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
If you missed last year's Yoko Ono/Opening Ceremony collaboration entitled Yoko Ono Fashions for Men 1969-2012, let me give you a minute to follow the link and get back to me. Wow. Right? LED nipples on a bandeau bra, thigh-high boots and some arseless chaps topped off with some good ol' fashioned ball grabbing! Who knew men's fashion had changed so little in the past 40 years. Half absurdist, half straight-shooting statement on fashion and all Ono, the line was based on sketches made during her relationship with John Lennon. The 80-year-old revealed the songwriter served as her muse, inspired by "love for his hot bod". I bet Sean loved hearing those Lennon family classic stories. Just under six months later and she has jumped back into bed with Opening Ceremony to bring us the next instalment, Yoko Ono Make-Up Tips for Men. It's 1 min 30 of tips on how boys can make themselves pretty, with a noticeable lack of eyeliner and set to a remix of Ono's own 'The Sun Is Down'. The video moves through three sections/moods: day make-up, evening make-up and dawn make-up — or, rainbow time, sparkling time and erasing time. In many ways this video looks like a Family Guy parody of itself, and a stupefied Peter Griffin at the 1 min 27 second mark is an easy edit we can all look forward to seeing on YouTube. But, sarcasm aside, this video is definitely worth some of your conversation time — proof that Yoko still has a lot to say about the Y chromosome, sexuality, self and that she still knows how to say it Ono style. War Is Over (If you want it), an exhibition of Yoko's work across multiple disciplines, will be on at Sydney's Museum of Contemporary Art Australia in November 2013. Cross fingers, the artist herself will also be present. Via HuffPo Culture.
Join some of the brightest minds in science, design and architecture as they tackle arguably the most important question facing humanity today. As the global population creeps towards nine billion and global temperatures reach a tipping point, cleaner, more resilient cities could hold the key to our salvation. But only if we're willing to build them that way. This high energy symposium, co-presented by Melbourne Design Week and The New York Times, will be chaired by Craig Reucassel of The Chaser and War on Waste, and will feature Breathe Architecture director Bonnie Herring, Finding Infinity founder Ross Harding, University of Newcastle professor Sue Anne Ware, and environmental activist Joost Bakker. It will also include an interactive keynote address by Dutch artist and innovator Daan Roosegaarde about the social role of art and design. Image: Daan Roosegaarde.
The First Time just keeps proving a fitting album title for The Kid LAROI. The just-released record is the Australian singer-songwriter's first studio album. Now, it also lends its name to his first-ever Down Under stadium tour. Big star, big record, big tour news: that's The Kid LAROI story right now. Mere days after The First Time dropped, the tour of the same name has been announced for a six-city Australian and New Zealand run in February 2024. Charlton Kenneth Jeffrey Howard will kick things off at Melbourne's AAMI Park on Friday, February 2, before heading across the ditch to play Auckland's Spark Arena on Monday, February 5. Then it's back to Australia, where Perth's HBF Park awaits on Friday, February 9; Adelaide's Coopers Stadium on Tuesday, February 13; Sydney's Commbank Stadium on Friday, February 16; and finally CBUS Super Stadium on the Gold Coast on Sunday, February 18. The Kid LAROI's debut studio album might be a brand-new arrival, but he's been releasing music since 2018 — solo, and also teaming up with everyone from Juice WRLD and ONEFOUR to Justin Bieber. Accordingly, fans can look forward to hearing 'Stay', 'Without You', 'Thousand Miles', 'Love Again' and more this summer. The stadium tour follows The Kid LAROI's first headline Australian tour back in 2022, which sold out arenas across the country, sparking the addition of more dates. The First Time tour has only announced one show per city so far, but they're all spaced out enough that adding extra gigs due to demand won't come as a surprise if it happens. "I'm so excited to be coming back home in February! I felt so much love from the fans on last year's tour — it's something I'll never forget. I can't wait for you to all see this new show — we've taken things to a whole new level," said The Kid LAROI, announcing the Australian leg of the tour. "I can't wait to play New Zealand in February! I've always wanted to visit and I'm so excited to bring this new show to the NZ fans. I promise it'll be worth the wait! I love you all and I'll see you very soon," he added about his Spark Arena concert. THE KID LAROI THE FIRST TIME TOUR 2024 DATES: Friday, February 2 — AAMI Park, Melbourne Monday, February 5 — Spark Arena, Auckland Friday, February 9 — HBF Park, Perth Tuesday, February 13 — Coopers Stadium, Adelaide Friday, February 16 — Commbank Stadium, Sydney Sunday, February 18 — CBUS Super Stadium, Gold Coast The Kid LAROI is touring Australia and New Zealand in February 2024, with presales starting from Thursday, November 16 and general sales on Monday, November 20 — head to the Australia and New Zealand ticketing sites for more information. Top image: Adam Kargenian.
If you've ever turned up at a house party and been sorely disappointed by the lack of penguins, this is the event for you. The Melbourne Sea Life Aquarium is throwing another series of aquarium parties — because why the heck not? The Friday night series kicks off with a party on February 8, and is the perfect opportunity to stare down a fish right in his slimy eye while sipping a cocktail. Aquarium parties will then be held in March, May, August and finish with a Halloween-themed soirée in November. Tickets are a bit exxy at $49 for early birds and $59 afterwards, but the price includes a cocktail and a snack on arrival. Further drinks and food can be bought over the bar, and a DJ will be playing all night. Entry into the aquarium (usually around $34) is obviously included as well which means you'll get to look at the 10,000-plus creatures, including one of Australia's largest saltwater crocodiles (probably the only time in your life you might be pleased to see a crocodile at a party). Sea Life Nights run from 6–10pm.
In the last couple of years, the humble bicycle has come to symbolise a few things. On one hand, it's been used as a symbol of sartorial hipness and, on the other, it's been held as the hero alternative to cars that consume too much space and omit carbon pollutants. But in the battle of 'car vs. bike', there's been a vital part of 'travel' that the bike lacks. Aside from its eco-friendly and aesthetically pleasing points, traveling via bike leaves no room for stuck-in-traffic music, which can help with lightening your mood a great deal. Taiwan-based Bone Collection has designed a bike horn that doubles as an amplifier. The silicone case holds the iPhone and can be attached to your bicycle, allowing you to use it to play sweet music and use the inbuilt iPhone GPS app to help you leisurely navigate your way through sticky traffic situations. An added brown (or should I say green?) point is that the silicone cases are washable. It can also be used as a speaker (without an external power source) and has an additional spot for your charger. [via PSFK]
In case there was still anyone out there who thought donning a Native American style headdress was a totally appropriate, acceptable, fun-loving thing to do, one of the world's biggest music festivals has just laid down the law. Glastonbury has officially banned the sale of these offensive accessories from their 2015 festival. The decision announced today comes after a well-researched Change.org petition was submitted to the festival's organisers. Though it only gained a humble 65 signatures, the petition made some salient arguments that have been echoed by most of the world for the last few years. "[Wearing these headdresses] is an offensive and disrespectful form of cultural appropriation," the petition read. "It homogenises diverse indigenous peoples, and perpetuates damaging, archaic and racist stereotypes." Amen. Though cultural appropriation is still a contentious topic with no hard and fast answers (see: bindis/everything to do with Miley Cyrus), most people are on the same page in regards to headdresses — well, everyone except Harry Styles. And, if the thought of being on the same side of this debate as One Direction didn't irk you out enough, trust us, there are a lot of other reasons to stand against it. Though a couple of other festivals around the world (including Australia's own "no dickheads" darling Meredith) have banned these headdresses from being worn at all, the new ban at Glastonbury will only relate to their sale. Though we'd obviously rather they get rid of them completely, it's a great step in the right direction. Last month, Glastonbury was declared "the most influential festival on the planet" after a survey conducted by Spotify. Here's hoping this policy proves as popular as their headline acts. Via Music Feeds. Photo credit: Shell Daruwala via photopin cc and Hipsters in Headresses.
Which do you love more: picking up a haul of new plants at bargain prices, enjoying that much cherished weekend sleep-in or having a few brews? If your answer is all three, you'll be pleased to know you can have your cake and eat it too when The Mill Brewery plays host to a couple of after-dark plant sales later this month. Greenery-loving pop-up Wandering Jungle invites punters to drop by after work, pick up some lush new foliage for their collections and then party on into the night. Kicking off at 4pm on both Wednesday, February 6 and Thursday, February 7, the event will showcase a variety of indoor plant species for you to browse and buy, from birds of paradise to plenty of cacti to the good ol' fiddle leaf fig. To round out the evening shopping experience, Fatboy's Food Truck will be slinging pizza, nachos and share platters, while local DJ favourites Matka and 6am at the Garage work their magic on the decks. And drinks-wise, the bar will be serving up its usual selection of tasty libations — including $6 schooners of beer on tap, ciders and wine during the 5–7pm happy hour. Image: Wandering Jungle.
The Prodigy, Basement Jaxx, Fred again.., Skrillex and Happy Mondays have played it. De La Soul, Aphex Twin, Carl Cox and deadmau5, too. For dance-music fans, and just music fans in general, The Warehouse Project's fame extends far past its Manchester home. The event itself is now roaming further than Britain as well, including debuting in Australia in 2024 and returning in 2025. Yes, Manchester's rave scene is heading Down Under again — and to Melbourne for the second year in a row. This time, Partiboi69, Hector Oaks, X-Coast, Miss Bashful, Carla Martinez are hitting the decks at PICA on Friday, April 25. The Manchester institution first went international in 2023 in Rotterdam and Antwerp, before making the jump to Australia. It was back in 2006 that The Warehouse Project first unleashed its club nights on its birthplace, kicking off in a disused brewery and then moving underneath Manchester's Piccadilly station, in a space that's also been an air-raid shelter — and also to a warehouse that dates back to the 1920s. Now, it calls former railway station Depot Mayfield home when it's on in its home city. The Warehouse Project Australia 2025 Lineup Partiboi69 Hector Oaks X-Coast Miss Bashful Carla Martinez Images: Duncographic.
While forking out hundreds of bucks for music festivals seems commonplace, indie label Lesstalk Records of Footscray are bucking the trend and have created their own DIY festival for only $25. Set in the laid-back, green surrounds of Forrest (1.5 hours from Melbourne), it's a chance to escape from your everyday life and be introduced to new bands from Lesstalk — as well as their friends from around the country. What they are offering is simple: a place to relax and listen to music. Spread across two nights, you will need a place to rest your head, so Artless Armchair 11 offers a range of camping and cabin options at The Wonky Stables for an additional fee. However these are still dirt cheap at just $30, compared to the money-grabbing popular festivals. When you’re not enjoying the music, the location is perfect for going for a bush walk, having a dip in the nearby dam, or just sitting back and saying, "How’s the serenity?"
It's been one heck of a tough year for the country's bar industry, as venues spent months navigating lockdowns, restrictions and, more recently, capacity limits. But despite all the craziness, Australia has still managed to make a splash at this year's edition of the World's 50 Best Bars Awards. Four local drinking establishments each nabbed themselves a spot among the 51–100 top bars in the world, as announced last week. Those voted in the top 50 will be revealed at a separate virtual awards ceremony held on Thursday, November 5. All four Aussie bars to make the 51–100 list are located in Melbourne, which has just lived through some of the world's toughest COVID-19 restrictions as part of its second-wave lockdown. Fitzroy bar The Everleigh snagged the 73 spot, while newer CBD haunt Byrdi came in at 80. Petite Collingwood bar Above Board followed not too far behind at number 84 and the long-running Black Pearl — which has scooped a spot in the Top 50 list numerous times throughout the award's 12-year history — was voted in at 98. [caption id="attachment_748362" align="alignnone" width="1920"] Byrdi by Kate Shanasy[/caption] Elsewhere on the list, London's Scout (by the now Sydney-based bartender Matt Whiley) came in at 51, while the USA had seven bars in the lineup, including The Dead Rabbit in NY and San Francisco's Trick Dog. The annual awards are voted on by over 540 bar industry experts from around the world, including bartenders, consultants, drinks writers and cocktail specialists. Australia will now wait to see if any more local venues make it into the World's 50 Best Bars list later this week. Last year's one–50 lineup featured just one Aussie bar, with Sydney's Maybe Sammy taking out position 43. Check out the full World's 50 Best Bars Awards 51–100 list at the website. The one–50 list will be revealed at 3pm UK time on Thursday, November 5, via Facebook and YouTube. Top image: The Everleigh by Gareth Sobey
Where: Numerous venues around Sydney When: January 8-30, 2012 (tickets on sale November 9) Web: www.sydneyfestival.org.au The reinvigorated Sydney Festival has completely transformed our city in summer (note the flagpoles which every year proclaim just that) and it’s made Sydney a truly amazing place to be in January. The whole city is turned into a summer wonderland, there’s something amazing to do every single night, and people flood The Domain to see sophisticated performances while merrily sipping beer, cider, goon or all three. But mostly what the Sydney Festival does is bring us some truly spectacular performers – Sufjan Stevens, Grizzly Bear, Emmylou Harris, Camera Obscura and this year's headliner, PJ Harvey – whose artistic merit is second only to their ability to entertain. The Sydney Festival now has a total audience of about 1 million, making it the most attended cultural event in Australia. Every year the festival grows and improves, and with the state government recently giving the Festival a heap of cash to extend their program, it makes the prospects for this summer’s partying very exciting indeed. Concrete Playground has compiled a short list of musical, theatrical and artistic must-sees and -dos during Sydney Festival 2012. Click on the images below to read on...
It's been winning over fans since opening its OG pasta and wine bar in Highett in mid 2020. But Abbiocco is about to earn itself a whole swag of new loyal followers, as it adds to the family with a second outpost, this time in the heart of St Kilda. Abbiocco 2.0 has set up shop on Barkly Street, its light-filled space paying homage to its sibling with a mix of olive green tones, terrazzo flooring and timber slatting throughout. The name references an Italian phrase that loosely translates to 'food coma', hinting at the kind of generous feasting situation that awaits you here. Familiar Italian flavours are given a creative, contemporary refresh and, while the menu shares a similar feel to that of its Highett counterpart, it's also a treasure trove of new additions, too. Pasta is the hero, made fresh in-house each day. You might be in for prawn tortelli starring fennel and lemon thyme butter, pumpkin gnocchi with gorgonzola and wattleseed, or a pork sausage campanelle finished with chestnuts. A strong antipasti lineup includes the likes of preserved lemon and baccala arancini, veal carpaccio matched to a rocket gremolata and black garlic, and even Abbiocco's own mortadella, served with veneti peppers and pistachios. There's a hefty t-bone for those looking beyond a pasta fix, and revamped classics like mandarin bomboloni and lemon myrtle cannoli beckon from the dessert list. Meanwhile, the wine offering celebrates Aussie drops alongside plenty from the homeland, with an impressive range pouring by the glass — you can just as easily match your after-work snacks with a Yarra Valley savarro by Soumah, as with the Caprili Rosso Di Montalcino sangiovese out of Tuscany. A collaboration lager made with Bad Shepherd headlines a solid craft beer lineup, while cocktails sport a distinctly Euro lean; from the blood orange negroni, to a limoncello and grapefruit spritz. Find Abbiocco's new outpost at 173 Barkly Street, St Kilda. It's open from 5.30–11pm Wednesday to Friday, 12–2.30pm and 5.30–11pm Saturday, and from 12–2.30pm and 5.30–10pm Sunday.
It's not often that feminism in mainstream media and art makes us laugh. But with a large proportion of feminist opinion vocalised in response to the very serious issues of misogyny, oppressive inequality and violent crimes against women, perhaps it’s solemnity is understandable. Despite allusions to the contrary, feminism's foundations lie within irony and humour and feminist artists have long employed laughter as a tool within their work. BACKFLIP: Feminism and Humour in Contemporary Art aims to subvert ingrained stereotypes of feminism as dry, dull and run by angry women. Embracing feminism's rich (and perhaps largely unknown) legacy of wit, satire and playfulness, the exhibition is a collection of reworked and contemporary feminist art. It’s ironic, it’s absurd, and, yes, it’s funny. Curated by Laura Castagnini, along with Margaret Lawrence Gallery’s director Vikki McInnes, the exhibition aims to give feminist art largely by female artists the platform it deserves. As you enter the gallery space picket signs by New York’s Guerrilla Girls (Museums Cave into Radical Feminists, Museums Unfair to Men) highlight an amusing, but inextricable gender inequality within the art world. This harks back to Louise Lawler’s 1972/81 text and audio work, Birdcalls, also featured within the exhibition. Through parody these works combat the institutional bias that continues to inhibit the success of female artists. A convergence of artistic mediums within BACKFLIP means that something is always grasping for your attention, demanding to be looked at and considered. Single channel video provides a captivating platform for female performative work, as with Patty Chang’s 1998 Melons (At A Loss) and the more contemporary video work from Melbourne artist Hannah Raisin. The exhibition is constantly backflipping to older generations, cultures and nations. Humour that was employed by pioneering feminist artists has been reworked and reappropriated to explore the presence and experience of feminism in contemporary Australian culture. The collection sees Alice Lang’s text-based works represent feminist conversation through Gen-Y slang and Melanie Bonajo re-enact VALIE EXPORT’s iconic 1968 Genital Panic for contemporary audiences. BACKFLIP also features digital video from renowned artists such as Tracey Moffat, Mika Rottenberg and Pipilotti Rist. The representation of female relationships is played up by cultural stereotypes — be enchanted (or repulsed) by the idealisation of female friendship with a live installation of nat&ali’s Friendship Is and witness a ridiculous rivalry in the form of two robotic vacuum cleaners. Perhaps one of the most absurd works in the exhibition is the Hotham Street Ladies’ use of icing to create a large bleeding uterus in the gallery’s male toilets — crude, funny and undeniably sweet at the same time. Humour is a patriarchal game, but one that BACKFLIP uses to subvert the stereotypes of feminism to allow female voices to be heard — and laughed at. Image via Brown Council
They call it Tina — The Tina Turner Musical, oh Tina — The Tina Turner Musical — and, while it finally arrived in Australia in May, it now has more dates around the nation. After premiering in London back in 2018, this stage ode to the music icon that's had Aussies dancing to 'Nutbush City Limits' for decades will tour Down Under, following up its current first local stint in Sydney with seasons in Perth, Adelaide, Brisbane and Melbourne. No, it isn't taking to the stage in a church house, gin house, school house or outhouse — or on highway number 19, either. But Tina — The Tina Turner Musical will obviously have Crown Theatre, Festival Theatre, Queensland Performing Arts Centre and Princess Theatre enjoying Turner's greatest hits in one massive show. The list of musical numbers includes 'Nutbush City Limits', naturally, as well as everything from 'River Deep, Mountain High' and 'Proud Mary' through to 'Private Dancer' and 'What's Love Got to Do with It?'. Tina — The Tina Turner Musical has made its trip Down Under courtesy of TEG DAINTY, Stage Entertainment and Tali Pelman, in association with Tina Turner herself before her passing in May this year. Announcing the show's stint on our shores back in 2022, the singer said that "Australia has always shared abundant love with me, going back to my early concerts in the late 70s through the uplifting partnership with the National Rugby League. It is very special for me that we will be reunited." "The joy, passion and message of resilience in my musical is so important now as ever. Thank you from the bottom my heart for welcoming me with open arms once again," Turner continued. The singer didn't mention her appearance in Mad Max: Beyond Thunderdome, but she is indeed part of the beloved Mad Max franchise, too. In Australia, The Lion King, We Will Rock You, Beautiful: The Carole King Musical, Ragtime and Moulin Rouge! The Musical star Ruva Ngwenya plays Tina, with In the Heights, Fame: The Musical and fellow Moulin Rouge! The Musical alumni Tim Omaji as Ike Turner. Penned by Tony Award-nominee and Pulitzer Prize-winner Katori Hall, plus Frank Ketelaar and Kees Prins, and directed by fellow Tony-nominee Phyllida Lloyd, Tina — The Tina Turner Musical clearly has quite the story to tell. The show steps through Turner's life and fame, including growing up in Nutbush, Tennessee, the hard work that led to her career, all of those aforementioned hits, her 12 Grammy Awards, her volatile time with Ike and her huge solo success. If you're a fan, Turner herself summed it up — yes, it's simply the best. "I first heard about the possibility of a stage musical portraying Tina's life eight years ago and I immediately reached out to Tali Pelman at Stage Entertainment. At that point there was no script and no book; however, I was hooked on the idea of it," said TEG DAINTY CEO Paul Dainty about Tina — The Tina Turner Musical. "We have been on that journey ever since, and here we are today announcing the Australian tour! Australians love this theatrical masterpiece which tells the story of Tina's life, of empowerment and success, and is ultimately the best music industry comeback story of all time." TINA — THE TINA TURNER MUSICAL AUSTRALIAN DATES: Now until Sunday, December 31, 2023 — Theatre Royal, Sydney From Tuesday, February 27, 2024 — Crown Theatre, Perth From Wednesday, April 24, 2024 — Festival Theatre, Adelaide From Sunday, July 2, 2024 — Lyric Theatre, Queensland Performing Arts Centre, Brisbane From Tuesday, September 24, 2024 — Princess Theatre, Melbourne Tina — The Tina Turner Musical is currently playing in Sydney, and will tour the rest of Australia in 2024. For more information and tickets, head to the musical's website. Images: Daniel Boud.
After a successful launch in 2014, the Port Phillips Mussel Festival is back for a tasty, tasty second year. The streets of South Melbourne will come alive with music (including an Elvis impersonator, if you're into the King), seriously good food and drink and, of course, an abundance of mussels. Joining the party are some of the region's top chefs and restaurants, including St Ali, Mr Lawrence at the London, Dandelion and Acland Street Cantina. All the South Melbourne Market restaurants will be there too, with Claypots Evening Star, Paco y Lola, Köy and Simply Spanish getting creative with their regular menus for the event. So if you're any smidge of a foodie, or are simply keen to treat your tastebuds to a royal feast, get down to the South Melbourne Market and sample mussel paella, wok-cooked drunken mussels, artisanal ice cream, Gerry's doughnuts, and a real good time.
Who hasn't gone on vacation, soaked up their idyllic temporary surroundings but felt pangs of envy towards a few specific fellow travellers who seem to be having a better time than everyone else? That's how Speak No Evil begins — and it's meant to be relatable. The situation that Louise Dalton (Mackenzie Davis, Station Eleven) and her husband Ben (Scoot McNairy, Invincible) find themselves in while travelling to Tuscany with their daughter Agnes (Alix West Lefler, Dead Boy Detectives) is a classic grass-is-greener setup. When the American couple look at the brash but charismatic Paddy (James McAvoy, His Dark Materials) and his wife Ciara (Aisling Franciosi, Stopmotion), and as they get to know them over dinners and drinks, they wish that they too were that happy, that carefree and that relaxed. Hopefully no one has endured IRL what comes next in this Blumhouse horror movie directed by Eden Lake and The Woman in Black's James Watkins, which remakes 2022 Danish film Gæsterne, also called Speak No Evil in English. Reluctantly on Louise's part but eagerly by Ben, the Daltons accept an invitation to spend a weekend with Paddy and Ciara, plus their son Ant (Dan Hough, Hollyoaks), at their rural property back in Britain. Actually, we've all been in a scenario where passive-aggression simmers behind smiles and plastered-on friendliness, social discomfort flavours every interaction and toxic masculinity festers. For the Daltons, however, this second getaway turns particularly grim when they discover what lurks behind the blissful facade that their hosts were such experts at projecting in Italy. Both versions of Speak No Evil take viewers on an unsettling trip — but only the do-over boasts powerful performances by McAvoy and Davis. While no one in the cast puts a foot wrong, including Davis' Halt and Catch Fire co-star McNairy, The Nightingale standout Franciosi and the feature's youngest actors, its two leads are tasked with encapsulating the film's clashing sides. Paddy presents himself as earthy and approachable, packaging up his ideas of manhood — notions that can be called traditional at best and outdated if you're still being polite — with a seemingly wholesome, laidback vibe. Louise is understandably constantly anxious and worried, and yet just as persistently eager not to cause a scene. The more time that she spends in Paddy's farmhouse, the more that she realises that she's being forced to ignore her every instinct about him. Speak No Evil also unpacks why that reaction also feels so familiar. These are complicated and layered roles to play, and a balancing act on both McAvoy and Davis' parts. That's one of the things that attracted them each to the movie, the two tell Concrete Playground. For McAvoy, he's back in the darker psychological terrain that he traversed in Split and Glass for M Night Shyamalan — chatting with us back in 2017, the filmmaker called the actor's work in the former "fearless; he was just very fearless about the whole thing" — and also in the unrelated Filth before that. He credits his excellent, can't-look-away efforts both in Split and Speak No Evil to great writing first and foremost. "I was lucky enough on those two particular jobs, this one as much as any other, to be able to feel really strong going into it and make strong choices," he explains. For Davis, she adds another complex portrayal to a resume teeming with them (see: the aforementioned Station Eleven, Black Mirror's 'San Junipero' episode, Blade Runner 2049, Tully, Happiest Season and more), all while ensuring that she's never repeating herself. "Not retreading footsteps that I've already walked in" is what gets her excited about any new role, she advises. "That's a weird mixed metaphor. Honestly, I read so many scripts and I barely like any of them, and then one comes and you're like 'oh, maybe this is a fucked-up little thing to do'." Davis sums up Speak No Evil perfectly, as audiences Down Under can experience in cinemas from Thursday, September 12, 2024. We also chatted with the film's lead pair about the rollercoaster ride that the movie takes viewers on, where inspiration came from to flesh out their parts, being able to see themselves — or aspects of them — in their characters, digging into what it means not to speak up, ensuring that the movie's emotional journey feels logical and more. On McAvoy Having No Fear When Diving Into Dark Roles, Such as in Split and Speak No Evil James: "I think when you've got a good text and you've got a good character drawn well with a good arc, you've got a solid foundation from which to jump. And that was definitely the case with Split, and that was definitely the case with Speak No Evil. And they both happen to be Blumhouse movies, which is great because they're underpinned by something — not just pieces of entertainment, which they are, which they deliver upon, but they've also got something interesting to say socially. So it was a really strong foundation that it jumped from. I think when the text isn't so strong, maybe I'm not so fearless and maybe a bit more fearful. But I was lucky enough on those two particular jobs, this one as much as any other, to be able to feel really strong going into it and make strong choices." On Davis' First Reaction to the Script, and What She Saw That She Could Bring to the Role Mackenzie: "I loved it. I hadn't seen the original, and I knew it existed but wasn't really familiar with anything else other than the title. So this is my first exposure to the conceit — and I just love things that feel as dangerous as being hunted and killed, being placed on that same plane. Because committing, not like a social faux pas or a gaffe, but like really offending someone or hurting somebody's feelings in a really meaningful way, you can get kind of the same adrenaline response as you do when you're trying to save your life. And they do feel like mortal dangers at the time, and I liked how it how it dealt with that. I wasn't sure at first, honestly, because there's a lot of Louise looking to her husband to act, and that worried me a little bit. But I had lots of long, really meaningful chats with James Watkins, the director, and he assured me that he was really interested in Louise's experience of being silent. Like, it's one thing to not speak, and it's another thing for the camera to be interested in why they're not speaking and what they're thinking while they're not speaking. And as long as that was part of it, then I thought it was a really interesting role. I think James [Watkins], before we started making the movie, convinced me that that was important to him. Then in the movie, I really see that, that he's interested in how Louise is feeling and it's not always through a monologue." On Working Through Speak No Evil's Many Layers James: "I was just so glad that I was getting to be involved in something that could be entertaining, could make people laugh, could make them jump, give them the horror experience or the scary experience that you want in the cinema in a communal, sitting-down environment — but at the same time, it had stuff to say as well, which elevates it. Blumhouse do that time and again, and they do it so so well. So it's a privilege to be a part of something like that because you get to do two things at once. Also part of it was about a conversation about masculinity, which I feel is quite timely as well — and what men are attracted to at the moment in terms of looking for answers. Somebody like Ben, who's really drifting, really lost, really hurt, really damaged, he's looking for answers. And here comes along this sort of totem of toxic masculinity, but he seems to have the answer to one of the questions in life, which is how to be happy. He seems really happy. In fact, I would argue he is really happy. As much as he's rage-filled and anger-filled, he's also capable of great joy and happiness, and he really enjoys his life. And that's an attractive quality, but it's also a scary thing in somebody who's also got such worrying doctrine." On the Film's Relatable Situation, Including the Balance Between Trying to Keep the Peace and Recognising Your Instincts Mackenzie: "What's important to me is that I can see myself in that situation. I relate to the choices she makes, even when they're stupid. I can understand why she's doing the thing that might feel wrong to an audience, because you get that there are other things at play other than the right thing and the wrong thing. There's the marriage and keeping that intact. And then there's 'oh my god, did I just make some sort of enormous, grievous misunderstanding of a situation where I thought I was saving my family, but actually I was villainising myself and really offending these lovely people who are hosting us?. And am I being a snob?'. There's so many currents of thought that are going on all the time, and you kind of have to choose one to follow. And I get why, for a lot of the movie, she's prioritising, with difficulty, keeping the peace — and then at a certain point the dam breaks and she just cannot do it anymore. I think that's really, really relatable, trying to be all things at once." On the Balancing Act Required for McAvoy to Play Someone Who is Charismatic, Earthy and Seemingly Free-Spirited, and Also Angry, Reckless and Unsettling James: "The whole film is a balancing act, and the whole performance for me is a bit of a balancing act, because you can't go too far one way or the other. You can't go too scary or too safe. You've got to be right in the middle, until the end anyway, because you dissipate the tension of horror or a scary movie if you just go full bore too quickly. And that's the same either side. Too safe, too dangerous. Too masculine, too not masculine. Too safe masculine, too toxic masculine. Too politically correct, too politically incorrect. You have to ride this line so that both versions of him are possible at all times without ever jumping down and nailing your colours to the mast on one side or the other. So it's a bit of a balancing act that was orchestrated by myself and by the director definitely on the day, James Watkins. He did a lot of that on the page, but even then on the day, it was about getting shades, colours and levels so that when he was in the edit, he had the opportunity to calibrate as he went in that environment as well." On Acting Opposite McAvoy's Powerful Performance Mackenzie: "There's a moment in the movie where he has this sort of smile and then his eyes go dead, but then his mouth twitches a little bit still, and it's so unsettling. And he's playing three different things in like one second. And that's what it feels like to work across from him. He's really surprising. He's enjoying what he's doing so much, which is so fun, because you shoot one scene for like six hours. You're hearing the same lines over and over, and what you want is an actor that's finding a new way into it every time so that it feels exciting and stimulating to engage with it, and he just does that in spades. He's a wonderful person and a really great actor." On What McAvoy and Davis Each Drew Upon to Help Flesh Out Their Complex Characters James: "I've got a friend who will look into my eyes and sing me an entire song, and there's something weirdly sort of threatening about it — because I don't know the song and I'm not singing it back with him, but he's singing it like he's singing some old favourite that we both know. I drew on that, because that's a kind of masculinity. That's a kind of 'I'm dominating you right now'. And I actually do that in the film with Scoot — and my mate will watch this and be like 'you're totally doing me right now'. He's nothing like Paddy, by the way. What did I draw upon? I guess, weirdly, myself. I'm not like Paddy, but I could be, and I could be if I'd made different decisions or indulged different parts of my personality and animal instincts when I was younger, or if different things had happened to me and I reacted to them differently. So those parts of Paddy that are objectionable or even attractive that aren't immediately apparent or inflated in me, they're still in me. So it's about imagining them growing. It's imagining them into your mind, and imagining them into your soul and into your heart, and then letting them out on camera. They'll never become a part of me properly, but if you just quite imagine who you would become, who you would be if your life had been different and things had changed in different ways. I think the parts of Paddy that we find objectionable and frightening are in us all. We all have the capacity to kill, and we all have the capacity to steal and to hurt others, to be selfish and to put ourselves before everyone else. And that's kind of what he does. And I think we all have that in us. It's just we've had different experiences or made different decisions to get us there. But you can look at yourself and recognise Paddy, I think." Mackenzie: "For me, I just want things to make sense. I'm almost a bit mathematical about it in going through the script and being like 'okay, well, why does she do this and how does that make sense, and if she does this, then what does this mean?'. And as long as I can make the math — and everybody has their own particular math, there is not one unifying, it's just the logic of that person — as long as her logic feels believable and at least consistent enough, to me, that the inconsistencies are exciting and surprising, then I'm great. It's when things just feel random and I can't find the throughline that I'm like 'meh, probably I'm not the right person to play this part'." On What Davis Would Do If She Was in the Same Situation as Louise Mackenzie: "I think you'd be charmed by dreams. I think it would be fun. I think were I in the situation, I can see myself being like 'I don't want to spend two days at their house, we don't even know them'. And then being like 'you know, you've got to have adventure in your life. At the very least, it'll be like a good story'. And it was. So maybe I would make the same decision. I keep saying I wouldn't, but now I guess I've kind of convinced myself it'll be fun to do something weird." Speak No Evil opens in cinemas Down Under on Thursday, September 12, 2024.
A Star Is Born has already graced the titles of four different films, and Licorice Pizza isn't one of them. Paul Thomas Anderson's ninth feature, and his loosest since Boogie Nights — his lightest since ever, too — does boast a memorable Bradley Cooper performance, though. That said, this 70s- and San Fernando Valley-set delight isn't quite about seeking fame, then navigating its joys and pitfalls, although child actors and Hollywood's ebbs and flows all figure into the narrative. Licorice Pizza definitely births two new on-screen talents, however, both putting in two of 2021's best performances and two of the finest-ever movie debuts. That's evident from the film's very first sublimely grainy 35-millimetre-shot moments, as Alana Haim of Haim (who PTA has directed several music videos for) and Cooper Hoffman (son of the late, great Philip Seymour Hoffman, a PTA regular) do little more than chat, stroll and charm. The radiant Haim plays Alana Kane, a Valley dweller of 25 or 28 (her story changes) working as a photographer's assistant, which brings her to a Tarzana high school on yearbook picture day. Enter the smoothly assured Hoffman as 15-year-old Gary Valentine, who is instantly smitten and tries to wrangle a date. Alana is dismissive with a spikiness that speaks volumes about how she handles herself (a later scene, where she yells "fuck off, teenagers!" to kids in her way, is similarly revealing). But Gary keeps persisting, inviting her to the real-life Tail o' the Cock, a fine diner he claims to visit regularly. In a gliding ride of a walk-and-talk sequence that's shot like a dream, Alana says no, yet she's also still intrigued. As a smile at the end of their first encounter betrays, Alana was always going to show up, even against her better judgement (and even as she firmly establishes that they aren't a couple). Her demeanour doesn't soften as Gary interrogates her like he's a dad greeting a daughter's beau — a gag Anderson mirrors later when Alana takes another ex-child actor, Lance (Skyler Gisondo, Santa Clarita Diet), home to meet her mother, father and two sisters (all played by the rest of the Haims, parents included) and he's questioned in the same manner. That family dinner arises after Gary enlists the new object of his affection to chaperone him on a trip to New York, where he's featuring with Lance in a live reunion for one of their flicks. Upon returning to Los Angeles, Gary is heartbroken to see Alana with Lance, but all roads keep leading her back to him anyway. Charting Alana and Gary's friendship as it circles and swirls, and they often sprint towards each other — and chronicling everything else going on in the San Fernando Valley, where PTA himself grew up — Licorice Pizza is a shaggy slice-of-life film in multiple ways. Spinning a narrative that Anderson penned partly based on stories shared by Gary Goetzman, an ex-child talent turned frequent producer of Tom Hanks movies, it saunters along leisurely like it's just stepped out of the 70s itself, and also sports that anything-can-happen vibe that comes with youth. It's a portrait of a time, before mobile phones and the internet, when you had to either talk on a landline or meet up in person to make plans, and when just following where the day took you was the status quo. It captures a canny mix of adolescence and arrested development, too; teen exuberance springs from the always-hustling Gary, while treading water is both an apt description of Alana's connection with her would-be paramour and a state she's acutely aware of. Set to a soundtrack that bounces between Paul McCartney and Wings, Suzi Quatro and Chris Norman, and David Bowie ('Life on Mars' is put to transcendent use), it all breezes about like a relaxed 1973 summer, but plenty fills Alana and Gary's time and PTA's glorious feature. Gary auditions for TV ads, runs a PR firm with his mum (Mary Elizabeth Ellis, It's Always Sunny in Philadelphia) and opens a waterbed business. Alana becomes his partner in the latter, meets with his agent (Harriet Sansom Harris, Atlantic Crossing), catches the attention of a Hollywood veteran modelled on William Holden (Sean Penn, The First) and volunteers for Joel Wachs' (Benny Safdie, Pieces of a Woman) mayoral campaign. As a backdrop to the pair's exploits, Richard Nixon implores Americans to use less petrol, and as the gas crisis kicks in. And when Cooper pops up, it's as Barbra Streisand's fiery then-boyfriend Jon Peters, who isn't impressed with his waterbed delivery. Cue one of Haim's most stunning moments, driving a truck after the drop-off, where she conveys more with her face and posture than words could ever express. As the film's two starriest vignettes make plain — plus another incident involving a not-quite-Lucille Ball (aka Lucy Doolittle, played by Search Party's Christine Ebersole) — Anderson is happy to both nod to and toy with reality. Licorice Pizza is firmly fiction, despite riffing on Goetzman's experiences, but it's also gleefully cognisant of how nostalgia for one's teenage and twenty-something adventures can feel slippery, starry-eyed and surreal. It'd make a great double with Once Upon a Time in Hollywood for exactly that atmosphere, although it'd also pair well with PTA's Boogie Nights, his woozily romantic Punch-Drunk Love and his daylight noir Inherent Vice. Alas, it does also include pointless scenes with a restaurant owner (John Michael Higgins, Saved by the Bell) who speaks to his Japanese wives (New Bear Tours' Yumi Mizui and Good Girls' Megumi Anjo), plural, in a caricature of an accent — calling out what passed for acceptable in the 70s, but also landing flatly and clunkily. Nothing else in Licorice Pizza could be described as gawky — not even Gary's posse of pals, who are rarely far from his side — or as anything less than effervescent. This marvellous coming-of-age comedy is as masterfully made as all of Anderson's work, and yet also far roomier than the likes of There Will Be Blood, The Master and Phantom Thread; as he showed with Inherent Vice, he can be meticulous and freewheeling at once. Licorice Pizza wouldn't be the film it is without either Haim or Hoffman, though, who PTA peers at devotedly, including in closeups, as frequently as he can (he's also one of the movie's two cinematographers). With Radiohead's Jonny Greenwood providing the score once again, he adores nothing more than seeing them run towards each other — figuratively and literally, blue daylight skies blazing and purple twilight hues twinkling behind them — and he makes everyone watching savour every slice.
After a dinner date idea that'll satisfy your taste buds while helping support a great cause? You'll find it in Kensington this autumn as social enterprise Scarf returns for its latest life-changing dinner series. The hospitality training and mentorship program has clocked up 13 years of helping marginalised youth and those from migrant backgrounds make their way into the hospitality industry. And every Wednesday from March 15–May 10 (except April 26), it's continuing this important work, popping up at sustainability-focused eatery Cassette for a fresh run of weekly feasts. [caption id="attachment_893695" align="alignnone" width="1920"] Ben Moynihan[/caption] Run by the newest batch of Scarf trainees and their mentors, the two-course dinners clock in at $55 per person, showcasing a seasonal, produce-driven menu by Cassette Head Chef Laura Boulton. Not only can diners feel good about doing their bit for the Scarf program, but there's the added bonus of the night's feed being super sustainable, thanks to Cassette's zero-waste approach and commitment to minimising food mileage. The eatery is powered by 100-percent accredited GreenPower energy and even has a Closed Loop bio-composter that repurposes all of its food waste. [caption id="attachment_893696" align="alignnone" width="1920"] Cassette, by Ben Moynihan[/caption] Top image: Roger Ungers
Normally when the middle of the year hits — when Australia's weather is at its frostiest, aptly — the annual Scandinavian Film Festival rolls into cinemas around the country. In Sydney and Melbourne in 2021, that timing coincided with lengthy lockdowns, so the fest is bringing back its Nordic noir-heavy lineup for another spin before the year is out. Actually, the Scandinavian Film Festival Sydney run didn't even get to go ahead back in July, while Melbourne's was interrupted by stay-at-home stints. In both cities, the event will now help see out spring and welcome summer with a heap of films from Denmark, Finland, Iceland, Sweden and Norway. Sure, the warm weather won't make you think of cold Nordic climes, but the on-screen lineup is still impressive. Kicking off on Tuesday, November 23 in Sydney and Friday, November 26 on Melbourne, the returning 2021 fest launches with a must-see new entry in the Scandi-noir genre. Hailing from Denmark, opening night's Wildland stars Sidse Babette Knudsen (Borgen, Westworld) as the head of a family crime syndicate. She's charged with looking after her teenage niece and, in a movie that instantly brings Australia's own Animal Kingdom to mind, the latter soon learns more about the family business. Also on this year's Scandinavian Film Festival lineup: Knudsen again in Copenhagen-set psychological thriller The Exception; masterful and engaging Norwegian film Disco, about an evangelical dance champion who finds her faith tested; and surreal mother-daughter drama Psychosis in Stockholm. Or, for fans of Nordic cinema's big names, relationship drama Hope co-stars Stellan Skarsgård (Chernobyl), musical comedy A Piece of My Heart sees Swedish-born actor Malin Akerman (Rampage) back on home turf, and The County hails from Icelandic filmmaker Grímur Hákonarson — who directed Rams, which was remade in Australia last year. Other highlights include Icelandic box office hits Agnes Joy and The Last Fishing Trip, the latter of which has been compared to The Hangover; Finnish biopics Helene and Tove, about painter Helene Schjerfbeck and visual artist and author Tove Jansson, respectively; and Tigers, which tells the true tale of former Inter Milan player Martin Bengtsson. Or, there's also Diana's Wedding, which isn't actually about that Diana — plus closing night's 50th anniversary-screening of The Emigrants starring Max von Sydow and Liv Ullmann. The Scandinavian Film Festival will screen at Sydney's Palace Norton, Palace Central and Chauvel Cinemas from November 23–December 15 and at Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, The Kino and Pentridge Cinema from November 26–December 15. For the full program, visit the festival website.
At the ripe old age of 90, the CBD's Regent Theatre has probably earned a bit of a makeover. And that's exactly what it'll get under the City of Melbourne's grand plans to spend a tidy $1.6 million refurbishing the historic site. The preservation project would see the theatre — which is one of just a few left from the interwar period — get a revamped dress circle, improved seating and an overhaul of its recognisable lit-up Collins Street entrance. The idea is that this will ensure the Regent can remain one of Australia's top theatres and continue to attract high-profile productions. (Hamilton, perhaps?) It'll be just the latest Melbourne theatre to get an upgrade, too, with the Forum Theatre getting a revamp in 2017 and the Capitol Theatre slated to reopen this year. La Mama Theatre also copped $1 million from the State Government to help it rebuild after a fire last year. [caption id="attachment_708330" align="alignnone" width="1920"] Melbourne Town Hall by Josie Withers/Visit Victoria[/caption] It was announced that Melbourne Town Hall will receive a refurb as well — worth a cool $4.5 million. This would see the ground level of the Town Hall Administration Building given a significant restoration, improving the space's accessibility and functionality, and revamping the customer service area. The City of Melbourne is aiming to kick off this pilot later this year, and will then consider what further works are needed over the next six years. These projects are part of the city's larger draft Annual Plan and Budget 2019–2020, which will be released in full this week. Of course, before it comes into effect, it will be considered by councillors and then be open for public feedback until Friday, June 7. The City of Melbourne's full development plans will be outlined when it releases its draft Annual Plan and Budget 2019–20 later this week. We'll keep you updated on the details. Top image: Robert Blackburn/Visit Victoria.
Twirling elegantly around the stage as part of a world-class ballet performance is one thing, but just imagine getting to do so kitted out in stunning outfits by Jean Paul Gaultier. Announced today, a dark contemporary retelling of Snow White by France's Ballet Preljocaj is coming to Melbourne, complete with a wardrobe of captivating costumes by the internationally acclaimed haute couture designer. Gaultier's work will complement what promises to be a multi-sensory masterpiece; the show features choreography from renowned French choreographer Angelin Preljocaj, gorgeous set design by celebrated artist Thierry Leproust and a soundtrack of lush Gustav Mahler symphonies. Preljocaj's Snow White adaptation made its Australian debut at QPAC for the 2016 Brisbane Festival, last year scoring the Helpmann Award for Best Ballet. "I was very keen to tell a story, offer something magical and enchanted," explained Preljocaj. "I have followed the version by the Grimm Brothers, with just a few personal variations based on my own analysis of the symbols in the tale". Snow White will be at the Arts Centre for six shows only. Images: Jean-Claude Carbonne.
Malaysian hawker chain Pappa Rich is spreading the love for its eighth birthday, with two weeks of banger deals across all 11 of its Victorian stores. You'll be able to try your Pappa Rich favourites, or taste something completely new, all for just $8. Dip roti canai in vegetarian curry, try stir-fried noodle dish char koay teow and tuck into a toasted hainan sandwich. Or go classic with chicken rice and steamed chicken. There'll be a different dish for $8 each day from March 16–29, including blended ice drinks, teh tarik and puddings. You can check out each day's deal below. Since 2012, Pappa Rich has opened 28 stores around Australia, with the 29th set to open in The Glen, Victoria, this month. The chain has developed a reputation for serving up a fusion of flavours from Chinese, Indian and Malay influences, as well as creating next-level limited edition bites, like this nasi lemak burger and a collaborative chicken sandwich with Belles Hot Chicken. PAPPA RICH $8 MEALS March 16 — three roti canai March 17 — nasi lemak curry (chicken, vego or mutton) March 18 — chicken curry laksa March 19 — two ice blended or two nasi lemak bungkus March 20 — six chicken wings and a drink March 21 — toasted hainan sandwich and two half-boiled eggs March 22 — deep-fried chicken skin and a drink March 23 — char koay teow March 24 — roti canai curry (chicken, vego or mutton) March 25 — nasi lemak fried rice (chicken, vego or mutton) March 26 — two drinks (lemon iced tea or teh tarik) March 27 — two puddings or three curry puffs March 28 — chips and nuggets or salt and pepper chicken wings with rice March 29 — chicken rice and steamed chicken Pappa Rich's $8 meals are available from March 16–29 at all 11 of its Victorian stores.
That beloved, giant yellow legend of a floating rubber duck is missing. The 59-foot, one-tonne inflatable sculpture by Dutch artist Florentijn Hofman was apparently swept away by furious floodwaters in China's south-west Guizhou Province on Wednesday. The duck's exhibition team saw our giant inflatable hero unleashed from its ten-tonne metal platform on Guiyang's Nanming River, The Wall Street Journal's China Real Time blog has reported. "The duck flopped over and was flushed away really quickly by the torrential flood," said exhibition co-ordinator Yan Jianxin. "It disappeared right in front of me." Touring hasn't been kind to the giant inflatable hero. Popping up everywhere from Sydney to Sao Paulo since 2007, the team of giant ducks have quite the rambunctious tour diary. Just months earlier, one duck exploded in the middle of a port in Taiwan. Collapsing only 11 days after installation at Keelung, the mystery behind the duck's demise was never solved. "Organisers are unsure as to the cause of its demise, but one theory is that it was attacked by eagles," reported the BBC. Another duck then went on to casually deflate in Hong Kong. But now our noble, buoyant adventurer is nowhere to be found. Local radio stations are rallying local citizens to the hunt — "If you live along the river and see an 18-metre tall big yellow duck, please call 5961027." Like looking for a giant yellow duck in a watery haystack, the search could be a tough one. If only the duck was brightly coloured, able to float and unbelievably oversized. Wait. Via BBC, Gawker and WSJ. Images by Trey Ratcliff, Zuma Press, AP Photo, Kin Cheung, Reuters.
The last three times that Emily Blunt graced screens, all in 2021, she battled theme park ride-inspired chaos (in Jungle Cruise), monsters that pounce on every sound (in A Quiet Place Part II) and bad Irish accents (in Wild Mountain Thyme). That's quite the trio. The British actor isn't done battling yet, however, as the just-dropped trailer for her new western series The English demonstrates. Her quest here: taking on the old west and getting vengeance. Since first making a splash in 2004's My Summer of Love and then earning attention in a big way in The Devil Wears Prada a couple of years later, Blunt has amassed a killer resume, spanning everything from The Young Victoria, The Muppets and Looper through to Edge of Tomorrow, Sicario and Mary Poppins Returns. So her involvement alone gives The English a hefty push onto must-see lists, although that's not the six-part Prime Video show's only highlight. Also helping ensure The English is worth a look: the fact that it hails from writer/director Hugo Blick (The Honourable Woman, Black Earth Rising, The Shadow Line), boasts Blunt as an executive producer as well, and has Greg Brenman (Peaky Blinders) and Colin Wratten (Killing Eve) similarly in producing roles. And, on-screen, Blunt is joined by Chaske Spencer (Blindspot), Stephen Rea (The Stranger), Valerie Pachner (Fantastic Beasts: The Secrets of Dumbledore), Rafe Spall (Trying), Tom Hughes (A Discovery of Witches), Toby Jones (The Electrical Life of Louis Wain), and Ciarán Hinds (Belfast). As for The English's storyline, Blunt plays an aristocratic Englishwoman — hence the title — named Lady Cornelia Locke, who heads to America in the 1890s with revenge on her mind. Her mission requires teaming up with Pawnee ex-cavalry scout Eli Whipp (Spencer), then making their way across a country that's bloody and violent at every turn, with the new town of Hoxem, Wyoming their ultimate destination. Also included along the way: musings on race and power, and a series of unsolved murders. Check out the trailer for The English below: The English will be available to stream via Prime Video from November 11.
A balmy afternoon spent hanging out in an historic garden, quaffing bubbly and playing petanque — it sounds like something out of some European holiday, though come Saturday, January 19, you won't have to go anywhere near as far to enjoy this very situation. The Macedon Ranges' Cleveland Winery is gearing up to host its inaugural Sparkling Pinot and Petanque event, delivering a fun summer session within its lush green grounds. You'll have a chance to show off your lawn games skills on one of the petanque courses, with experts from the Woodend Hanging Rock Petanque Club on hand to help polish those moves. And you can enjoy sparkling pinot and cheese boards while you play. The winery's famous underground cellar door will play host to blind tasting sessions throughout the afternoon, as well as offering a range of locally crafted Herbal Lore liqueurs and Tooborc Brewery craft beers. Tasty bites will come courtesy of both Donald & Tuck Food Truck and Cleveland's own woodfired pizza menu, and there'll be a grape-stomping championship if all that petanque has unleashed a bit of competitive spirit. Depending on the size of your crew, there are a range of ticket packages available, with adult single tickets starting from $20.
We all have a family story to tell, but we can't all tell it like Sarah Polley. The actor known for such films as Dawn of the Dead and Splice and director of quietly acclaimed features Take This Waltz and Away From Her has turned her hand to documentary with Stories We Tell, and it's been demanding attention from festival audiences around the world. Unfortunately, it's one of those films that it's best to know as little of as possible when you go in, so this is going to be a short article. Suffice to say, Polley's primary interest is her mother, Diane Polley, an actress and extrovert who relished the escape from home life that came with roles on the stage. She died in 1990, when Sarah was 11, leaving behind a web of secrets that lay hidden for many years — until her daughter grew up and started to pull at the threads. Polley has a great cast of characters in her life to work with (every member of her family is interviewed), but the magic of this movie is ultimately in her storytelling. It's wittily edited, warm and makes some rather uncanny use of Super 8. The result is probably the most enthralling and entertaining family memoir around. Stories We Tell is in cinemas on September 26. Thanks to Palace Films, we have ten double advance screening passes to give away, valid from September 13-22. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email hello@concreteplayground.com.au with your name and address.
"I didn't want to simply be a socialite," Jep Gambardella (Toni Servillo) tells us. "I wanted to become the king of socialites." He has succeeded grandly in this most empty of ambitions; his life seems an endless parade of high-society gatherings, fashionable soirees and art gallery openings. A louche writer resting on the laurels of his lone novel and the occasional magazine piece, Jep has turned recently turned 65 and is shaken from his decadent torpor when he learns that his first love has died. The news acts as a reminder of his own looming mortality and is a chance to reflect on the gradual decline of Rome, the city he came to as a young man, at once drawn to its vibrancy and seemingly determined to be unimpressed with it. The film begins with an elaborately staged, gloriously shot party and doesn't reveal its immaculately dressed, glamorously jaded protagonist for several minutes, an approach in keeping with its interest in the colourful characters who inhabit his world. It is peopled with eccentric characters like Jep's combative editor, a spirited stripper who becomes involved with Jep, a centurion nun who eats only roots and a cluster of society wives, conmen and vacuous social climbers. Dispensing acidic observations a la Truman Capote, Jep surveys scenes of debauchery and hedonism with an air of slightly tired amusement. At times he seems the ultimate cynic — when he responds to a friend's taunt about his work and she calls him a misogynist, he corrects her: he is actually a misanthrope. Yet there is something melancholy about the character and the milieu he inhabits, something increasingly desperate about their pretensions and endless search for novelty, a sense that they live in the shadow of the city's great history. Writer-director Paolo Sorrentino's last film was the somewhat divisive little gem This Must Be The Place; this is a much more elaborate affair, stuffing dozens of vignettes of city life into its 142-minute running length. It evokes comparison with his great countrymen Federico Fellini and feels like a belated companion piece to La Dolce Vita, in its ambition, sweep and affectionate but pointedly warts-and-all portrait of a decaying, decadent metropolis. Filmgoers who like a sturdy narrative will likely be frustrated by The Great Beauty's structural looseness and epic sprawl, but those who can tap into its kaleidoscopic approach will find a dazzling, intoxicating feast of colour and life. https://youtube.com/watch?v=Dyt430YkQn0
Atop iconic Curtin House on Swanston Street, illuminated by the moon and the lights of city skyscrapers, the screen at Rooftop Cinema & Bar is about to flicker back to life. Fresh on the heels of The Shadow Electric in Abbotsford and Ben & Jerry’s Openair Cinema in St Kilda, the folks at Melbourne’s highest-altitude outdoor picture house have just unveiled the first half of their summer program, with plenty of awesome choices to whet cinephilic appetites. The party begins on December 5 with a screening of Baz Luhrmann’s The Great Gatsby. Other recent releases on the schedule include Gravity, Francis Ha, The Counselor and, perhaps the year’s most talked about film: Sharknado. As fun as those titles might be, it’s the retro picks that show the team have really outdone themselves. Unlike Ben & Jerry’s, the program at Rooftop leans heavily on nostalgia, with titles like Pulp Fiction, Casablanca and The Blues Brothers barely scratching the surface of the film-buff favourites on offer. The latter flick is just one in a kick-ass '80s stream that also includes Labyrinth, The Goonies and Stand by Me. The following decade is similarly well represented by Reality Bites, Point Break and Dazed and Confused, amongst numerous others. This year also sees Rooftop teaming up with the gang from Speakeasy Cinema for a Tuesday sidebar that includes Lena Dunham’s breakout feature Tiny Furniture, David Lynch’s divisive Twin Peaks: Fire Walk with Me and the new film from David Gordon Green, Prince Avalanche. The week leading up to Australia Day, meanwhile, features a trio of great local flicks in the form of Muriel’s Wedding, BMX Bandits and the newly released Mystery Road. Seating at Rooftop begins at 9:00pm for a 9:30pm start. The good news is that the bar begins operations at midday, as does the All Day Burger shack. One floor down, Mesa Verde opens at 5:00pm and offers a wide selection of beer, wine, tequila and Mexican cuisine. For more information about Rooftop Cinema including the full December-January program, see here. The February-April program will be announced at the end of January.
If you've been battling with the idea of deactivating your Facebook account but decided against it because it would 'disconnect' you from a considerable amount of social happenings, then news of Facebook Messenger, a standalone SMS app that was launched yesterday, might just clench this reality. Competing against Google+ and its accompanying mobile app, Facebook Messenger allows you to communicate with other Facebook users (not necessarily your Facebook friends) via SMS. According to Wired, the app "wrangles all private communication" between Facebook users into one thread. The app also features group chats, picture distribution and location services so you can continue to keep in touch even if you aren't logged onto Facebook - all communication is delivered by either notifications or texts. The app is available through iTunes and the Android Store for free, and if this is Facebook's attempt to do away with SMS by providing the same service at no cost, then deactivating your account might be just a tad bit harder to do. https://youtube.com/watch?v=wcRipEHsA64 Image: cydiaiphoneblog.com
The weather may try to convince you otherwise, but the end of June has a couple of things worth celebrating. One: it's the end of the financial year (hello, tax return). Two: long winter nights equal extra party time. And if there is anyone that knows how to throw a good party, it's the Haitian voudou spirit Baron Samedi. The guardian of the afterlife thrives on creativity and spontaneity and is known for all things debauchery. To pull you out of your winter funk and make use of this party spirit, Baron Samedi spiced rum is hosting a month-long pop-up at The Perseverance Hotel in Fitzroy. The festivities will kick off at 7pm on Saturday, June 30, so prepare for the lights to go down and the music to turn up. DJs will be soundtracking the night as the 'Baronette' brand ambassadors roam the venue handing out free samples of the velvety-smooth spice rum. And, if you like what you taste, the bar will be slinging a bespoke Baron cocktail for a neat tenner. The Summon the Baron is the label's take on a dark and stormy cocktail with Baron Samedi spiced rum, ginger beer and fresh lime. Baron Samedi can work his black magic on you and cure you mere mortals of any disease, wound or hex if he thinks it is worthwhile. So get your game face on and the laces on your dancing shoes tied. The Baron Samedi pop-up runs from Saturday, June 30 till the end of July.
It's that time of year when your phone buzzes incessantly with calls from your parents asking when you'll be back for the holidays. If you're anything like everyone, you've put off booking these flights because, while you theoretically like the idea of seeing your family, the thought of sleeping on the floor, drunk and full to bursting with Christmas ham, sandwiched between two distant cousins is enough to put you off dropping money on Christmas-time flights just yet. Google know this and they sympathise…sort of. Along with a whole swag of products (including their new Google Pixel phone and their own VR headset, the Daydream) and the recently launched Google Trips, they've also announced that their flight search engine is getting a cool new feature. Google Flights is the tech company's online airfare search tool (not unlike Skyscanner et al.). Up until now it's been effective at finding the most convenient and cheapest flights for the dates you want to travel, but its latest update will also tell you when the price of said flights is predicted to go up or down. Using their magical algorithm, Google will be able to predict when flight prices will increase — so they'll let you know if you need to book that baby before it doubles in price, or if you can afford to sit on it for a few days. It'll also make recommendations on the cheapest dates and times to book and even give you tips on which airports and routes will be cheaper for you. And if you're still not ready to fully commit to the idea of heading home, you can track flights and the progression of prices and get email updates when prices fluctuate or expire. They're also integrating a decent hotel search feature into the whole shebang if you're going somewhere more exciting than your family home for Christmas. The new Google Flights feature will roll out over the next few weeks. You can use the tool at google.com/flights. Image: Ross Parmly.
Popping bubble wrap is one of those things which will never grow old. Regardless of who you are, where you are from, and what you do, bubble popping is a universally accepted means of entertainment. For all poppaholics, behold the Bubble Calendar — a poster-sized calendar with a bubble to pop every day. This 122cm x 26cm monolith of a calendar is sure to make up for any dull day of the year. Whether it's returning from a vacation or retreating back to your cave from a tough day at work, Bubble Calendar is sure to provide you with at least one thing to look forward to in the day. [Via Lost At E Minor]
UPDATE, January 25, 2022 — Top End Wedding is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. If Top End Wedding turns Miranda Tapsell into a huge movie star, then the Australian romantic comedy will have done its job. A shining light on local screens since first appearing in The Sapphires in 2012, she's not only the lead in this likeable film, but a co-writer with Joshua Tyler — and she's glowing across both roles. In fact, Tapsell is one of the key elements keeping the amiable movie bubbling, even when it favours well-worn rom-com cliches and tropes. Earlier this year, she was fierce and frank with Nakkiah Lui in their one-episode takeover of Get Krack!n. Now, she's a delight as an overworked Adelaide lawyer who's not only heading home to Darwin to get hitched, but trying to find her runaway mother before the ceremony. It's a familiar setup, in general terms: nuptials beckon, and so does both personal and professional chaos. Lauren (Tapsell) has been at her demanding boss' (Kerry Fox) beck and call for years, striving to secure a promotion. Then her boyfriend Ned (Gwilym Lee) asks for her hand in marriage on the same day that her work wish comes true. Complicating factors include Ned's newly unemployed status, although he doesn't tell Lauren, and the fact that she's only been given ten days to throw the wedding and return to the grind. Landing in the Northern Territory only adds to the couple's woes, especially with Lauren's mum Daffy (Ursula Yovich) gone AWOL, and her dad Trevor (Huw Higginson) spending his time bawling and listening to love ballads in a cupboard. Although there's no shortage of pals (Shari Sebbens, Elaine Crombie and Dalara Williams) on hand to help with the lightning-fast preparations, Lauren won't tie the knot without her mother present. Tracking Daffy down is a task that's easier said than done, sending Top End Wedding's lovebirds on a tour of the NT. While Australian cinema is guilty of using the country's landscape as an additional character to the point of overkill, director Wayne Blair (The Sapphires) and cinematographer Eric Murray Lui (TV's Rosehaven and Black Comedy) make vibrant use of their locations — indeed, their film is as much of a love letter to the region as it is to its leading lady. Of course, one influences the other. Tapsell is a local, and whether wandering through Kakadu National Park or journeying over to the Tiwi Islands, the movie always feels authentic. Crucially, Top End Wedding also overflows with warmth, which assists the film's template-like narrative considerably. It's glaringly easy to see where the story is heading, and more than a few developments strain the bounds of logic. But two details stand out amongst the hen's night shenanigans, anarchic road trips, convenient miscommunications and multiple layers of family mess. Firstly, there's a difference between lazily adhering to genre conventions and deploying them affectionately, with Tapsell and Tyler's script largely falling into the second category. Secondly, the power and tenderness that emanates from the movie's Tiwi Islands-set third act can't be underestimated. A big-screen sight that's even more rare than an Indigenous Aussie rom-com, the film gives the area a huge hug — embracing and including the local community, highlighting the importance of place to Australia's first peoples and culture, and showcasing this underseen part of the country. The feel-good vibe extends to the movie's performances, with Blair's cast all bouncing along. Like the other rom-com reaching cinemas this week, Long Shot, Top End Wedding also owes a debt to the chemistry between its main couple. When contrivance creeps in (such as detouring for a romantic break when it's already been established that everyone is racing against the clock), Tapsell and Lee surge through. Lee has been having just as a great a year as Tapsell, thanks to his bewigged role as Brian May in multiple Oscar-winner Bohemian Rhapsody, and the two actors make an engaging pair. In Top End Wedding, they help charisma, energy and a fond atmosphere mostly overcome familiarity. When the film finds its broad, joyous sweet spot, especially in its back half, it works a charm. https://www.youtube.com/watch?v=uoDBvGF9pPU
When Sydney's new International Convention Centre opened its doors at Darling Harbour at the end of 2016, it was just one part of the area's ongoing revamp. Welcoming patrons from October 6, Sofitel Sydney Darling Harbour is another — a lush 590-room hotel that marks the city's first new internationally branded luxury accommodation since the 2000 Olympics. While most hotels like to think they're offering creature comforts that you won't find at home, SSDH isn't inflating its luxe claims. As designed by award-winning Sydney architect Richard Francis-Jones, and costing a cool $500 million, the 35-storey building features floor-to-ceiling views of the city and Darling Harbour, a French-inspired rotisserie and grill, a dedicated Champagne bar and a decadent pool drinking and hangout space. Those staying the night can pick between standard rooms or 35 suites, with the latter coming complete with in-bathroom TVs, soaking tubs, private check-in and their own sky-high guest lounge. Meanwhile, anyone just looking for a beverage or meal can pick from the site's signature restaurant and three bars, as well as between the likes of deconstructed bouillabaisse, cocktails in the lobby or by the 20-metre infinity pool, and over 20 types of champers. A 450-person ballroom, 6000 external LEDs that will be used for eye-catching light displays, and other design touches that nod to the indigenous clans of the Eora nation who lived in the area — think sail-like triangular accents, and colours of red ochre and blue — are also part of SSDH's package, as is a link with Marseilles. French-theming is part of Sofitel's general approach worldwide, so they've picked the southern port city as this hotel's inspiration. As well as the look and feel, that means patrons can expect Sofitel Wine Days, aka a month of celebrating French wine and living. Find Sofitel Sydney Darling Harbour at 12 Darling Drive, Sydney. Head to the hotel's website for further details.
It seems Melbourne could be over its Asian food obsession and circling back to its European roots. In the last few months alone we've welcomed Italian joint Mr Ottorino to Fitzroy, seen A25 expand to the CBD and French bistro Ôter open up in Flinders Lane. Furthering that trend, chef Joseph Vargetto has launched his new classic Italian restaurant, Massi, on Little Collins Street. Opening last month, the venue is the little sibling of Kew favourite Mister Bianco, and offers a similar mix of coffee, cakes, cold meats and antipasti as well as pastas and Sicilian-style mains. Named after the acclaimed chef's youngest son, the restaurant is located at 445 Little Collins, between Williams Street and Queen. Open Tuesday to Friday for breakfast, lunch and dinner (on Mondays they'll be open until 6pm), the space can seat up to 50 people, and is described by Vargetto as "comfortable and welcoming". Diners looking for a quick bite can pay a visit to the "crudo antipasto corner", where they can watch chefs slice up a selection of salumi and terrines. Those after something heartier can opt for steak or pan-fried barramundi, or choose from a number of appetising pasta options such as black spaghettini with virgule, blue swimmer crab, garlic and chilli. Dessert is designed to be shared – because why would you choose between mascarpone panna cotta and orange cake with ricotta cream when you can just order both? Massi will also welcome the city's post-work drinks crowd, with Aperitivo Hour kicking off at 4.30pm each day. Behind the impressive marble bar you'll find a great selection of beer, wine and Prosecco. Alternatively, you can take your booze home with you from their fully licensed bottle shop.
A picture is worth a thousand words, but can a picture capture the unique sound of a moment, of laughter, of a single word? With Bespoken Art, your words can in fact be translated into a work of art, a canvas that depicts the exact sound waves of your voice. Founder and CEO David Caulkins launched the company to create "art that speaks volumes," and his vision has given individuals the opportunity to hang on to a particular sound. By uploading sound bites to the Bespoken Art website or recording a word or phrase over the phone, sound waves are captured and printed onto a canvas. You can personalize the picture even more by choosing the color and size of the canvas and sound wave, making it a true original. Bespoken Art allows you to capture a quote, sound or word with the Classic Sound Portrait, combine up to five different voices on the Multiple Voice Sound Portrait, pair up with your significant other to share vows in the Double Pane Sound Portrait or print a smaller laser-printed version with the Desktop Sound Portrait. You can even capture audio over 30 seconds with the Song Sound Portrait, for meaningful songs or messages. Pictures may be worth a thousand words, but words can now paint beautiful pictures.
Prior to 2020, if someone told you that Chess the Musical was a very real thing that definitely exists, you could've been forgiven for being a little perplexed. But it does and, with everyone obsessed with the chess-focused Netflix series The Queen's Gambit over the past few months, it's hitting Australia's stages in 2021. Chess the Musical actually dates back decades, first hitting London's West End in 1986. In line with that era, it's set against the background of the Cold War. Here, Soviet and American forces both try to use an international chess championship for political gain, and manipulate the outcome. The tale that also involves a love triangle, between Hungarian-born refugee Florence Vasse and two chess grandmasters. If you thought that singing about chess mightn't be all that exciting, ABBA's Benny Andersson and Björn Ulvaeus wrote the tunes, while Ulvaeus and musical veteran Tim Rice (Jesus Christ Superstar, Evita, Beauty and the Beast, The Lion King) penned the lyrics. And, if you've ever heard 80s tracks 'I Know Him So Well' and 'One Night in Bangkok', they actually hail from Chess the Musical. Folks in Melbourne, Perth and Brisbane will get to experience the show for themselves from April–June next year, with the production hitting up Melbourne's Regent Theatre on Saturday, April 24, Perth's Concert Hall on Saturday, June 5 and Brisbane's QPAC Concert Hall on Thursday, June 10. It's doing two shows on each date, at 2pm and 7.30pm — each with a 25-piece orchestra. Tickets are on sale now for Melbourne and Perth, and will be available from 9am on Thursday, December 17 in Brisbane. Keen for a glimpse of what you're in for? Check out the video for Elaine Page and Barbara Dickson's 'I Know Him So Well' below: https://www.youtube.com/watch?v=s2SDInk6voA Chess the Musical heads to Melbourne's Regent Theatre on Saturday, April 24, Perth's Concert Hall on Saturday, June 5 and Brisbane's QPAC Concert Hall on Thursday, June 10 — for more information, and to buy tickets, head to the production's website.
On most weekends, somewhere in Melbourne is hosting a beer festival. They might not happen every single weekend, but they definitely pop up with frequency. Only one is called the Great Australasian Beer Spectapular, however, and dedicates itself to weird, wild, wonderful and inventive varieties that are made exclusively for the booze-fuelled party. And that very fest has locked in its dates for 2023. If you're a newcomer to GABS, as the festival is known, it started off as a Melbourne-only celebration of ales, lagers, ciders and more. Then, it started spreading along Australia's east coast capitals, as well as to New Zealand. Now, its 2023 plans will see it return for its homegrown event from Friday, May 19–Sunday, May 21 at the Royal Exhibition Building. While only dates and venues have been confirmed so far, and not brewers heading along or the beers they'll be whipping up, attendees can look forward to an event that's considered to be one of the best craft beer and cider festivals in the Asia Pacific region. And, you can grab tickets from the GABS website from 3pm on Friday, March 3. One big reason: it'll pour at least 1200 kegs — which in past years have been inspired by breakfast foods, savoury snacks, desserts, cocktails and more — from 240 taps. In 2022, peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum and sour gummy bears all got a whirl. The event surveys both Australian and New Zealand breweries, plus folks from the US and UK, with more than 120 set to be pouring their wares this year. Also on the bill: other types of tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines. In fact, Archie Rose, Monkey Shoulder Whisky and Yellow Tail Wines will all be making their GABS debuts. GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which'll span a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders in 2023, as well as local food trucks and vendors to line your stomach. Yes, that includes the Mountain Goat air guitar championship, the Balter tins of glory, the Atomic wheel of pourtune and the Black Flag skate ramp. Updated March 3.
It's a dream everyone has shared since 1993 — or, since you first saw Jurassic Park. Who hasn't wished that they could see dinosaurs up close at a theme park (albeit without having to evacuate an island afterwards)? Yep, author Michael Crichton and filmmaker Steven Spielberg have a lot to answer for. Or, we can thank them for not only letting us live out this fantasy on the page and screen, but inspiring other dino-themed attractions to pop up. Sure, America's Moab Giants Dinosaur Park doesn't offer living, breathing versions of the prehistoric creatures; however it does let you wander around 60 acres of desert and view more than 100 life-sized renderings. Opening back in September 2015 but finishing their final exhibit just last month, the Utah establishment is just what dinosaur fans have hoped for — as long as they've hoped to see these giant critters in dry, rocky surroundings, that is. When you're not literally following in their footsteps along a half-mile-long trail, you can get a 3D glimpse of what the area looked like when dinos roamed the earth, add two extra dimensions courtesy of virtual reality to explore the world of ancient sea beasts, pretend you're in a paleontologists' camp and even try to dig up some fossils. Sounds like the closest you're probably getting to visiting Jurassic Park, doesn't it? Aka, it sounds pretty dino-tastic. Think of it as your ideal dinosaur-oriented getaway, in case the Gold Coast's rumoured next theme park doesn't ever come to fruition — or, an overseas alternative to the Australian Age of Dinosaurs in Winton in central outback Queensland. Via AWOL.
The Makers and Shakers Market will visit Melbourne again this April, bringing with it the whole kit and caboodle of bespoke ceramics, homewares and jewellery (as well as tasty food to rejuvenate you when you get the oh-no-I-just-spent-all-my-money sweats). Kick things off at 10am with a coffee, spend a few hours browsing, and then chow down on a toastie, cannoli, doughnut or meringue. The market gives space to local makers to sell their handmade wares, with everything from resin rings to tomato chutney to be found. Stallholders this time round include designer soaps from Fazeek, flowers from Little Jar of Happiness, granola from Humble Homies, whimsical lamps from Upswitch and linen homewares from Olioko Designs. And that's just the crust of the pie — there are many more to choose from when you take a full bite, and a free paper craft workshop as well. Images: Alana Dimou.
Last week we hosted a 'four elements'-themed dinner in collaboration with Stoneleigh. Held inside The Stoneleigh Project, a pop-up wine and art installation, the sensory dinner featured birds' nests, soil, smoke, fire and caviar. And lots of wild fermented wine. Before the dinner, guests journeyed through the installation dedicated nature's elements and Stoneleigh's "winemaking philosophy of minimum intervention and respecting nature's wonder," as Stoneleigh wine ambassador Ambar Maddox explained. "This year, we wanted to make the installation more conceptual and really lead our customer on a journey. We wanted to make sure each room could tell a different part of our story, using a contemporary visual art approach to depict nature's stories, hero wild fermentation and our Wild Valley wine range." After wandering through bubbles, rivers and mirrors, guests were led into a secret dining room hidden behind a one-way mirror. Then, they dove into the first course: an ode to the water element. Thinly-sliced kingfish topped with caviar was washed down with a citrus-noted Wild Valley sauvignon blanc. Next, a lifelike — but edible — bird's nest, complete with a sous-vide quail egg and truffle, was paired with a glass of savoury Wild Valley pinot noir. Earth was followed by fire as Tim Newitt, head chef of Collingwood restaurant Project Forty Nine, torched Flinders Island lamb metres from the table then topped it with black, volcanic salt. To complement, but not compete with, the smoky course was paired with a bold and blackberry-rich Rapaura pinot noir. To round out the sensory dinner — dessert. Part dining, part magic show, the dish saw the floor staff pour billowing clouds over a sculptural dessert made with compressed honeydew melon, meringue and river mint, picked locally by the restaurant's secret forager. This air-inspired dish was served with Stoneleigh's Rapaura pinot gris, its poached pair and honey notes pairing harmoniously with the mystical dessert. Missed out on our dinner? You still have time to visit The Stoneleigh Project and try their range of Wild Valley wines. The pop-up is open until November 5 at 524 Flinders Street, Melbourne; weeknights 4–10pm and weekends 12–10pm. Images: Brook James.
Over the past six months, Fleabag picked up six Emmy Awards and two Golden Globes, becoming the most-acclaimed TV comedy of the past year. Sadly, that isn't enough to inspire Phoebe Waller-Bridge to make more episodes of the hit show — but for everyone lamenting the Fleabag-sized hole in their lives, the multi-talented Brit has a new project landing soon. She has a couple, actually. Waller-Bridge helped write the script for delayed Bond flick No Time to Die, which is no small feat. If you're keen to see her on-screen, however, then you'll want to add Run to your must-watch pile. Waller-Bridge executive produces and pops up among the cast, with Vicky Jones — the director of her Fleabag stage show, and a script editor on Fleabag's first TV season — writing and producing the series. Hitting HBO in the US in mid-April and Foxtel in Australia around the same time, Run spends time with ex-lovers Ruby Richardson (Unbelievable's Merritt Wever) and Billy Johnson (Star Wars: Episode IX — The Rise of Skywalker's Domhnall Gleeson). They dated in college and, 17 years ago, they made a pact. First, one of them has to text the word 'run' whenever they feel like it. Next, the other has to respond the same way. After that, they both have to drop everything, step away from their everyday lives and meet at Grand Central Station, then travel across the America together. For Ruby, that means escaping her monotonous existence and leaving her husband (Mad Men's Rich Sommer) at home. As for what happens next, while last month's first teaser gave a bit of a glimpse, the just-released full trailer provides more of a sneak peek. Expect plenty of chatty train trips, as well as both tension and laughs — with HBO badging the series as a romantic-comedy thriller. And if you're wondering about Waller-Bridge, she plays Laurel, a woman who Ruby and Billy meet on their journey. Check out the full trailer below: https://www.youtube.com/watch?v=L9TjitrfeMo Run starts streaming on Foxtel Now and screening on Foxtel Showcase in Australia, Thursdays at 8.30pm from May 7. Image: Ken Woroner/HBO. UPDATE: MAY 7, 2020 — Run was initially meant to hit Foxtel back in April, but it was postponed till May 7. The above copy has been updated to reflect this.
Death and vengeance are the common threads in Damián Szifron’s Wild Tales, one of the most deliriously savage black comedies to hit cinemas in years. Argentina’s nomination to the most recent Foreign Language Oscar race, the film consists of six separate vignettes, following six everyday people driven to the point of no return. The ensuing mayhem resembles the spawn of the Coen Brothers, Almodovar, Tarantino and Bunuel; a wicked tour de force as sharp as a corkscrew and every bit as twisted. Whether it’s a wealthy couple trying to cover up their son’s indiscretions, a lowly waitress taking revenge on the man who ruined her family or just two drivers struck down by a serious case of road rage, every chapter in the film is propelled by a wonderful inevitability: eventually, everything will be thrown horribly, hysterically and often violently out of control. And believe it or not, there’s actually method to Szifron’s madness — an intelligence lurking beneath all that wonderful chaos. The cathartic pleasure we feel watching his characters rebel against what’s socially (and ethically) acceptable comes directly from our own frustrations with the everyday world. Wild Tales is in select cinemas (Sydney: Dendy Newtown and Palace Verona. Melbourne: Palace Brighton Bay and Cinema Nova) from May 21, and thanks to Sony Pictures, we have 15 double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter and then email us with your name and address. Read our full Wild Tales review here. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au
For one plant-powered evening this month, food truck park The Ascot Lot is ditching the animal products and throwing a vegan celebration to remember. Tuesday, June 21, marks the return of the precinct's popular Vegan Nights — a pop-up night market dedicated to vegan wares, with a dedicated lineup of plant-based eats and drinks to match. Kicking off from 5pm, there'll be a hefty curation of cruelty-free and vegan-friendly market stalls to shop, slinging everything from fashion and jewellery, to gourmet pantry items and beauty products. To fuel your shopping adventures, catch a jam-packed menu of plant-based eats courtesy of food trucks like The Dolly Bus, Cha Chas Vegan Mexican and doughnut masters St Gerry's. You'll be able to wash it down with craft brews, cocktails, and hand-warming serves of mulled cider and wine, while DJ Fragile Future soundtracks the evening's festivities with some cruisy midweek beats.
