, the program includes the 1974 take on the same tale, plus three other classics.
When Toy Story hit cinema screens back in 1995, the Oscar-winning movie made history as the first entirely computer-generated feature-length film. The huge Pixar hit also made audiences everywhere fall hard for a bunch of loveable playthings, because you're never too old to find a friend wherever you need it. It's completely okay if you're feeling a little wistful and teary just thinking about it. Nine years after the last Toy Story movie, the animation studio is counting on that very sentiment — and that viewers everywhere just aren't ready to farewell these animated pals. While 2010's Toy Story 3 was pitched as the final flick in the series, this film franchise could reach to infinity and beyond. For now, it's just unveiling its next chapter. Releasing on the big screen in June, Toy Story 4 sees the return of Woody, Buzz Lightyear and the gang (and the return of Tom Hanks, Tim Allen and company as voice talent). Given that Andy, the protagonist from the original three flicks, has given away all of this toys, the group are now the proud property of Bonnie — and a new adventure awaits, as does a new homemade buddy called Forky (Tony Hale). Keegan-Michael Key, Jordan Peele, Christina Hendricks and none other than Keanu Reeves also join the voice cast — the latter playing a daredevil character called Duke Kaboom, and likely saying "whoa!" more than once. Check out the full trailer below, and prepare to get mighty nostalgic: https://www.youtube.com/watch?v=wmiIUN-7qhE Toy Story 4 releases in Australian cinemas on June 20, 2019.
If you're a science-fiction fan — and a lover of 2008's Cloverfield and its 2016 follow-up 10 Cloverfield Lane, specifically — then you might want to cancel your plans for tonight. With barely a few hours notice, Netflix is now streaming the third film in the franchise. Yes, today. No, that's not a typo. Previously called God Particle, it's now going by the name The Cloverfield Paradox, and it's now available worldwide (yes, even on Australian Netflix) via the streaming platform the moment the New England Patriots and the Philadelphia Eagles walk off the field. Haven't even heard of the flick, even though it stars Black Mirror's' Gugu Mbatha-Raw, The IT Crowd's Chris O'Dowd, Inglourious Basterds' Daniel Brühl, Selma's David Oyelowo, Crouching Tiger, Hidden Dragon's Zhang Ziyi and Aussie actress Elizabeth Debicki? That's okay — the first trailer for the movie only aired during the game, bearing the words "only on Netflix tonight" at the end. The news that it'd be available via Netflix rather than in cinemas is a recent development, too. Initially, it was set to release in theatres last year, before being moved to February 1 this year and then later this year. In fact, up until a few minutes ago, we still had the film in our review schedule for April. https://www.youtube.com/watch?v=8brYvhEg5Aw&feature=youtu.be In taking on a star-filled, decent-budget movie that was originally made to be viewed in cinemas, then releasing it for all the world to see with very little warning, Netflix is in uncharted territory. If this was another sci-fi saga, we'd say they're boldly going where no one has gone before. It's great news for film buffs eager to watch something when and where they want — and not be at the mercy of different release dates around the world — but it's also indicative of a new trend. Paramount, the studio originally behind The Cloverfield Paradox, did something similar with fellow sci-fi title Annihilation, the latest effort from Ex Machina's Alex Garland. As The Hollywood Reporter noted in December last year, it decided to find another avenue for the film after worrying it was "too intellectual" and "too complicated" for viewers. If you think that sounds a little patronising, you're not alone. The Atlantic ran through some of the worries behind the strategy, but, in short, it could be a sign of not-so-great things to come. At a time when cinemas are filled with endless Star Wars instalments and multiple superhero cinematic universes — not that there's anything wrong with that, either — movies like The Cloverfield Paradox and Annihilation are becoming increasingly rare. Not just sci-fi flicks, but anything that doesn't fit into an existing franchise, remake/reimagine/reboot a recognisable property or star The Rock (or, sometimes, all of the above). And while they're frequently the films that do extremely well at the box office, audiences do want to see other things too. We don't just want our cinematic candy — bright, loud, comfortable and familiar — but fare that's are different, intriguing, unusual and unexpected as well. Of course, the Cloverfield franchise has a history of surprise reveals, keeping things close to its chest and doing things differently. The first film, a found-footage monster effort, gave very little away before the movie hit cinemas. The second, which focused on Mary Elizabeth Winstead in a bunker with a possibly hostile John Goodman, only released its first trailer and confirmed that the movie even existed a month before it was released. Netflix's plan of attack with The Cloverfield Paradox makes that seem positively slow. But, when you're settling down to watch the flick from today onwards, here's hoping that you'll still be able to see movies like this on the big screen in the future. The Cloverfield Paradox is now streaming on Netflix here.
This winter, you won't be chasing the sun and soaking in a European summer. But, thanks to eased domestic border restrictions and the trans-Tasman bubble, you can spend the chilliest part of the year surrounded by snow. Of course, whether you're planning to ski, snowboard or just build a snowman, you'll need to rug up — and whatever is currently in your wardrobe mightn't do. Each year — except 2020, for obvious reasons — Aldi hosts a big sale on snow gear, offering good quality gear at almost ridiculously low price points. It's back in 2021, so mark Saturday, May 22 in your diary. That's when you can head to your nearest Aldi supermarket to pick up everything from snow jackets and boots to face masks and beanies. Available at stores across the nation, and made to withstand extreme weather conditions, 2021's range of gear includes six different varieties of snow jackets, which start at $39.99 for something light and go up to $119.99 for windproof and waterproof numbers; four types of snow pants, including one style with adjustable leg and waist cuffs for $99.99; and ski fleece sets, featuring a hoodie and a pair of pants, for $19.99. Boots for both kids and adults start at $19.99, helmets will cost you between $19.99–$24.99, and you'll be spending between $4.99–$34.99 for masks, beanies, neck warmers, cabin socks, gloves and balaclavas. Kids clothing is part of the deal, too, if you'll be travelling with younger skiers — ranging from $19.99–$34.99. Once you're all kitted out, you're certain to stay toasty if you're making the trip to Perisher Valley, Thredbo, Falls Creek, Hotham or anywhere else local where snowy peaks are a feature. If you're hopping across the ditch instead, you'll find plenty of items to stop you getting frosty up at New Zealand's ski fields.
Life is a cabaret, old chum — or at least that's what we've been told. Now we'll get the chance to find out. Heating up venues in both Prahran and the CBD, the latest edition of the Melbourne Cabaret Festival will welcome more than 100 different performers from around Australia and the world, for two weeks' worth of singing, dancing and outrageous fun. This year's festival hub will be based out of Chapel Off Chapel, with additional shows at The Space Arts and Dance Centre and Love Machine Nightclub in Prahran, as well as The Butterfly Club in the city. The fun begins on Tuesday, June 14 with an opening night gala featuring some of the biggest acts of the festival, and won't stop until Sunday, June 26, with a closing night billed as "Australia's biggest piano bar party". In between, punters can check out over 40 different shows. UK performer Joe Stilgoe will pay tribute to Hollywood with a showcase of songs written for and inspired by some of the greatest films of the last century, while Steve Ross — dubbed The Crown Prince of New York Cabaret by The New York Times — will perform a selection of tunes from the 1920s and '30s. Standout local performers, meanwhile, include Yana Alana, Imogen Spendlove, Geraldine Quinn and Rod Davies, the last of whom you might know as the voice from the Good Guys commercials. The Melbourne Cabaret Festival runs from June 14-26. For the complete lineup and to secure tickets visit melbournecabaret.com.
In 1977, Robyn Davidson decided she would walk west from Alice Springs until she hit the Indian Ocean, taking with her only her beloved dog and four camels. She was determined to do this alone, but, finding herself in need of money, was forced to allow National Geographic photographer Rick Smolan to document her journey. Davidson was told the trek would be suicide, but, undeterred, she set out anyway on her perilous, eventful journey. Filmmakers have been trying to adapt Tracks since the early 1980s, with even Julia Roberts attached in 1993. This is the sixth (and, clearly, the only successful) attempt to bring Davidson's story to the screen, and one has to wonder: what's with all the fuss? Davidson's story is certainly remarkable in terms of human achievement, but given our cinema is notoriously awash with characters undertaking dangerous walks across the unforgiving Australian landscape, do we really need one more? 'Need' is probably too strong a word. It's made. It's here. And all told, it's pretty good. Mia Wasikowska is especially impressive as Davidson, imbuing her with a determination required to sell the character. She delivers lines with a certain brand of confidence so rare in Australian acting. Lines of dialogue that would clearly clang noisily to the ground when delivered by others float effortlessly from Wasikowska's mouth. It's pretty clear why she's enjoyed such international success. Adam Driver, best known from Lena Dunham's Girls, is equally superb as Smolan. Driver is a compelling presence, and though his character is an irritant to Davidson, he is a welcome presence to us whenever he appears. The film's biggest problem is the lack of motivation. Davidson may have felt a compulsion apropos of nothing, but the rules of film are different. If we're to invest in this journey, feel sympathy for our heroine, we need to feel some portion of what she feels. We need to care. And "I felt like it" doesn't quite get us there. This, naturally, almost undermines the entire movie. It's difficult to relate to someone doing something seemingly pointless the hard way, for the sake of doing it the hard way. I suspect Davidson's memoir does a better job selling us on this, but the audience should not be expected to read the book first. That said, it's a testament to the film that it can survive this misstep so well. John Curran's direction is effective and tangible, and Marion Nelson's screenplay depicts Davidson's isolation particularly well. Mandy Walker's superb cinematography makes the landscape seem terrifying and seductive all at once. Title cards at the end inform us what happened next, and give the proceedings an annoying retroactive feeling of unearned worthiness, souring this reviewer at the worst possible moment. Despite this, Tracks is an engaging, beautiful film that overcomes its flaws impressively. https://youtube.com/watch?v=RyDCfuYTX_U
