If you're a fan of the British version of The Office, you'll know what we mean when we say David Brent: Life on the Road is almost unwatchable, but still worth a watch. This big-screen sorta-sequel follows Brent (Ricky Gervais) around as he gives his music career one last shot. Set a dozen years after The Office, Brent is now a sanitary products sales rep who invests a huge amount of his pension money in touring himself, his session band and his incongruous (but very much appreciated) young rapper friend Dom (Ben Bailey Smith) around on a self-made tour of Slough and the surrounding counties. The resulting 95 minutes rapidly deteriorate into an awkward hellscape puppeteered by Gervais' masochistic desire to make the audience squirm. While it's no Oscar winner, fans of The Office, and Gervais in general, will still find plenty to enjoy. Whereas the OG David Brent was built on classic British humour, modern day Brent is a more international flavour and slightly more palatable for it. Some of the gags are far too obvious, most of the ancillary characters might as well be cardboard cut outs with looks of disgust on their faces, and the narrative is just a series of exponentially embarrassing moments. In truth, the superficiality of the narrative is almost a relief, since Brent definitely doesn't have enough depth as a character to carry the plot for the length of an entire feature. True to form, the most excruciating moments aren't Brent's absurd stage antics or his terrible music (including such hits as "Please Don't Make Fun of the Disableds" and "Lonely Cowboy"). Nor are they his creepy and frequently offensive attempts to hit on women, or the ratty little grin that's constantly smeared on his chubby face. Instead, it's the brief but devastating moments when Brent pulls the cartoon mask up and becomes a vulnerable man with no friends. The shots of his tiny apartment, his failed attempts to mingle, the cheesy outfits of which he's so proud and his desperate need to be liked are so real. Too real. The tender heart at the centre of so much bluff is what makes the franchise continue to work. Some of the more depressing elements that defined The Office have been spruced up for the big screen. Gone are the halogen lights, wobbly camera angles and general low-budget vibes. Instead we're served great production to smother the stink of desperation – and honestly, it's a better film for it. Like the series before it, Life on the Road isn't for everyone, but has enough weirdness and insight to age into a cult favourite. https://www.youtube.com/watch?v=2THODznVOt8
With all the working from home and social distancing Melburnians have been doing, there's a good chance you've racked up minimal time on the ol' public transport system this year. And, while we're not sure it's even possible to have tram withdrawals, there is one nifty way you can fill the PT-shaped hole in your life — socks. Specifically, some very spiffy socks printed with the same iconic green tram-seat print you've sat your bum on countless times in the past. Yep, those brightly coloured beauts from the minds behind Melbourne's public transport-themed card game Touched On have made a comeback, apparently re-released due to burning demand from the people. Originally launched as a playful add-on to Touched On's 2016 Kickstarter campaign, the funky foot coverings quickly earned their own legion of fans and sold out faster than a tramful of fare-dodgers fleeing a surprise Myki inspector. Now, after continued requests from sock-hungry Melburnians, the locally made hosiery is available once more, with a fresh batch of sock stock up on Touched On's online store. The Tram Socks come in two different sizes, clocking in at $17 a pair. While you're there, you can browse and buy a bunch of other Touched On goodies, from colouring books to the OG commuter-inspired party game. You can nab yourself a pair of Tram Socks from the Touched On website. Shipping is a $5 flat-rate Australia-wide, with free delivery for orders over $30.
During 2020's lockdown, Gelato Messina served up plenty of tasty specials to keep our tastebuds occupied at home — including cookie pies in choc chip, red velvet, choc-hazelnut, and peanut butter and jelly varieties, as well as 40 of its best gelato flavours — and one of them proved particularly popular: Iced Vovo tubs. Now, the gelato fiends are bringing back the gelato version of everyone's favourite childhood biscuit for another limited round. Wondering what exactly Iced VoVo gelato entails? It combines toasted coconut gelato with pieces of shortbread biscuit, then tops it with marshmallow, raspberry puree and desiccated coconut. And yes, the end result looks like the bikkies you know and love — but in a scoopable form. Available as part of Messina's 'Hot Tub' series, the Iced VoVo gelato can only be ordered online on Monday, January 18, with a one-litre tub setting you back $30. You can then go into your chosen Messina store to pick up your tub between Friday, January 22–Sunday, January 24. The tubs are available to order from all Aussie stores except The Star and Coolangatta. Gelato Messina's Iced VoVo gelato tubs will be available to order from 10am on Monday, January 18, for pick up between Friday, January 22–Sunday, January 24 — keep an eye on the Messina website for further details.
It's been just over two years since Melbourne first scored its own edition of Singapore's famed Hawker Chan: home of the world's cheapest Michelin-starred meal, founded and helmed by chef Chan Hong Meng. A second local venue landed at Chadstone Shopping Centre mid-2019 and now, outposts number three and four are set to follow suit. Not one, but two more Hawker Chan restaurants are gearing up to open their doors at Box Hill Central this month. Launching on Friday, January 31 and mid-2020, in each of the precinct's two food courts, the venues will mark a shift for the brand, unveiling a new, beefed-up menu offering. Of course, legendary signature dishes like the soya chicken and char siu pork will be front and centre, though here they'll be joined by a slew of new additions. An expanded lineup of rice and noodle options means you can now match your hero protein to the likes of an aromatic chicken stock rice, hor fun or egg noodles, and both half and whole chickens will be available to order. Or you might fancy tucking into brand-new dishes including the gutsy chilli wontons in slick red broth and a Malay-style chicken curry with rice. Sticking with tradition, chef Chan himself will be flying into Melbourne to help launch the two newcomers. And for an all-important dose of good luck, he'll be the one whipping up that first batch of signature soya chicken. Find Hawker Chan at Shop FC002, Box Hill Central (North Precinct), from January 31. Hawker Chan at 1 Main Street, Box Hill (Box Hill Central) will open in mid-2020. CORRECTION: JANUARY 22, 2020 — The above article previously stated that both Box Hill Hawker Chan restaurants would be opening on January 31. This is incorrect. The North Precinct store (at Shop FC002) is opening on January 31, but the Box Hill Central store will not open until mid 2020. The above article has been updated to reflect this.
Wrapping up high school with the party to end all parties is a rite of passage. Watching movies about the experience has become one as well. Most of their classmates would've pegged Booksmart's Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) for preferring the latter over the former — but, on the night before graduation, after buckling down, studying hard and getting great grades for their entire lives, these two besties are determined to treat themselves to one stereotypically OTT night out before heading off to college. Making her directorial debut, actor-turned-filmmaker Olivia Wilde might have chosen a familiar narrative; however, absolutely nothing about this affectionate and engaging instant-classic teen flick ever feels routine. That includes the genuine rapport between its delightful stars as their characters let loose, and learn plenty about each other and themselves across the course of the wild evening.
If you know no other Shakespeare, you probably know A Midsummer Night's Dream. It’s the one with fairies, often seen being put on in parks and botanic gardens. Expect no prancing or wing-and-tutu ensembles from this latest version by Bell Shakespeare, however. So determined is this production to separate itself from the usual woodland fantasia aesthetic that it is being presented simply as The Dream. It aims to be a darker version of the play, the focus more on the dramatic elements of a script usually played as a fluffy comedy. It has also been economised and the cast streamlined, with actors switching roles as scenes jump abruptly from one story thread to another. One moment, they’ll clown about as the amateur actors preparing a play for the king, then they’ll throw on robes and thunder as outraged nobility and star-crossed lovers, then the lights go dim and a sinister soundtrack indicates it’s fairy time. The fairies are played as creatures of the night, wearing leather jackets and moving animalistically, heightening the sinister nature of a myth usually painted in gloss. It’s bold in concept and fast-moving in execution, certainly different from any Botanic Gardens Dream you’ve seen, but it does rely on you having some familiarity with the play. If you don’t already know who the characters are, the fast pace is likely to confuse the fairy dust out of you, especially at the beginning. There is also a tendency to rush over some of the gentler moments. The scenes which work best are those involving conflict or madcap comedy but romance scenes, so central to the story, are lacking tenderness. The romantic leads, eloping lovebirds Hermia (Lucy Honigman) and Lysander (Gareth Reeves) and unlucky in love Helena (Nikki Shiels) and Demetrius (Johnny Carr), are never quite believable as couples. The constant bluster between them, combined with the inexplicably ocker accents used for these characters, makes their relationships seem more like ones you'd see unravelling on Swanston Street at 2am rather than coming together in a fairy-haunted forest. Oberon (Ray Chong Nee) and Titania (Janine Watson) are delightful though, the thunderous and manipulative nature of their relationship perhaps more more forgivable in a fairy king and queen. Julie Forsyth is memorable as Puck and Richard Piper gives the role of Bottom both its comic dues and some character nuance. All the cast deserve credit for the energy and physicality of their performances, which sees them on stage constantly, often clambering over the set or executing whirlwind scene changes. Despite all the energy, it kind of fizzles out at the end. This is partly due to the reduced cast. In the original, the performance of the peasants’ play prompts an all-cast-on-stage moment with the nobles watching the peasants and the fairies watching the nobles, a classic Shakespeare performance-within-performance moment. With only one set of actors to represent all three groups, this isn’t possible and the performance of the peasants’ play after the plot has been resolved and the romantic leads have all left feels unnecessary. Ah well, if you want to see a classic take on this play, one’s sure to pop up in a park near you soon enough. The Dream, while perhaps overshooting its mark in going dark and dramatic with a story about fairies and love potions, certainly offers some new perspectives on a work more complex than it is often given credit for.
Among the many challenges that Australians have faced over the past year, our love of travel has been hit hard. Domestic border restrictions keep changing with frequency in response to new cases and clusters in different states, meaning that planning a holiday beyond your own city has been more than a little tricky. This was particularly true over Christmas and NYE, when an outbreak on Sydney's northern beaches saw many states quickly shut their borders to NSW — including Victoria. On January 1, 2021, Victoria closed its borders to all of NSW. Since then, it has reopened to regional NSW and all but ten Greater Sydney LGAs. From 6pm tonight, Friday, January 22, it's reopening to a further nine Greater Sydney LGAs — which means, only Cumberland will remain a 'red zone'. As part of Victoria's traffic light-style system, travellers from an 'orange zone' — which, from tonight, will include all of Greater Sydney (but Cumberland), Wollongong and the Blue Mountains — can enter Victoria, but they'll need to isolate on arrival and get tested within 72 hours, then when they receive a negative result they're free to leave isolation. They also have to apply for a permit before entry, too — like all Australians. Last week, Victoria introduced compulsory permits for anyone who wants to enter the state. If you try and enter Victoria without a valid permit, you risk being fined $4957. You can apply for one over here. Travellers who have been in the Cumberland LGA in the past 14 days, which is still a 'red zone', cannot enter Victoria. Folks who've been in a 'red zone' can apply to receive an exemption or a specified worker permit. The former covers instances such as emergency relocations, funerals, essential medical care, and people needing to return home for health, wellbeing, care or compassionate reasons. https://twitter.com/VicGovDHHS/status/1348469170472509440 From 6pm tonight, the rest of regional NSW (apart from the aforementioned orange zones) and Greater Brisbane will also be redesignated as 'green zones'. Travellers entering Victoria from a 'green zone' still need to apply for a permit, but do not need to get tested or isolate on arrival, unless they develop symptoms. The loosened border restrictions come as Victoria records its 16th consecutive day of zero new cases of community transmission. Overnight, the state did record one new cases in hotel quarantine. https://twitter.com/VicGovDHHS/status/1352361271946059788 As result of this long run of doughnut days, Premier Daniel Andrews has also announced that from 11.59pm tonight, Friday, January 22, Victoria will revert back to pre-NYE gathering restrictions, which means you are allowed up to 30 visitors at your home, double the current limit of 15. For more information on Victoria's new permit system — or to apply for one — head to the Department of Health and Human Services website.
With gathering restrictions continuing to ease and the weather slowly warming up, picnics are set to be very much on the menu for the next few months. And we've now scored another premium picnic destination, in Lakeside at Carousel — a new al fresco pop-up from the folks behind renowned South Melbourne venue Half Acre and local catering company Food & Desire. This one sees Albert Park Lake's famed Carousel building and waterfront Pelican Lawn transformed into a lush picnic ground, open daily until the end of summer. There'll be umbrella-shaded spots for groups, and various furniture and picnicking gear available to hire, ranging from deck chairs to fold-up tables. Or you can BYO rug to throw down on the sunny turf as you please. Punters are welcome to pack a picnic feast from home, though it'll be hard to pass up the range of culinary delights offered on-site. Lawnside takeaway windows are slinging a menu of seasonal fare that's best enjoyed perched on a blanket with the sun on your back. Think, cheese and charcuterie boards, loaded mezze platters, Chicago-style hot dogs, and classic fish and chips. Breakfast might include açai bowls, and bacon and egg rolls, while sweet-toothed folk can delight in the likes of hot jam doughnuts and a summer pavlova ice cream situation. Food is available from 9am through till sunset, every day. A pop-up bottle shop will be supplying picnickers with wine and cocktails, and there'll be a calendar of live tunes and DJ sets to keep you entertained. Prefer a traditional restaurant set-up? Carousel's The Deck will also host sit-down dine-ins for lunch and dinner from Sunday, November 7. Images: Lucas Worcester
It has finally happened, Melburnians. After two prolonged periods spent empty this year, with projectors silent, theatres bare and the smell of popcorn fading, Melbourne picture palaces are back in business. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer from this week. https://www.youtube.com/watch?v=7Ekw85OqJck THE WITCHES What's the one thing that every movie remake has in common? No matter how it turns out, the original film still exists. So, if the latest version doesn't cast a spell, you can return to the old one — revisiting it, appreciating it anew and steeping yourself in nostalgia in the process. That's worth remembering regarding the latest screen adaptation of Roald Dahl's The Witches, even with writer/director Robert Zemeckis (Back to the Future, Who Framed Roger Rabbit, The Polar Express) and co-writers Kenya Barris (Black-ish, Girls Trip) and Guillermo del Toro (Pan's Labyrinth and The Shape of Water's) involved. Its main achievement: reminding everyone just how great the previous screen adaptation of Roald Dahl's book from back in 1990 still is. It might be unfair to think that some remakes only eventuate because a studio executive thought it was time to wring some more cash out of a beloved story, but that's how this movie feels. It's simultaneously broader and tamer — including Anne Hathaway's (Dark Waters) over-the-top performance as the Grand High Witch, although she does appear to be enjoying herself immensely — and it radiates big pantomime energy. Indeed, there's a lack of overall magic in The Witches, either of the twisted or charming type (unless sending viewers clamouring to find wherever the original is currently streaming counts). A few things have changed in this fresh iteration. It's 1968, and the the film's unnamed young protagonist (Jahzir Bruno, The Christmas Chronicles 2) moves to Alabama to live with his grandmother (Octavia Spencer, Onward) after his parents are killed in a car accident. He's grief-stricken, but they bond over her shocking revelation: that witches exist, they're everywhere, they despise children and she has experience with them. Also, once a witch sets their sights on a kid, it never lets up. That's why, after one crosses the boy's path, grandma whisks him off to "the swankiest resort in Alabama", where she's certain they'll be safe among rich white folks. Of course, she couldn't have predicted that the group of women that have taken over the Grand Orleans Imperial Island Hotel's ballroom — the Society for the Prevention of Cruelty to Children, apparently — are all witches. Or, that the Grand High Witch is in attendance, unveiling a plan to turn every kid in the world into a rodent via a potion called 'Formula 86 Delayed Action Mouse-Maker'. Much that has endeared The Witches to readers and viewers over the years remains in the latest film, but tinkering with the details and tone makes an unfortunate impact. Brimming as it is with bright colours and overdone CGI, the new version of The Witches favours gloss and shine over chills and potential nightmares. Everything here is overt to an in-your-face extreme, and also far less intricate and much more bland. Read our full review. https://www.youtube.com/watch?v=N8DT_zVzxhk THE FURNACE At this point in Australia's cinema history, audiences can be forgiven for wondering if homegrown movies have unearthed and told every tale there is to be found among the vast outback. The answer: an overwhelming no, especially when Aussie filmmakers traverse the country's sunburnt and sprawling expanse to explore stories steeped in our problematic past. The Furnace is one such movie that proves the point. The first feature from writer/director Roderick MacKay, the gold rush-era western serves up a powerful interrogation of Australia as a multicultural nation — harking back to 1897, to Western Australia, and to a time when transporting freight around the country relied upon a network of cameleers trekking across the desert. The men covering great distances to move goods from one place to another hailed from India, Afghanistan and Persia, were largely of Muslim and Sikh faith, and were badged together under the label 'Ghan' by white Aussies. They were treated poorly, except by Indigenous Australians. And, they're a real but oft-forgotten part of the nation's story, so much so that The Furnace will introduce their existence to many viewers for the first time. That's just one of this vividly shot, exceptionally acted film's achievements, though. Another: posing the kinds of questions about our national identity that we should always be asking. Afghan cameleer Hanif (Ahmed Malek, Clash) didn't choose to come to Australia, or to take up this line of work. So, when he witnesses the death of his mentor at the hands of a white man, he's eager to find a way to get the cash he needs to return home. The Indigenous Yamatji Badimia people he often spends time with on his travels, including leader Coobering (Trevor Jamieson, Storm Boy) and Hanif's friend Woorak (Baykali Ganambarr, The Nightingale), suggest that he stays and joins them instead. But, after stumbling across injured thief Mal (David Wenham, Dirt Music), he's determined to use half of his new acquaintance's stolen Crown-marked gold bars to finance his escape and leave the life he hates behind. Troopers led by the fervent Sergeant Shaw (Jay Ryan, IT: Chapter Two) are swiftly on the unlikely pair's trail; however, Hanif and Mal keep traipsing towards the eponymous smelter, where Mal promises they'll be able to melt down the precious metal and remove any trace of the government's ownership. Following Hanif's journey — physically, and emotionally and spiritually as well — The Furnace is a patient film. It's a meat pie western through and through, applying the western genre's trademarks to an Australian context, and it joins The Proposition, Sweet Country and the aforementioned The Nightingale as one of the best 21st-century examples. MacKay spies the beauty and the imperfections in Australia's arid, dusty landscape, as many filmmakers have before, but he also never lets the flaws in our national character that are made plain by this chapter of history ever fall out of view. Read our full review. https://www.youtube.com/watch?v=Gb8ZbP6qAzE&feature=youtu.be THE MIDNIGHT SKY The Midnight Sky is George Clooney's first film role in four years (since 2016's Hail, Caesar! and Money Monster), so it's fitting that he's at his most bearded and reclusive within its frames. This sci-fi drama also joins the small but significant list of features that combine the star and space, following Solaris and Gravity — and there's something particularly alluring and absorbing about seeing Clooney get existential, as all movies that reach beyond earth's surface tend to. He clearly agrees, because he not only leads The Midnight Sky but also directs it as well. This is a big-thinking and big-feeling film, with its characters grappling with life, love and loss. It boasts aptly pensive and probing cinematography, too; however, both on-and off-screen, Clooney is the key. When the movie spends time with astronauts onboard the spaceship Aether, including the pregnant Sully (Felicity Jones, On the Basis of Sex), ship commander Adewole (David Oyelowo, Gringo), veteran pilot Mitchell (Kyle Chandler, Godzilla: King of the Monsters), and other crew members Sanchez (Demián Bichir, The Grudge) and Maya (Tiffany Boone, Hunters), it's at its most generic. Indeed, when it ventures to space, The Midnight Sky almost screams for either Clooney to head there as well, or for the feature to plummet back down to earth to join him once more. The actor/filmmaker plays workaholic research scientist Dr Augustine Lofthouse and, although The Midnight Sky rockets beyond the earth, it doesn't send its protagonist there. Instead, in 2049, after an environmental disaster has made the planet uninhabitable, he chooses to remain in the Arctic as his colleagues evacuate. He's dying anyway, and frequently hooks himself up to machines for treatment — in between downing whiskey, watching old movies, eating cereal and talking to himself. Then, interrupting his lonely decline, two things change his status quo. Firstly, a young girl (debutant Caoilinn Springall) mysteriously pops up out of nowhere, refusing to speak but obviously needing an adult's care. Secondly, Augustine realises that he'll have to trek across the oppressively icy terrain outside to connect via radio to Aether's crew, who've been on a two-year mission to ascertain whether newly discovered Jupiter moon K-23 can support life, and are now making their return unaware of what's been happening at home. The space movie genre is as busy as the sky above is vast, and The Midnight Sky proves familiar as a result, delivering plenty of elements that viewers have seen before — but this isn't merely an exercise in flinging together derivative parts. While this isn't Clooney's greatest achievement as a director in general or as an actor in a space flick, it's still an involving, engaging and poignant addition to his resume on both counts. Read our full review. https://www.youtube.com/watch?v=Ij8m_XQ_J2E WORDS ON BATHROOM WALLS When it comes to portraying illness of either the physical or mental kind, Hollywood doesn't have the greatest track record. Case in point: this year's awful All My Life, a cancer-fuelled weepie that decided it'd rather focus on the girlfriend of its sickness-stricken character — who is based on a real-life person — than on the man fighting to survive. Accordingly, by actually directing its attention towards Adam (Charlie Plummer, Lean on Pete), a high schooler who is diagnosed with schizophrenia in his senior year, Words on Bathroom Walls immediately demonstrates a willingness to actually engage with its protagonist's predicament. The film is based on a YA novel by Julia Walton, rather than on reality, but it sees Adam as a person rather than a reason that someone else's existence increases in drama. That's a pivotal move by filmmaker Thor Freudenthal (Percy Jackson: Sea of Monsters) and first-time screenwriter Nick Naveda, and one that improves their movie immensely. But Words on Bathroom Walls doesn't completely avoid cliches and tropes. Instead, it saves them for the usual teenage experiences, serving up everything from bullying classmates to first kisses, prom night antics and graduation chaos as Adam doesn't just try to cope with his condition, but with testing every treatment option there is, and also navigating the disappointments and the side effects. Adam's struggles begin in science class, where he has traumatic hallucinations, injures a friend and gets expelled. Seeing people who aren't there isn't new to him but, with the incident badged a psychotic break, his mother Beth (Molly Parker, Deadwood) devotes every waking hour to finding him the best care — when she isn't spending time with the new boyfriend, Paul (Walton Goggins, Fatman), that Adam doesn't like. For the teen himself, he's most concerned about chasing his dreams. He wants to be a chef, but he needs to get his diploma to get into his chosen culinary course. The local private school agrees to let him attend, as long as he undertakes a specific treatment plan and doesn't trouble his peers with his illness. Consequently, when he meets the studious and resourceful Maya (Taylor Russell, Waves), he keeps his condition to himself, even as a friendship and something more springs. At its core, Words on Bathroom Walls endeavours to address and break down the stigma that surrounds schizophrenia and mental illness, a feat that it perkily but thoughtfully achieves. Still, there's no missing the fact that it squeezes its empathetic intentions — and its narrative in general, and Adam's plight within it — into a well-worn teen formula. While Words on Bathroom Walls still succeeds where many other movies about health struggles fail, thanks in no small part to excellent performances all-round from Plummer, Russell, Parker and Goggins, its need to fit a template threatens to undercut its sensitive approach to its subject. If you're wondering what else is currently screening around Melbourne, we've also picked the 12 best flicks that started gracing the city's silver screens when indoor cinemas were given the green light to reopen. When outdoor cinemas relaunched before that, we outlined the films showing under the stars, too. And, we've run through all the pictures that opened in the city on November 12, November 19 and November 26; and December 3, as well. You can also read our full reviews of The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Les Misérables, Bill & Ted Face the Music, An American Pickle, On the Rocks, Antebellum, Kajillionaire, The Craft: Legacy, Never Rarely Sometimes Always, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon and Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom and Sound of Metal all of which have been showing in Melbourne since cinemas reopened. And, you can check out our rundowns of the new films that released in other cities over the past few months — on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5 — as a number of those movies are now showing in Melbourne as well. Images: The Midnight Sky, Philippe Antonello/Netflix.
Harvest is back for its second year and the official lineup has now been announced. International favourites on the lineup include Beck, Sigur Ros, Grizzly Bear and Santigold. At Harvest's debut last year, festivalgoers witnessed performances from Portishead, The Flaming Lips, The National and TV On The Radio at what most hoped would be the first of many festivals to come. With rumours about the 2012 installation circulating for weeks, it was hard not to be excited when the full lineup for the November events came through at last. Tickets go on sale to the public on Thursday, June 28 at 9am from Harvest Festival, Oztix & Ticketek. Harvest Festival 2012 lineup: Beck Sigur Ros Grizzly Bear Mike Patton's Mondo Cane Santigold Beirut Cake The Dandy Warhols The Black Angels Chromatics Ozomatli Liars Ben Folds Five F**K Buttons The War on Drugs Dark Dark Dark Plus many more to be announced... Harvest 2012 dates: Sunday, November 11 at Melbourne's Werribee Park Saturday, November 17 at Sydney's Paramatta Park Sunday, November 18 at Brisbane's Botanic Gardens
What's better than lamingtons? Free lamingtons, of course. And Tokyo Lamington, everyone's favourite purveyor of these delightful nostalgic treats, is giving away a heap of freebies for two days. If you head to Tokyo Lamington's Melbourne store between Friday, July 21–Saturday, July 22, you'll have the chance to try a new flavour of lamington for free. All you have to do is purchase an item from the store and you'll be given one of 1000 free chocolate lamingtons — a simple new addition to the chain's offerings as part of its nostalgic Lamington Originals range. You can also score a free Firecracker Oatly and Single O latte or batch-brew coffee as part of the promotion. If you're wondering what you can purchase at Tokyo Lamington in order to qualify for your free cake and/or coffee, well, you could get another lamington, of course. But there are also plenty of other delectable items available, including onigiri and mushroom kombu quiches. [caption id="attachment_873758" align="alignnone" width="1920"] Tokyo Lamington Melbourne[/caption]
Quentin Tarantino's latest star-studded masterpiece, Once Upon a Time... in Hollywood, is one of the most anticipated films of 2019 — and it hits Australian cinemas imminently. To celebrate, we're giving eight lucky Playgrounders (and their mates) free Palace Platinum tickets to see it on the big screen — and treat them to dinner and drinks beforehand, too. It's called Culture Club. We've teamed up with Palace Cinemas to curate a (free!) evening of food, drinks, film and conversation — and the inaugural club meeting will take place this month, on Wednesday, August 21. Kicking off at 6pm, you'll be treated to dinner at Chapel Street's moody cocktail bar and restaurant Lover. Expect a cocktail on arrival followed by a four-course feast and endless pours of wine. Geeky film chat with your fellow VIPs is encouraged. Once you've finished wining and dining, you'll be picked up and whisked away to South Yarra's Palace Cinema Como to watch the movie at 8pm. Plus, movie snacks (a drink and a platinum choctop platter) will be provided — if you're not too full from dinner, that is. These aren't just any ordinary tickets though, you'll be living it up with Palace Platinum in a fully reclining leather seat (footrest included) and with service just a call-button away. Then just kick back, relax and enjoy the film. That's two hours and 45 minutes of Brad Pitt, Leonardo DiCaprio and Margot Robbie. If you're keen to nab free tickets to Culture Club, enter your details below to be in the running. [competition]736079[/competition]
We really must stop being so surprised each time Ben Affleck does something good. Three grand directorial efforts in, and we still think of subpar rom-coms and tabloid relationships before we remember that the man actually won an Oscar for screenwriting at the age of 25. He's clearly observed each moment around the camera since Good Will Hunting, because everything he does as a director is interesting. He's a little like Clint Eastwood (minus the sting of Republicanism). After Gone Baby Gone and The Town, Affleck's third film is Argo, a nail-biter based on the 2007 Wired article 'How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran', written after the details of the far-fetched espionage story became declassified. It happened during the 1979 Iranian Hostage Crisis, in which 52 Americans were held for 444 days by militants angry about the US giving shelter to their overthrown monarch, Mohammed Reza Shah Pahavi. At the time the embassy was breached, six diplomatic staff escaped and hid secretly at the Canadian ambassador's house, until CIA agent Tony Mendez (Affleck) could organise their exfiltration (or 'exfil', as its snappily referred to throughout) — yes, using the totally improbable cover of a sci-fi film called 'Argo'. It's a fascinating study, but what's remarkable is that this largely bureaucratic process has been rendered so tense and so funny by the director and his team. It will put you closer to the edge of your seat than likely any other film this year. Most of the laughs come courtesy of John Goodman and Alan Arkin playing lauded make-up artist John Chambers and producer Lester Siegel, who come on board to make the fake film look real. Their dry, cynical banter about the ins and outs of Hollywood filmmaking are a down-to-earth intrusion into a fantastical turn of events. After an impressive two hours, what turns out to be most impressive is the end credits, which place historical images alongside stills from the film so you can see the Mad Men-like attention to detail that has gone into re-creating this period in time. You can practically feel the polyester under your eyes throughout this Oscar contender, while the softly grainy texture of the film allows archival footage to be smoothly integrated. It is a bit disappointing, then, that the historical accuracy turns out to be so patchy. The role of the CIA, as opposed to Canada, is exaggerated for effect, but what's perhaps more damning is the lengths the film goes to demonise and dehumanise the Iranian people just to heighten the feeling of threat (any one of them could attack!). Arguably, given its bank of suspense, Argo could have afforded to swap some tension for a little more understanding. https://youtube.com/watch?v=QQkdOSwz2Kw
Think you know Tropfest? On the eve of its 21st birthday, see the iconic short film festival in a whole new, more mature light with this ultimate VIP package, up for grabs in both Sydney and Melbourne. You and a friend can get off the grass and enjoy luxury pre-drinks before heading to Tropfest with VIP red carpet tickets, which let you watch the competition unfold from the comfort of the invite-only marquee. End the night sleeping in style at the Vibe Hotel Savoy Melbourne. It's Tropfest how (we imagine) the celebs do it. The film festival that began in Sydney's Tropicana Cafe has captured the world's imagination like few others. A lot of the appeal lies in the festival's 'signature item', around which all the entrants must tailor their maximum-seven-minute films. This year it's 'balloon', so whimsy suggests itself, but the unexpected will reap reward. To be in the running for this VIP experience, subscribe to our newsletter (unless you're subscribed already) and then email melbourne@concreteplayground.com.au with your name and address. Tropfest is held on Sunday, February 17, at the Sidney Myer Music Bowl. The competition is subject to these terms and conditions.
Tennis is a game of serves, shots, slices and smashes, and also of approaches, backhands, rallies and volleys. Challengers is a film of each, too, plus a movie about tennis. As it follows a love triangle that charts a path so back and forth that its ins and outs could be carved by a ball being hit around on the court, it's a picture that takes its aesthetic, thematic and emotional approach from the sport that its trio of protagonists are obsessed with as well. Tennis is everything to Tashi Duncan (Zendaya, Dune: Part Two), Art Donaldson (Mike Faist, West Side Story) and Patrick Zweig (Josh O'Connor, La Chimera), other than the threesome themselves being everything to each other. It's a stroke of genius to fashion the feature about them around the game they adore, then. Metaphors comparing life with a pastime are easy to coin. Movies that build such a juxtaposition into their fabric are far harder to craft. But it's been true of Luca Guadagnino for decades: he's a craftsman. Jumping from one Dune franchise lead to another, after doing Call Me By Your Name and Bones and All with Timothée Chalamet, Guadagnino proves something else accurate that's been his cinematic baseline: he's infatuated with the cinema of yearning. Among his features so far, only in Bones and All was the hunger for connection literal. The Italian director didn't deliver cannibalism in Call Me By Your Name and doesn't in Challengers, but longing is the strongest flavour in all three, and prominent across the filmmaker's Suspiria, A Bigger Splash and I Am Love also. So, combine the idea of styling a movie around a tennis match — one spans its entire duration, in fact — with a lusty love triangle, romantic cravings and three players at the top of their field, then this is the sublime end product. Challengers is so smartly constructed, so well thought-out down to every meticulous detail, so sensual and seductive, and so on point in conveying Tashi plus Art and Patrick's feelings, that it's instantly one of Guadagnino's grand slams. In 2019, the picture's present day — a choice that enables Challengers to avoid everything pandemic-related — Art and Patrick go racquet to racquet in New Rochelle, New York. Pinging in-between their on-the-court confrontation, after they progress through the tournament on opposite sides to clash in the final, are flashes to moments from 2006 onwards. It was in that year, as teen doubles partners known as "Fire and Ice" (and best friends, and childhood tennis academy roommates), that the pair met Tashi. She's as confident when she's not standing on a green surface as she is on it, and on it she's an undoubtable prodigy. They're both immediately attracted to her. They each ask for her number at the same party while all three are together. In Challengers' later timing, however, Art is her husband and Patrick her ex-boyfriend. Art has also enjoyed almost every success that a tennis player can hope for, other than winning the US Open. Completing his career slam is his aim, with the New Rochelle contest about getting him back into form to stop a losing streak. Patrick has to sleep in his car to make the fixture; for him, earning a wildcard to the bigger dance and a chance at the kind of glory his former pal has long been basking in is the mission. The duo hasn't talked in years. The reason: a falling out about matters of the heart. But Challengers doesn't simplistically have its two men battle it out for Tashi as a prize, even when she promises a date to whoever wins their first game against — not with — each other in the mid-00s segments. Tashi is a force to be reckoned with. She'd never let herself become a trophy. Her career is cut short due to injury, sparking a move into coaching Art, and she's as ferocious and strategic there — and in their marriage — as she was when pursuing her own tennis fame. Then there's the inescapable bond between Art and Patrick anyway; Tashi's home-wrecker comments about sliding into the middle of their relationship aren't empty in Guadagnino's hands, whether a three-way kiss or loaded words are being exchanged. The director works with the first feature script by playwright, novelist and screenwriter Justin Kuritzkes — and it's no wonder that authenticity beats at the heart of this deeply sultry, raw and evocative (and horny) movie. While this isn't a tale taken from actuality, Kuritzkes is the husband of filmmaker Celine Song, whose Oscar-nominated 2023 debut Past Lives not only leapt into another complicated love triangle but was loosely drawn from her own experiences. The two movies are playing different games, though, yet share the same richness of chemistry, lingering sexual tension, and understanding of how burning love and pining to be seen are life-shaping and -changing sensations. They're each so precisely helmed in their vastly dissimilar ways that they're works of art, and so expertly cast that their stars will always rank the respective flicks as career and performance highlights. Continuing the trend of Spider-Man love interests giving tennis films a whirl (see: Civil War's Kirsten Dunst with Wimbledon, then Poor Things' Emma Stone with Battle of the Sexes), Zendaya doesn't just make Tashi formidable and unforgettable; her portrayal, which is one of her best ever alongside Euphoria, firmly matches. Neither the movie nor its leading lady polish over the character's fierceness and ruthlessness when it comes to her passion, instead exploring what's behind her intensity from the outset: being a Black star who isn't from a comfortable background in a world that's all about whiteness and privilege. She's magnetic to viewers, and to Art and Patrick, who are brought to the screen with romanticism and vulnerability by Faist, and with spirited but comfortable charm by O'Connor. Challengers loiters at the net, where two sides are pushed together — not as any balls bounce through the bouts depicted, but in unpacking every pairing that can be made from its main trio, racial and economic divides that definte their realities, and the thin line that can become a vast chasm regarding genuinely grasping your dreams versus forever chasing them. As it hops and rushes about — including between time periods, characters, games and romances — Challengers zips and zings, and lunges and thrusts. Guadagnino's knack for immersion keeps working up the bracket film by film, to hypnotic effect here. There's no Uncle Boonmee Who Can Recall His Past Lives or Memoria dreaminess to cinematographer Sayombhu Mukdeeprom's lensing, but the same crispness, as seen in his work on Call Me By Your Name and Suspiria as well, remains. New for Challengers is the dynamism of the sports scenes, and of switching from character to ball vantages, each absorbing visual choices. Marco Costa, who returns from Bones and All, edits just as energetically. And amid songs by Donna Summer, Lily Allen and Nelly, Trent Reznor and Atticus Ross' second Guadagnino score, also after Bones and All, is an adrenaline-dripping disco and electronica whirlwind that couldn't better set and reflect the propulsive mood. Talk about an all-round ace.
Instagram looked rather fetching last week. Hoards of hovering fashion bloggers, well-dressed punters breaking out their most social media-baiting outfits and a somewhat random Gerard Butler all descended on Sydney's Carriageworks last week for Australia's premier fashion event. Mercedes-Benz Fashion Week Australia is a tossed salad of the fashion industry's heavyweights, Next Big Things and hopeful scenesters eager to catch a glimpse of the coming season's boldest and brightest looks. Fresh from a long, house music-fuelled week of drooling over impossibly high heels and disarmingly playful outfits we could never comfortably wear into the office, Concrete Playground takes a look at next year's biggest trends. Looks like next year we'll be wearing wetsuits, donning enough sparkles to blind passers-by and asking our mums for style advice. Image: Toni Maticevski, Dion Lee, Ginger & Smart Luxe sports We all know Australia is a sporting nation, but who could have predicted that a fair whack of the MBFWA designers would premiere collections referencing sportswear as a key inspiration? Prominent zips, pockets, mesh panels, racer backs, fabrics that looked totally capable of wicking moisture — sporty detailing was everywhere this year. Dion Lee went varsity track-and-field, Ginger & Smart inserted a hint of streetwise mesh into otherwise romantic pieces, and several newcomers came out looking ready to race. The style reached its zenith, however, with Toni Maticevski, who sent athletics-inflected eveningwear down the runway (and it was stunning and formidable and would be perfectly rocked by Claire Underwood on House of Cards). Style inspiration: Sochi Olympics Image: Gabriel Lee (Raffles showcase), Ciara Nolan (The Innovators), Toni Maticevski Neoprene dreams Although a pedant might say neoprene is just one subset of the sports trend, the textile (you might know it as wetsuit material) was so prevalent at MBFWA that it deserves a mention in its own right. As well as anchoring the athletic collections of Maticevski et al, it made appearances contrasting against floatier, finer fabrics in the girlier wares of Cameo, Alice McCall and Gabriel Lee (part of the Raffles International Showcase), while Ciara Nolan achieved ultimate neoprene-age with her dinosaur-inspired (yes, dinosaur inspired) pieces. Best of all, neoprene should prove surprisingly wearable, particularly in skirts, where it not only makes sculptural curlicues from your waist to your knees but has a hold-everything-in effect. Stay away from any neoprene jumpsuits though; that could well just be a wetsuit. Style inspiration: Surfers. Duh. Image: Yousef Akbar, Alice McCall, Bei Na Wei SO SHINY This season designers are infusing a little celebration in each of their pieces. Accompanying the straight-up party that is Romance Was Born's hootenanny of an exhibition, Reflected Glory, designers like Aurelio Costarella, Alex Perry and Zhivago are making a dance floor out of mere clothing. Basically, the more sequins you can pack into a pair of pants the better. Metallic, rigid tunics and playsuits shone down more than one runway, making appearances everywhere from Alice McCall to Bei Na Wei, while glass beadwork, monochrome sequins and shimmering tassels made an absolute shindig of the Yousef Akbar runway. Day to night has never been easier. Style inspiration: Vince Noir’s mirrorball suit Image: Dyspnea, Alice McCall, Haryono Setiadi OVERLAYS We could see right through this one — overlays are getting serious exposure. Romantic as ever, intricate lace is all loved up by designers like Aje, Alice McCall and Alex Perry, prettying up full-length onesies, sheer business shirts and playful cocktail dresses. Appropriately breezy for her cruise-inspired birthday collection, Alice McCall paired long hemlines with high-waisted ‘50s style undergarments, while Ae'lkemi took sheer to the next level with gowns, shirts and skirts almost whispered on. The best thing about the evolution of sheer into overlays? Odds are you can actually wear it in the street. Style inspiration: Freedom Image: Hayley Elsaesser, Alice McCall, Emma Mulholland LOUD PRINTS Oh, you're thinking of wearing that ditsy floral dress? No. Life is short and this year's designers want you to spend yours not as a wallflower but as a rare, crossbred and likely poisonous orchid. Therefore, those who are working with colour (and not strictly monochrome and structural, which is, of course, also a thing right now) are working in vivid technicolour smashed together in brash prints. We're particularly taken with Emma Mulholland's and Hayley Elsaesser's sweet spins on childhood nostalgia and Alice McCall's mystical and alluring digital pyramid print. Fortunately, mixing prints is the pinnacle of this trend, so: let's wear both. Style inspiration: Ken Done Image: Dyspnea, Aelkemi, RACHELALEX THAT '70s SHOW Hemlines are longer, prints are bolder, sleeves are bigger — the '70s are the season's chosen decade for a runway revamp. Bell bottomed pants, asymmetrical tunics and winged sleeves made appearances in the Ellery, Bianca Spender and Ae’lkemi shows, while the impossibly bright, geometric prints of Desert Designs and tie-dyed designs from Rukshani channel an early '70s post-Woodstock vibe. Zhivago brought out yellow long-sleeved gowns with plunging necklines and Jayson Brunsdon featured super feathered, luminescent collars and one-shouldered numbers, also seen in Haryono Setia's candy corn-coloured tunics. Style inspiration: Studio 54 Image: Hayley Dawson, Yousef Akbar, Dion Lee MIXED MATERIALS Sometimes you need to pair something with its opposite to truly bring out its best qualities. Alex Perry fused rough snakeskin with bejewelled silk, Dion Lee is bringing leather to denim like only the Ramones could and newcomer Hayley Dawson introduced feminine, sheer cotton to hardy industrial uniforms. Yousef Akbar's Francis Bacon-inspired collection ended with floor-length gowns of half neoprene half silver sequins, while Bei Na Wei blended industrial strength synthetic mesh textiles with shiny leather to find a futuristic femininity. Style inspiration: Neenish tarts Image: Cameo, Emma Mulholland, Ellery MORE OF WHAT YOU'VE ALREADY GOT Not everything is a flash in the fashion pan; some trends are showing staying power that's a good two seasons long. Crop tops, bustiers and sheer garments are still around in a big way (layer the two together and you have something approaching modesty), while matchy-matchy monochrome remains a strong look, particularly in statement white. Style inspiration: MBFWA 2013 Top image: Emma Mulholland. Words by Shannon Connellan and Rima Sabina Aouf.
If you need to visit the CBD to pick up essentials or for medical needs — two of the reasons that Melburnians are allowed to head out under the city's current stage four stay-at-home restrictions, but only within five kilometres of home — you have one less thing to worry about: parking fees and fines. The City of Melbourne has announced that it is easing up on parking restrictions and costs in green sign parking bays, in line with State Government advice. The move will be in effect for the duration of the city's stage-four lockdown. That said, fees and restrictions will still apply to red sign parking bays — which includes disability parking spaces, if you don't have a permit; no stopping areas; tow-away clearways and loading zones. Enforcement will also apply in any other situation where a vehicle creates a risk to public safety or access, regardless of whether the car is in a green sign or red sign parking bay. So, while you you will be able to park without paying a cent in plenty of places, you'll still cop a fine for blocking driveways, clearways and lanes, parking too close to an intersection or parking in a disability bay without the proper permit. https://twitter.com/cityofmelbourne/status/1294119991696961537 The council also said, "We ask everyone to be mindful of the importance of vehicle turnover to support people needing to access essential services and businesses." While there are now less people out and about, and fewer cars on the streets, it's certainly not a time to be a carpark hog. That said, if you're heading out, ensure that you're following the stage-four requirements — and that you're wearing a mask. For more information the City of Melbourne's stage-four parking enforcement changes, head to its website.
There's no meal that can't be improved by dessert — yes, even breakfast — and no special occasion, either. That's all in Gelato Messina's wheelhouse, and it's mighty fond of releasing specials to make holidays even tastier. The latest example: the chain's Easter offering, which brings back its popular 2021 snack pack. Even better: if you've always wanted to smash open a Messina Easter egg, that's on the menu as well. Your tastebuds might already remember Messina's hot cross bun version of the brand's sticky snails — and they can savour it again this year. Basically, it's the brand's interpretation of a Cinnabon-style scroll, then combined with an Easter favourite. It's another of Messina's limited releases, and it'll be available at all of its stores for a very short period. Wondering what exactly Messina's hot cross bun sticky snail entails? Well, that spiced sticky hot cross bun dough is filled with choc chips and vanilla custard. Crucially, raisins aren't included — but it is topped with a cinnamon malt caramel. The sweet bake-at-home bite to eat can only be ordered online on Monday, April 4. It will set you back $65, which includes a one-litre tub of the brand's triple choc gelato hot tub, too — which features milk chocolate gelato, toasted white chocolate mousse and Ecuadorian dark chocolate crack. Or, also available at the same time — and for the same price — is the Messina Easter egg. Made from 44-percent single-origin cocoa couverture chocolate, the 420-gram egg comes filled with even more sweet treats. Crack it open and you'll find white and milk chocolate chickens, white chocolate and passionfruit gel fried eggs, caramelised white chocolate and waffle cone mini eggs, and milk chocolate hot cross bun bites. Messina now opens its orders at different times for different places, so you'll want to hop online at 9am for Queensland and Australian Capital Territory stores, 9.30am for Victorian shops, and at either 10am, 10.30am or 11am depending on where you are in New South Wales. Once you've placed your preorder, pick up will be available between Thursday, April 14–Sunday, April 17 from your chosen Messina location. And, after you've got the hot cross bun sticky snail safely home, you just need to whack it in the oven for 20–25 minutes at 160 degrees and voila. Gelato Messina's Easter snack packs and Easter eggs are available to order from Monday, April 4, for pick up between Thursday, April 14–Sunday, April 17 — head to the Messina website for further details.
Do you have piercings? How about tattoos? How about incredible body modification? Whether you have already permanently decorated your body, or you're just interested in other peoples', you should swing by the Melbourne Tattoo & Body Art Expo. It will be an chance to see the amazing artworks that people have had themselves turned into, and to be immersed in a world of ink and flesh that is becoming increasingly more common. There will be a tattoo contest each day, fashion parades, and exhibitions from groups such as Trash Dolls. You'll have a chance to see Corey Miller, who recently featured on tattoo TV show LA Ink, and who is known for freehand drawing. Artists will be doing tattoos on the day but it's advised that you make appointments in advance. Image by David Davis.
We normally associate Boxing Day releases with feelgoodery, dogoodery, comedy and special effects. Which is why it seems sort of hilarious when a film like Short Term 12 pops up at that time of the holiday season, determined to make its quiet realism heard. The SXSW Film Festival winner was number one on Buzzfeed's list of 'movies you probably missed in 2013 but definitely need to see', so if you get in quick, you can make it the no.1 movie you outsmarted Buzzfeed on instead. Short Term 12 is the kind of film that feels like a well-edited version of real life — though probably not a life that is familiar to you, if you grew up in safe, loving circumstances. Compulsively watchable and super emotional, it revolves around the kids and their barely adult supervisors at a temporary foster care facility. The plot is nebulous, but the anchor is social worker Grace, played by Brie Larson, who you probably remember from United States of Tara and who puts in an incredible, name-making performance here. Excellent at her job and in an adorable, supportive relationship with fellow supervisor Mason (John Gallagher Jr), Grace has her own childhood trauma that she's overcome (or at least repressed). But when a new girl, Jayden (Kaitlyn Dever), arrives at Short Term 12, she poses fresh challenges — particularly for Grace, who sees something of herself in the girl. Whether she'll be able to help Jayden, and herself, when the fog of emotion catches up to her is not a given. Short Term 12 is deeply funny, heartbreaking and brave, exploring some taboo topics sensitively without once being sensationalist. Perhaps most impressive is the way writer and director Destin Cretton is able to leap tall towers of everyday humour and humanity and then suddenly drop you into a pit of total, gut-wrenching sadness in a single bound. It's never overwrought; his execution is swift and precise, and he lifts you right out again. Often, it's through the kids' artistic expressions that their pain is most clear; a rap that guarded Marcus (Keith Stanfield) practices with Mason is wholly shattering, and Jayden, an avid drawer, has created a picture book that is not easy reading. The supervisors' calm, understanding reactions to all the crazy things that happen at the centre every day are a fascinating lesson in themselves. Short Term 12 is ultimately hopeful and bittersweet. It's not all hobbits and light, but to watch Short Term 12 is to be exposed to repeated acts of compassion. And practice, they say, makes perfect. Perhaps that's why Short Term 12 is on the Boxing Day release list: it might help guide you into a kinder New Year. https://youtube.com/watch?v=rETaWDZ57v0
There might be an abundance of vegetarian restaurants up on Brunswick Street, but Madame K's is one of the best (and there's another branch in Williamstown for westsiders). With a menu that isn't to be trifled with, you'll have to go in accepting that you'll be beat before you even start — you simply can't try everything in one visit. All the Southeast Asian favourites make an appearance — from laksa and pad thai to massaman curry and steamed wontons. But there's a key difference between these dishes and any neighbourhood Asian restaurant — every dish is vegetarian. Madame K's uses vegetables, tempeh and wheat protein to create the 'meats' for its dishes — including BBQ duck and slow-cooked lamb. For dessert, you can tuck into roti with banana filling and homemade berry sauce, coconut mousse or black sticky rice. Madame K's Vegetarian offers BYO wine and beer. Images: Tracey Ah-kee
Julie Delpy has a particular writing style. You might call it The Hangover for the high brow. It's full of cursing and smoking weed and laughing at words that sound like 'cunnilingus', and getting caught in webs of awkwardness after you tell your uptight neighbour to stop riding you because you're dying of cancer when you're not. And yet her audience is more Dendy than Hoyts. Teen boys don't aspire to live out Delpy scenes at schoolies. 2 Days in New York finds her character, Marion, broken up with her 2 Days in Paris boyfriend, Jack, not long after the birth of their son. Because that's the kind of thing that happens under Delpy's watch: not all relationships are forever. And figuring out this commitment thing is part of the story here. Her relationship with her new de facto, Mingus (Chris Rock), is about to be tested as Marion's family comes for a visit from Paris. The couple, who met while working at the Village Voice, have their typically NY neuroses stretched beyond cute. Marion's rotund father, Jeannot (Albert Delpy, Julie Delpy's real life dad), has tried to smuggle in several sausages upon his person; her sister, Rose (Alexia Landeau), has no affinity with American puritanism; and her sister's boyfriend, Manu (Alexandre Nahon), thinks Mingus will be cool with him doing a drug deal in the flat because he's black. Delpy's mother, Marie Pillet, who was a delight as Marion's mother Anna in 2 Days in Paris, has since died, and in 2 days in New York, as in life, her daughter is still trying to accept her death. Some people find the Delpy aesthetic grating and as thin as the gross-out comedies alluded to earlier. And while it may be true that this film is 'about nothing' and sometimes blithely scrappy, it's also blinkered to think that Delpy's quirks don't matter. Quirks isn't even the right word, attached as it currently is to a whimsy and cutesiness that bear no relation to the 2 Days In universe. She somehow gets to make un-Hollywood films that reach a large-ish audience, and that's an incredibly refreshing thing to see. Because apart from bawdy and untraditional, funny and generous, the other thing Two Days in Paris is, is internationalist. In Delpy's world, main characters don't all come from the same country, speak the same language, or share the same culture. Their differences may be the engine of humour, but everyone is shown respect and understanding that goes beyond stereotype. The set-up is a reality many people live but somehow rarely see on screen. There's one very telling early scene: Mingus takes Marion's father, who speaks no English unless it's to say something inappropriate, to his regular Thai massage centre to help him loosen up after the trans-Atlantic flight. We all sink down in our seats, but the worst does not happen. Far from it. Mingus emerges after his massage to see Jeannot sharing a cup of tea with the owners, with whom he has been conversing in scraps of Vietnamese. It turns out the owners are actually from Saigon, a city in which Jeannot also spent his childhood. The man might not understand Americans, but his experience has given him a worldliness that is beautifully acknowledged. https://youtube.com/watch?v=Q1HDAOlPDzA
Good Food Month's 2021 comeback edition got a little sidetracked due to Melbourne's latest COVID-19 outbreak (thanks again, COVID). But now, with the snap lockdown done and dusted, it's kicking on to deliver a few tasty weeks of lunch feasts, chef-led dinners, wine-fuelled parties and more. The perfect post-lockdown treat for food-lovers, really, and an excellent way to give some love to Victoria's hospitality scene. Expect edible cocktails at a low-waste tiki party, indulge in a Turkish long lunch at Yagiz, or celebrate the return of Rocco's Bologna Discoteca with an evening of meatball subs and Italian wines. Here's our pick of all the Good Food Month 2021 events that promise to warm up your winter. Spots are limited, so book in now for a top-notch feed and leave the memory of lockdown cooking far behind you.
The laughs are served up a little differently at The Arbory's annual MICF series, the Silent Comedy Festival. Returning for another round of hilarious stand-up showcases from Wednesday, March 30, the fan favourite event sees some of Australia's top comics taking to the riverside stage to perform... in total silence. Or at least, that's how it appears from the outside. Rather, audience members enjoy the stand-up acts through noise-cancelling headphones; kind of like what you'd expect from a silent disco. Running Tuesday, Wednesday and Thursday nights throughout MICF (until April 21, with the exception of April 19), the Silent Comedy shows will each feature a trio of side-splitting comedians, with Fox Sports funnyman Andrew Barnett in the role of MC. Included on this year's bill are the likes of Jimeoin, Bev Killick, Luke Heggie, Lawrence Mooney and Dilruk Jayasinha. Tickets are $25, which gets you an evening full of chuckles, plus a pair of headphones to use for the night. And if you fancy some refreshments, you'll also find a $25 MICF pre-show burger and beer special, teaming your pick of Arbory burger with a schooner of Mountain Goat summer ale. [caption id="attachment_804282" align="alignnone" width="1920"] Jimeoin, photographed by Simon Shiff.[/caption] Images: Simon Shiff
It took more than 25 years for Twin Peaks to revisit its moody, otherworldly and all-round odd small-town mysteries — and if you're not done diving into the television show's wonderful and strange world just yet, don't stress. Whether there'll be any more episodes is anyone's guess, but you can spend an evening with the show's stars in the interim, with five of the series cast members heading to Australia later this year. Although David Lynch famously refuses to talk in-depth about any of his work, including Twin Peaks' three seasons to date and the film Twin Peaks: Fire Walk With Me, expect Sheryl Lee (Laura Palmer), Kimmy Robertson (Lucy Moran), Michael Horse (Deputy Hawk), Al Strobel (Philip Gerard) and Dana Ashbrook (Bobby Briggs) to be much more forthcoming as they chat about their experiences both on- and off-screen. In fact, maybe Lynch will be too — while he won't be there in person, he'll be Skyping in to answer questions live. On Saturday, August 25 at Melbourne's Palais Theatre, Lee, Robertson, Horse, Strobel, Ashbrook and the via-video Lynch will be joining forces with Twin Peaks producer Sabrina S. Sutherland for a 'Conversation with the Stars' discussions. If you've ever wondered what it was like to be wrapped in plastic, or to line up piles and piles of doughnuts, or to play the other half of the series' evil entity, here's your chance to find out. While Twin Peaks' lead Kyle MacLachlan won't be making the trip, the lineup is still a Peaks-lover's dream come true. Lee played Laura Palmer, the teen sweetheart whose murder sparked the whole series, while Ashbrook swaggered through highs-chool hallways as her boyfriend Bobby Briggs, and then turned unlikely cop in the latest season. Robertson is best known as bubbly police station receptionist Lucy, and Horse played the enigmatic Deputy Hawk — and had one of the most recent series' most moving scenes. As for Strobel's Phil Gerard, he was pals with Bob before becoming a resident of the Black Lodge. If all of the above gets you thinking about damn fine coffee and the Double R Diner's cherry pie, then you'll be keen to nab tickets to the intimate chat, which is in town for one night only. No word yet if the cast members will be sitting in front of red curtains or being interviewed by someone called Diane, but we can only hope. And if you're an absolute die-hard Peaks fan with some spare cash (around $500 in spare cash), meet-and-greet tickets are also available. Updated August 5.
Gin lovers, the start of Christmas season has officially arrived. Four Pillars is releasing its limited edition 2017 Australian Christmas gin tomorrow, Saturday, November 4. The Healesville distillery first debuted this smash-hit creation last year, with a gangbusters response demanding it become an annual occurrence. Building on a family tradition of making Christmas puddings every Derby Day, co-owner Cameron McKenzie distills some of those homemade puddings, adding a base of cinnamon, juniper, star anise, coriander and angelica. The blend's finished with a touch of Rutherglen muscat to create a luscious, spiced gin akin to Christmas in a bottle. This time around, the recipe features muscat matured in aged sherry puncheons at the distillery, stepping up the richness and adding even more complexity. Also new for 2017's gin is the striking label artwork, created by Melbourne-based artist Darren Song and inspired by Australia's own little beacon of Yuletide cheer, the Christmas beetle. A limited amount of Four Pillars Australian Christmas Gin is available online and at selected retail stores for $100 from Saturday, November 4.
Music lovers and festival fans, get excited: Spilt Milk is back for 2023, hitting up Ballarat's Victoria Park on Saturday, December 2. Post Malone leads the lineup, with Dom Dolla and Latto also topping the bill. So, expect to hear everything from 'Sunflower' and 'I Like You' to 'Rhyme Dust' and 'Big Energy'. Tkay Maidza and Aitch also rank among Spilt Milk's impressive 2023 names, with Chris Lake, Dermot Kennedy, Budjerah, Cub Sport, Lastlings, Partiboi69, Ocean Alley, Peach PRC, Royel Otis similarly set to hit the stage. Also, because this fest is also about food, there'll be bites to eat from Chebbo's Burgers, 400 Gradi, Chicken Treat, and the BBQ and Beer Roadshow. Originally only held in Canberra, then expanding to Ballarat, then the Gold Coast and now also Perth in 2023, the multi-city one-dayer has cemented its spot as a must-attend event for a heap of reasons — with this year's lineup clearly one of them. While Ballarat's general-release tickets have sold out, pre-loved and VIP tickets are available. [caption id="attachment_851187" align="alignnone" width="1920"] Jordan Munns[/caption] SPILT MILK 2023 LINEUP: Post Malone Dom Dolla Aitch Budjerah Chris Lake Cub Sport Dermot Kennedy Djanaba Grentperez Jessie Murph Lastlings Latto Lime Cordiale May-A Mincy Ocean Alley Pacific Avenue Partiboi69 Peach PRC Poolclvb Redhook Royel Otis The Buoys The Dreggs Tia Gostelow Tkay Maidza Ango Ben Gerrans Blue Vedder Reefrats Sami Srirachi Yorke Top image: Billy Zammit.
Since launching over two decades ago, the Peninsula Hot Springs have become a go-to wellness and pampering destination for locals and visitors alike. A trip down to leafy Fingal to soak in the stunning geothermal pools or indulge in a couple of spa treatments — it's a popular choice for a de-stressing day out of the city, as about 500,000 annual visitors can attest. But come this summer, you'll have yet another place to sate those pamper cravings, with the owners confirming their new regional hot springs outpost is on track to open within the year. Thanks to a final boost in funding from government grants and a partnership with local tourism operators, the Metung Hot Springs are set to launch by summer 2021–22, in the heart of East Gippsland — an area that's been impacted by bushfires, severe drought and a global pandemic in the past year alone. While the region is a favourite summer destination for many, it's hoped this new multi-faceted attraction and wellness precinct will help pull visitors all year round, what with all those steamy thermal pools and sauna options. But the choice of location is also a nod to Metung's past — the lakeside town was actually the setting of Victoria's first hot springs bathing, before it closed to the public in 1992. So, what do we have to look forward to? Well, work is set to kick off soon on the first phase of the project, which clocks in at around $6 million. This initial part will encompass various hot springs bathing facilities at the main King Cove site — sweeping views of the Gippsland Lakes, included — along with a dedicated glamping village like the one recently unveiled at the precinct's Mornington Peninsula sibling. There'll also be a spa relaxation centre and further hot springs constructed at the nearby King Cove Golf Club, for what will become the country's first golf course-hot springs situation. A second phase is set to include something called a 'bathing valley', a hotel, and a marina with various pools and saunas featuring views across Lake King. Of course, with Metung located around 3.5 hours out of Melbourne, the new hot springs is set to be less of a day trip and more of a weekend away. But hey, at least you've got a good few months to plan your visit. Metung Hot Springs is set to open within the Kings Cove Estate, Metung, in summer 2021-22. Stay tuned for more details over at the Peninsula Hot Springs website.
When the ancient Greeks dreamt up democracy many moons ago, they surely knew their labour of political love would reap plentiful rewards for humanity — barbecuable rewards. Why else would our society have evolved so deliciously to the point where Election Day is synonymous with hot snags in bread? Yep, here in Australia, voting and sausage sizzles go together like Q&A and provocative tweets. But thanks to a bit of ingenious technology, you don't have to simply cross your fingers and hope your local voting booth is one of the ones firing up the barbie on voting day. There's a nifty online map that'll tell you exactly where to find those glorious democracy snags. The Democracy Sausage website crowdsources data from social media sites, as well as from direct audience submissions, to map out the polling places that feature sausage sizzles and other food and drink offerings. While the site has offered a comprehensive sausage database for various elections since 2016, it's currently getting a run for the upcoming 2022 federal election, which takes place this Saturday, May 21. [caption id="attachment_839440" align="alignnone" width="1920"] Elliott Kramer[/caption] Jump onto the map to easily identify which polling places will be slinging sausage sizzles, cake stalls, bacon and egg rolls, and coffee. You'll even spy separate icons marking those spots that are serving vegetarian food and halal options. According to the website's own stats, there are currently 722 polling places confirmed to feature sausage sizzles for this weekend's voting, with more to come. Of course, since the map is built largely off community intel, it's not entirely exhaustive — if you've got some goss about sausage sizzle locations, you can help by sharing it with the team via a direct message or tweeting #democracysausage. If you're a diehard fan of the humble Election Day snag, you'll also find a selection of snag-related merch available on Democracy Sausage's Redbubble online store. Of course, if you're one of the many Aussies who took advantage of early voting or postal voting for this election, you might have to settle for a Woolies run and a home-cooked homage to that democracy sausage instead. To plot your sausage haul during the federal election on Saturday, May 21, head over on the Democracy Sausage website. Top image: Jonathan Taylor, via Unsplash.
Ambitious is an understatement when it comes to the infamously ongoing construction of Antoni Gaudí’s famous basilica, Sagrada Familia, in Barcelona. Eighty-seven years have passed since the death of the Catalan virtuoso. During this time, a subsequent nine architects have continued the project, striving to adhere to Gaudi's original vision. However, according to the current chief architect, Jordi Fauli, the basilica will be completed by 2026. And even more excitingly, the Sagrada Familia Foundation has released a computer-generated glimpse into what the finished product will look like. Each architect who has taken on this eccentric masterpiece has encountered a unique set of challenges. One of the central problems was the destruction of Gaudi’s workshop, containing the building plans and models, during the Spanish Civil War. This resulted in a slow process of piecing together the essential details of the project. There's also the issue of decoding Gaudi’s highly unorthodox method of design. Rarely putting pen to paper, he created 3D scale models, moulding his uncanny inventions as he conceived them. Gaudi famously stated, "my client is not in a hurry," and clearly there is no substitute for perfection. You have to admire the commitment of a man who put so much faith in engineering technologies that hadn’t been invented yet. It is only recently that the special lightweight concrete cladding has been developed to complete the uppermost spires. To comprehend the scope of this magnificent structure really demands a visit to Barcelona. It is all too easy to whittle away the daylight hours inside this basilica, admiring the kaleidoscopic effect of light filtering in through stained glass windows or Gaudi’s distinctive organic structures blossoming like flowers across an impossibly intricate ceiling. Will the endless construction come to a close by 2026? Only time will tell. Via Gizmodo and My Modern Met.
Have you ever noticed how much Brad Pitt eats in his movies? He's like some sort of human garbage disposal, slamming down burgers, cookies, chips, Twinkies and whatever else he can find into his (perfect) cakehole. He also has a knack of making whatever it is he's eating (from gruel and stale bread to cheesy nachos) look like the most delicious, sensual food in the world. Go on, look: He eats without restraint, without delicacy, as we all should sometimes, and for that reason he's the central figure in a new cookbook called (appropriately but incorrectly) Fat Brad. The team from Long Prawn have collaborated on the project with photographer Ben Clement, PractiseStudioPractise, Tristan Ceddia, Ali Currey-Voumard and Mietta Coventry. The cookbook is a tongue-in-cheek collection of recipes based on Brad's most iconic food moments on film. You'll find instructions for a knuckle sandwich (Fight Club), game bird with taters and Guinness gravy (Snatch), Bellagio Shrimp Cocktail (Ocean's 11), roast turkey drumstick and Grecian salad (Troy) and bloodied roast (Mr and Mrs Smith) amongst others. As well as being straight-up hilarious, the Fat Brad cookbook is also just a really good looking (like its namesake) addition to your cookbook shelf. It's the first in a series of pop culture cookbooks by the Long Prawn crew, so keep an eye out and grab your Fat Brad: The Cookbook here. Have a little preview:
For every roamer and traveller hoping to get off the beaten track this summer, travel website Hooroo has uncovered 40 of Australia's best-kept holiday secrets. In a nationwide search for Australia's favourite 'secret spots', the Qantas Group's new online accommodation site has called out to Australians to submit their most beloved clandestine travel destinations. What came back were hundreds of hidden gems and attractions, from spectacular waterfalls, untouched coastlines and unreal rock formations, to hip milk bars, hearty B&Bs and dozens of tucked-away travel lodges. An expert panel of travel and lifestyle writers and presenters cut the list down to the Top 40 secret destinations and now it's up to the public to decide which of these beautiful and jaw-dropping locations is Australia's favourite hidden holiday treasure. Have your say at the Hooroo Facebook page for a chance to share in over $14,500 in prizes. The Top 5 destinations will become an official Hooroo 'Secret Spot'. Voting closes at 5pm on December 17, 2012 so get in quick to have your say.
Scienceworks is probably number one on your list if you want to discover things, with it being chockablock full of cool facts and interactive displays about science, technology, health and just general stuff. The museum is also hosting its AstroLight Festival this Saturday, September 8, which is perfect for everyone from wannabe astronomers to those who just really like Star Wars. Throughout the evening, scientists, astronomers and artists will present talks, performances and hands-on activities in every nook and cranny of the museum and its grounds. Learn about how Australia's First Nations people incorporate the night sky into their storytelling traditions from Kamilaroi woman Krystal De Napoli, take an astronomy photography class for beginners or sink into one of the Planetarium's comfy seats for an immersive space show. Of course, there will also be stargazing if the weather is good. Plus, a bar, cafe and food trucks will cater your night sky discovery journey.
You probably don't need an excuse to sip down a sharp, slightly salty martini. However, the return of Four Pillars' Martini Collective to Melbourne for its second edition means you've got more reason than most to indulge until Sunday, June 22. Taking over seven of the city's most admired restaurants and bars, this special event sees each venue serve the same crisp mini martini made with Four Pillars' Olive Leaf Gin. However, the real fun comes in when you compare and contrast each spot's unique snack pairing against this time-tested drink. In Melbourne, Bar Bellamy, LUI Bar and Reine are back to wow customers with their inventive pairings, while Hazel, Society, Grill Americano and Bar Liberty join the line-up for the first time. Imagined as a pre-dinner sip and snack, there's no shortage of bites bound to impress. For instance, Bar Bellamy is complementing the mini martini with a smoked eel, bottarga and finger lime crostini, while LUI Bar offers a Sydney rock oyster with a mountain pepper mignonette. Also, don't forget that Saturday, June 21, is World Martini Day, so get your pals together for a cocktail-driven celebration. Images: Chege Mbuthi.
It gets us around the country, and the world, much faster than any other form of transport that's in widespread use; however, there's plenty about air travel that's far from fun. No one loves being crammed into the tiny amount of space that comes with each economy seat, for instance, or getting stuck having awkward mid-air conversations with strangers. Thanks to Qantas, skipping both of those frustrations is now possible. The Australian airline has just launched a new 'neighbour-free' option. It sounds like the Australian TV landscape now that a certain beloved soap opera is off the air, but it's actually an in-flight move to give you some extra room. The concept really is as self-explanatory as it sounds — aka you'll take to the air without someone sitting in the neighbouring chair. Before you go dreaming about how you'll use the added space on your next getaway, Qantas is still trialling its neighbour-free offering at present, so it isn't available on all routes or flights. The test is only running domestically, too — so cramped overseas trips still await. Unsurprisingly, you do need to pay for the added space, with prices varying depending on the route. The Australian Frequent Flyer forum advises that the cost starts at around $30 — on top of your existing fare, of course — for short flights. Here's how it works: if you're eligible to go neighbour-free, you'll get an email 48 hours before your departure, inviting you to take up the service. You're then able to make the request up to an hour before your flight, including when you reserve your seat — or by hopping into your online reservation if you've already picked where you want to sit. That's when you'll pay the neighbour-free fee, too, and receive confirmation via email. Obviously, the whole thing is subject to availability — and it also can't be cancelled after you've set it up. If Qantas has to seat someone in your extra spot, however, you'll automatically be refunded the neighbour-free cost. (The airline advises that that might happen "for operational, safety or security reasons, even after boarding the aircraft".) [caption id="attachment_823330" align="alignnone" width="1920"] Brent Winstone[/caption] Yes, you could always do this by booking two seats if you really wanted to avoid sitting next to anyone. This new option is much cheaper, though. There's no word yet as to if or when the ability to go neighbour-free might become a standard Qantas offering, or if it'll also be trialled or brought in for international trips. We can think of a few of flights where it'd be particularly handy: the 17-hour direct Perth–London route, and the planned non-stop legs from Australia's east coast to London and New York. For more information about Qantas' new neighbour-free option, head to the airline's website.
UPDATE: April 27, 2020: Annabelle Comes Home is available to stream via Netflix, Foxtel Now, Google Play, YouTube and iTunes. There's an incredibly cynical, albeit accurate, way of looking at Annabelle Comes Home, which marks the eighth film in the Conjuring Cinematic Universe in the past six years. A second sequel to a spin-off from 2013's The Conjuring, this horror flick once again draws upon the lives and work of real-life paranormal investigators Ed and Lorraine Warren (played by Patrick Wilson and Vera Farmiga). As you can tell from the film's title, it also features the creepy doll called Annabelle, which is either a possessed plaything or a beacon for other demonic spirits, depending on narrative requirements in any given picture. This time, however, the franchise delves further into the Warrens' treasure trove of cursed and occult trinkets. There are so many other spooky and unnerving items that they literally fill a heavily padlocked room. Spying everything from jinxed samurai armour to haunted board games to prowling hellhounds, it's easy to glean what the saga's producers, including Australian filmmaker James Wan, are thinking — more eerie objects, more potential movies. New films about soul-collecting ferrymen and demented bridal dresses will likely eventuate (although, if the latter does, it'll have big shoes to fill following the fantastic, completely unrelated British movie In Fabric). That's just how the entertainment business works. Thankfully, as Annabelle Comes Home unleashes a bedevilled toy box worth of terrifying forces, it livens up the franchise's familiar template, has ample fun with the haunted house concept, and even throws in some goofy teen movie-style antics as well. The Annabelle series hasn't been great so far, so this mightn't sound like the biggest compliment, but Annabelle Comes Home is its best instalment yet. In a saga that also includes the lacklustre The Nun and The Curse of the Weeping Woman, it's also the best Conjuring Universe flick since the movie that started it all. Written and directed by Gary Dauberman — who has penned four Conjuring Universe films now, as well as 2017's It and its forthcoming sequel — Annabelle Comes Home sticks to its simple premise. After being involved in a number of violent incidents, the damned dolly is brought to the Warrens' suburban Connecticut house. Not only is it locked in their artefacts room, but it's sealed in a glass case emblazoned with multiple warnings of the "do not open" kind. And there Annabelle sits, until Ed and Lorraine go away overnight on a case, leaving their quiet, pre-teen daughter Judy (McKenna Grace) at home. Friendly, sensible babysitter Mary Ellen (Madison Iseman) knows better than to snoop, touch things she shouldn't or to even invite the cute boy from across the street (Michael Cimino) over. Of course, her curious pal Daniela (Katie Sarife) doesn't share the same mindset. As a screenwriter, Dauberman's past scripts have relied heavily on formula. That doesn't substantially change in his directorial debut, however he does an impressive job of making Annabelle Comes Home seem otherwise. Two sleight-of-hand tactics drive this bump- and jump-fuelled film, and they're both effective. Firstly, viewers are aware that this is more grist for the franchise mill, and that more movies will come — at this rate, the Conjuring series will probably haunt us for so long, it'll become its own hair-raising legend. But this latest chapter has such a great time careening between its multiple spine-tingling entities that nothing ever feels overly stock-standard, other than the titular doll (and she plays a smaller part than might be expected). Secondly, audiences have experienced ominous shadows, unsettling creaks and unexpected knocks at the door before, especially in this horror saga, and yet variety is once again key. Knowing that every sinister noise and strange occurrence is caused by the same disturbing toy again and again? Tired. Being kept guessing about which demonic object will pop up at any given moment? That's not only more thrilling, but it gives the movie more range to mix up its chilling imagery. Courtesy of hazy lighting and a moody atmosphere, Annabelle Comes Home nails the creepy tone anyway, with cinematographer Michael Burgess (The Curse of the Weeping Woman) making the most of the movie's main location. If trapping a few unsupervised kids in a house while otherworldly forces wreak havoc sounds like classic 80s territory, that's the vibe the picture goes for, even though it's set in the 70s. In a welcome improvement, the teen focus also shakes up the story beats, exploring threads about bullying, grief and young love — instead of just waiting for more spooks and scares, and padding them out with an uneasy tone. The film's characters also feel less like mere narrative pawns as a result. They still make stupid decisions, including ignoring all of those locks and "keep out" signs, but they're given flesh to jump out of. Overall, it's enough to make horror buffs wish that both the broader franchise and the now three-film Annabelle series had tried a few different tricks earlier. And although this is entirely the point, it's enough to make viewers look forward to possible new spinoffs, too. As the long-running Marvel Cinematic Universe continually demonstrates, these episodic, intertwined properties can (and probably will) keep going on forever. But as long as every single chapter isn't a carbon copy of the last, just with a new figure its centre, they can still surprise and entertain. Finally, Annabelle Comes Home shows that idea can be done well, rather than routinely, in the Conjuring Universe. https://www.youtube.com/watch?v=-6M0RbShLpI
Melbourne burger joint Royal Stacks launched three years ago. Since then, it has expanded interstate — and overseas, opening outposts in both Beijing and Chongqing. To celebrate the opening of its new Chinese stores, it's inviting a Mandopop star to come say hi to fans at the original Collins Street spot. Oh, and it's giving away free burgers, too. Five-hundred free burgers, to be exact. From midday on Saturday, March 16, the good people at the CBD's Royal Stacks will give away 500 of the eatery's signature Single Stack — that's an Aussie beef patty topped with tomato, lettuce, American cheddar, secret sauce and pickles. They're limited to one per-person, however, so if you're super hungry you'll have to pay up for a second. You could, alternatively, order one of the eatery's other signature dishes: it's concrete mixers. The super-thick frozen custard is available in a slew of flavours like Ferrero Rocher, cookie dough, Nutella and the new Twix and biscotti. While you're there, scoffing burgers and concrete mixers, you'll be able to chat to Bruneian singer and actor Wu Chun. Previously a member of famed boy bond Fahrenheit, Chun has also appeared in several Taiwanese TV shows, such as Tokyo Juliet and Sunshine Angel, and movies. Royal Stacks will be giving away 500 free burgers from midday–2pm.
Last year, Jim Beam once again proved its love and support for live music via its hit series Welcome Sessions. The online event series was aimed at bringing people together, albeit virtually, by connecting music lovers and artists when they needed it most. It's returned for 2022, only this time it has stepped outside of the digital realm. Melbourne music fans, listen up. You have the opportunity to score a free ticket to an exclusive and intimate show from Brisbane's favourite twins (and bonafide pop sensations) The Veronicas on Saturday, August 20, at The Hop Bar at Beer DeLuxe in Federation Square. As far as we're concerned, getting your groove on to this iconic duo with friends — with a Jim Beam in hand — is a recipe for a great Saturday arvo. Want to head along to this money-can't-buy experience? You'll need to enter the ballot. Simply enter the competition and you'll go in the running to win one of 75 double passes up for grabs. All you have to do is tell Jim Beam what your most memorable live music moment is and why. But be quick, entries close August 12. Want to learn more? Visit the website.
There's nothing like a fresh haul of shiny new workout gear to inspire a little fitness kick. Especially when that workout gear takes the form of some high-performance threads from sustainability focused label Nimble Activewear. Well, this May, you're in for a treat, as the local brand pulls together a swag of great pieces for its huge Melbourne warehouse sale. Taking over South Yarra's Ellis Street Studio from May 10–11, the sale will be packed full of bargains, offering a hefty range of outerwear, tights, sports bras, sweats, shorts and more. Some designs will be going as cheap as $25, with savings of up to 80 percent across the racks. And nothing will cost you more than $40. You'll even catch pieces from the label's core CompressLite line, which is cleverly crafted from recycled plastic bottles. Nab one of these and you'll really have something to feel good about — Nimble's saved over 300,000 plastic bottles from heading to landfill in the past year alone. Nimble Warehouse Sale will be open from 7am–7pm Friday and 8am–3pm on Saturday.
You might think that there's not much exciting about a fridge magnet. I mean, who is really thrilled by a piece of plastic that announces "I Love NYC" or is shaped like your pet dog? The designers at Kudu saw artistic potential in the common fridge magnet, however. They pushed the design of the magnet one step (or, rather, a few metres) farther and created magnetic panels to cover your entire refrigerator. Kudu's fridge panels create a bold kitchen statement, an easy way to spice up an otherwise lack-luster space. And the best part? They're simple to remove or to switch out. Swap your fridge panels to fit a party theme, a holiday, or perhaps your mood. Choose from a collection of themes, spanning from animals, to a sexy shirtless man, to designer illustrations; then, simply measure your fridge and order online. Kudu is willing to help you measure your fridge, and will even custom design a panel for you or your business, upon request. [via Notcot]
Hex After critical accolades at the Next Wave festival in May, James Welsby's evocative dance production Hex returns for a limited six-show run at the Malthouse. The show is one of several major cultural events taking place in conjunction with the 20th International AIDS Conference. Partly inspired by a controversial HIV/AIDS awareness ad from 1987, Welsby's show uses movement, music and allegorical imagery to chronicle the gay community's relationship with the devastating disease. Saturday and Sunday (Until July 22) at the Malthouse. More info here. Vinyl Records Pop-Up Store Convinced that the world sounds just that little bit better on vinyl? Then head on down to Northcote Social Club on Saturday, July 19, and you'll find shiny new and beloved second-hand records for sale across a pretty mindblowing range of genres — some you weren't even aware were a Thing. The impromptu store, based out of the NSC bandroom, opens its doors for business at midday on the dot. Saturday, June 19, at Northcote Social Club. More info here. The Myth Project: Twin As part of this year's NEON Festival, The Myth Project: Twin by Arthur (the surrealist adventurers behind Cut Snake) is exploring the depths of the human psyche and the strength of blood ties. After the disappearance of her twin sister, Ana falls into a dark alternative reality, a world ruled by dreams and riddles. Described as a mix of opera-noir, cabaret and naturalistic drama, The Myth Project: Twin is the first instalment of Arthur's multi-play episodic exploration of the Australian psyche. Saturday and Sunday at the Southbank Theatre. More info here. Our Vinyl Weighs a Ton screening The legendary Stones Throw Records is home to a metric bucket-tonne of vinyl. The LA-based hip hop label is known for their left-of-centre artists, avant garde nature and ability to break artists well before dinner table fame. Feature length documentary Our Vinyl Weighs a Ton takes a close look at the label and its master, commander and founder Chris Manak, aka Peanut Butter Wolf — an exceptional DJ and producer in his own right. Manak is in the country for Splendour in the Grass later this month, but will be hanging at Howler for the screening and a special Q&A on the night. Sunday, July 20, at Howler. More info here. Sunday Afternoons in July As part of the City of Yarra’s annual Leaps and Bounds music festival, Ali Bird and Richard Stanley of Aarght Records are making Sundays a little more tune-filled for everyone. Kicking off at midday for three Sundays in July, a solid lineup of bands, top notch vinyl record market and smorgasbord of treats await to round off your weekend. It's Harmony, Bitch Prefect and Empat Lima on July 20. Sunday, July 20, at Copacabana International. More info here. Charlie's Country There are very few faces as synonymous with Australian cinema as that of actor David Gulpilil. His third and most recent film with Rolf de Heer marks the last part in a loose thematic trilogy — one that began with The Tracker in 2002 and continued with Ten Canoes four years later. Gulpilil looks far older than his 61 years, but as Charlie he may never have been better — he's just taken home a best actor award at Cannes for it. It's a performance loaded with understated feeling, one that's obviously informed by a wealth of personal experience. His very face tells a story, about a country, its people, and its cultural and cinematic history. What a wonderful piece of acting in a likewise remarkable film. All weekend long at Palace Verona. Full review here.
Any Questions for Ben? and House of Lies' Josh Lawson writes, directs and stars in an effort destined to be labelled a sex-fuelled Love Actually. Sex Actually? Different types of fetish, kink and between-the-sheets behaviour are explored through the relationships of four couples. Maeve (Bojana Novakovic) wants Paul (Lawson) to fulfil her rape fantasies. Rowena (Kate Box) finds herself aroused whenever husband Richard (Patrick Brammall) cries. Phil (Alan Dukes) finds Maureen (Lisa McCune) at her most attractive when she is sleeping. Dan (Damon Herriman) and Evie (Kate Mulvany) make a foray into roleplaying that backfires. There's laughs both out loud and cringey to be had as the adventurous comedy unfurls. The Little Death is in cinemas on September 25, and thanks to Entertainment One, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=BnnhesQ8Rxc
In the wacky family comedies you usually see at this time of year, everyone will come to accept the quirks and legacies of their kinfolk. They'll acknowledge that even a wacky family is better than no family, probably while laughing around a Christmas ham with all the trimmings. August: Osage County is not that movie. It started life as a play — in fact, probably the best play I have ever seen. Sydney was lucky enough to receive a visit from its original production company Steppenwolf in 2010, giving Australian audiences a chance to join the cacophony of praise already coming from the Tony Awards committee, Pulitzers, American critics and Broadway-goers. But what was amazing about the show seemed quite theatre-specific. At nearly four hours long and set across a three-storey, bisected house, Osage County feels momentous. And more than that, it relies entirely on the crackling chemistry of its taut ensemble, a feat that seems magical on stage but prosaic on screen, where you know it's the product of take after take, plus editing. Sure enough, the new film — adapted by its own playwright, Tracy Letts, and starring a cast so heavyweight as to tip the scale into ridonkulous — is good, but it's not quite great. The tone is spot on: it's dark comedy infused with the Southern Gothic. You will laugh, but you'll probably feel evil about it. The family in question is the Westons, who are all drawn back into their childhood home miles from any significant town in Oklahoma. It's not the festive season; rather, the family patriarch, Beverly (Sam Shepard), has disappeared without warning or explanation, leaving his abrasive, abusive, cancer-inflicted and pill-addicted wife, Violet (Meryl Streep), alone with only the new carer, Johnna (Misty Upham). Violet's children understandably have mixed feelings towards her, but they're also dragging their new problems into the house. Barbara (Julia Roberts) is there with her recently estranged husband, Bill (Ewan McGregor), and teenage daughter Jean (Abigail Breslin); lifelong adolescent Karen (Juliette Lewis) has pinned all her hopes on the shoulders of shifty new fiance Steve (Dermot Mulroney); and Ivy (Julianne Nicholson) feels emboldened by a clandestine romance with her timid cousin, 'Little Charles' (Benedict Cumberbatch). This all culminates in a couple of exquisite dinner table confrontations, during which a lucid and destructive Violet exercises her finest skill and favourite hobby, 'truth telling'. Streep is, of course, excellent to watch in these moments, although every one of the actors needs to be — and is — at their best in the rapid-fire, emotionally fraught verbal rallies. Even if their purpose is to poison, Letts' script is full of beautiful words, which might actually be a let down for the movie. It's lofty, alienating and artificial in a way that doesn't totally work on screen, and a fair few critics have taken the hatchet to it in return. Elsewhere, though, Letts and director John Wells have done well making a very theatrical work cinematic (and have, mercifully, cut down the length). In the absence of the 'character' played by the imposing set, plentiful landscape shots of the open yet unfriendly plains of Osage County make an impact. One of the best scenes has Violet, hit by withdrawals, run blindly, desperately into this landscape, and it's one of the few moments where you really feel for her, and for her inability to escape a prison that she has helped build. If the film doesn't quite stand on its own, it's at least a good approximation of a great play. And some kind of record for sheer quantity of acting. https://youtube.com/watch?v=4VBEZrkCT8Q
When the Animus team started out, it was waiting for its barrel-aged whisky to mature — but the four lads didn't sit idly around, twiddling thumbs and rolling each other across the plains in Kilmore. Instead, they decided to use their time wisely to create a gin. Or, as currently is the case, five vapour-pressed varieties of the stuff. The Davidsonia Gin is its take on England's traditional sloe gin, but with a distinctly Australian flavour. Using native Davidsonia Pruriens — a tropical sour plum from the temperate regions of northern NSW and Queensland — the distillery has steeped the plums in their award-winning dry gin to create an intense and unique character. The best part is that the distillery's cellar door also operates as a cocktail bar on Kyneton's main drag. It's open every night of the week — and it's only an hour away from the city on the V/Line.
The Yarra River is about to become home to some very special, albeit temporary, marine visitors. In a spectacular showcase of lights and technology, SEA LIFE Melbourne is hosting a drone display on Tuesday, January 16 at 9pm. And the best part? It's absolutely free. This one-of-a-kind event marks the launch of the aquarium's newest $9-million overhaul exhibit Night on the Reef. Imagine sharks, rays and a kaleidoscope of sea creatures, all glowing with bioluminescence as they swim through the night sky, courtesy of some skilled drone artistry. For the best views, you'll want to snag a spot along the banks of the Yarra near the aquarium. The display kicks off at 9pm, transforming the space opposite Crown Casino into an underwater realm. So, grab your mates, family or that special someone, and head down to the Yarra on a Tuesday night. After all, it's not every day that sharks swim up the Yarra — even if they are just drones.
Do you live and breathe art but feel totally fed up with not being able to afford things to adorn your sad, white walls? With the first ever Supergraph: Contemporary Graphic Art Fair coming to the Royal Melbourne Exhibition Building this Valentine's weekend — yep, we just made it an entire weekend of love — all your woes are about to disappear. A celebration of art and design in all its lovely forms, Supergraph aims to display leading artists alongside the best emerging talent, while making sure these limited edition works are available for every taste and budget. With a program that also includes drawing throwdowns and expert masterclasses, Director Mikala Tai explains how Supergraph came about and why this particular explosion of paper and cardboard might just be the most fun thing to happen to you all year. CP: So, what is Supergraph? MT: Supergraph is a three-day fiesta that celebrates design, print and illustration. It is a place to find the perfect piece of art for any budget (works start from a friendly $30) and — with a bar and endless supply of snacks from Melbourne's most loved food trucks — it is the perfect place the spend a weekend arvo. Ultimately, the idea of Supergraph developed from a want to buy art. I love art and most of my friends would love something for their walls but we don't have $3,000 to spend on a work. Supergraph is designed to ensure that anyone that attends will be able to snap up not only an affordable piece of art but an affordable piece of art they can't live without. What can we expect the three days of Supergraph to look like? It looks like an explosion of paper and cardboard has occurred in the Royal Exhibition Building. Expect master classes with The Jacky Winter Group's finest, a huge drawing table where you can try your hand at one of our hourly drawing throwdowns, 200 works hung in our salon that won't set you back more than $60, and booth after booth of design, printing and art-making before your very eyes. And, if you like a bit of party, we're getting festive for Opening Night on Friday and on Saturday, Indian Summer will be taking control of the decks. How large is the team? We are quite small. There are only three of us in the core team but we work very closely with A Friend of Mine for all our design needs and Flock Agency for making the event run like a dream. Then, if you count all of our staff that come aboard to make it actually happen there are probably about 50 people involved. What's an average day in the office for you and the team? The best thing about this job is there is no average. The work, as with anything event based, is cyclical. So during the winter we are developing concepts, pitching ideas and making a wish list of creatives we want to work with, spring is all about signing all the creatives up to be involved. In the midst of summer we are in full production mode. I hope that autumn will bring a little bit of lounging! Today has seen us ponder how many slices are in a lime, visit a press check for our newspaper SuperNews, begin to build some signage and catalogue works arriving at our collections venue. Exciting stuff! How have you gone about the task of finding artists to feature in the fair? As curator, have you found the process to be more intensive or organic? As it is our first year it has been a little different to any other project I have worked on before where the event, exhibition or gallery is more well known. We had a very lengthy list of people on our wish list and we have been lucky enough that the majority said yes. In the past few months, it has been more organic as people have started to hear about us. With artists coming in from all around Australia, as well as New Zealand, Hong Kong, Thailand and London, we are pretty rapt with the final lineup. What other projects have you worked on in the past? I have been lucky enough to have worked in the art and design field since I finished uni. Most of these roles have been in a freelance capacity so I'm currently working with the NGV on Melbourne Now, with Portable Studios on an upcoming speakers tour, and will be back lecturing in Contemporary Art at RMIT come March. Previously I worked at the Melbourne Fashion Festival, quite a few art fairs and a commercial gallery in the city. Trust me, there was a lot of volunteering and interning before that. What made you decide to venture out with Supergraph on your own? I ask myself that everyday! I think I just really believed in the concept. It was one of the persistent ideas that I talked about a lot and when a few of my friends showed some interest in making it happen there was no turning back. It really was about ensuring I could work with people that I knew, trusted and could have fun with on the way. Hardest thing about starting a business from the bottom up? Doing everything! When you are doing something for the first time you have to make it all. Make that first spreadsheet template, find the person at the bank that wants to talk to you and create all your processes. It's hard work. But it stretches your brain and keeps you on your toes. However, after saying that, I am pretty keen on year two when we can tinker with the product rather than build it from the ground up. And the best thing? The best thing is when you make something and it works. I remember clearly when our website went live and Christian (our marketing and sponsorship man) and I looked at each other and freaked out when someone was browsing. I am fully prepared for the whole Supergraph team to be in awe on Opening Night when people that aren't our friends of family walk through the doors. That will most certainly be the best thing. Where does Supergraph go from here? We will be back in 2015 as an annual event. We also hope to turn up around the traps in other forms throughout the year and our online store of prints will be packed year round. Fun! Supergraph is at the Royal Exhibition Building, 8 Nicholson Street, Carlton from February 14-16. Find out more and grab tickets here. Image credits in order of appearance: Mimi Leung, Will McKenzie, Alexandra Ethell & Oslo Davis.
Melbourne musical fans, the iconic theatre shows just keep coming — and the next production heading the city's way wants you to take a jump to the left. After already announcing an Australian comeback in 2023, starting with a Sydney premiere season, The Rocky Horror Show has locked in Melbourne dates from late autumn. For half a century now, this hit musical has been astounding. And, with the Richard O'Brien-created production lasting that long, perhaps time really is fleeting. Either way, whenever this sci-fi/horror musical hits the stage — and wherever — a glorious kind of madness takes its toll. In 2023, Melbourne audiences will be able to listen closely — and watch Jason Donovan as Frank N Furter put his hands on his hips, then bring his knees in tight, too — when the famed musical plays the Athenaeum Theatre on its huge 50th-anniversary tour. The Rocky Horror Show's brand-new Aussie run will kick off at Theatre Royal Sydney in February, then open in Melbourne on Thursday, May 18, with other stops and dates afterwards yet to be announced. On offer: the tale that theatre audiences have loved for five decades — and movie-goers as well, thanks to 1975's iconic big-screen release The Rocky Horror Picture Show. For the uninitiated, the story involves college-aged couple Brad Majors and Janet Weiss getting a flat tyre, then wandering over to an old castle to ask for help. That's where they discover an extra-terrestrial mad scientist from the galaxy of Transylvania, plus his staff and his Frankenstein-style experiments — and, yes, doing 'The Time Warp' is essential. As well as Donovan slipping on Frank N Furter's fishnets (fresh from popping back up in Ramsay Street to farewell Neighbours), the new Australian tour will star Myf Warhurst as The Narrator. Also set to feature: Ellis Dolan (School of Rock) as Eddie/Dr Scott, Darcey Eagle (Cruel Intentions: The 90s Musical) as Columbia, Ethan Jones (9 to 5 The Musical) as Brad, Deirdre Khoo (Once) as Janet, Loredo Malcolm as Rocky (Hamilton) and Henry Rollo (Jagged Little Pill the Musical) as Riff Raff. Since first premiering in London in June 1973, The Rocky Horror Show has played in more than 30 countries — and over 30 million people have seen songs like 'Science Fiction/Double Feature', 'Dammit, Janet!', 'Sweet Transvestite', 'Over at the Frankenstein Place' and 'Touch-a, Touch-a, Touch-a, Touch Me'. If you haven't been before, this is your turn to join in. The Rocky Horror Show's 2023 Australian tour will play Melbourne's Athenaeum Theatre from Thursday, May 18, with tickets on sale now via the production's website. Images: Richard Davenport, The Rocky Horror Show UK tour.
They say that you can't improve on perfection, but the folks responsible for that oft-used quote mustn't have tried rac 'n' mac. It's exactly what it sounds like, it's Smithward's once-a-week special, and it's the pasta and dairy combination that takes a delicious dish and makes it even better. That sound you're hearing? Yep, it's your hungry stomach rumbling. Every Thursday evening from 5pm, the Collingwood wine bar whips up a baked, tasty, four-cheese macaroni and cheese, grills some organic raclette and then combines the two, scraping the gooey latter over the former. If you've tried their grilled raclette with potatoes, cornichons and sourdough, which is available every night of the week, then you're going to want to try this as soon as possible. Getting in early is recommended, with the weekly special only available until it sells out. And given that cheese on cheese on pasta is the main attraction, it's bound to be popular.
Fancy prancing through fields laced with the charm of provincial France? Well, forget about booking a flight — it's just casual summer weekendery when So Frenchy So Chic is in town. The ever-popular one-day French festival is doing the can-can back to Sydney's Bicentennial Park and Melbourne's Werribee Park Mansion in January 2023, and celebrating its 12th anniversary in the process. If you haven't been before, expect an entire afternoon of French-inspired niceties, including (but not limited to) gourmet picnic hampers, très bon tartlets and terrines, and supremely good wine — all set to a blissed-out French soundtrack. So Frenchy hinges on an eclectic lineup of artists, both taking cues from the classic sonic stylings of France and showcasing top-notch French talent. Heading the 2023 bill you'll catch the 60s-accented pop sounds of Pi Ja Ma, award-winning singer-songwriter Timothée Régnier aka Rover and French festival favourite Kalika, as well as the fiery tunes and huge stage presence of globally-renowned artist Suzane. [caption id="attachment_868020" align="alignnone" width="1920"] Suzane[/caption] As always, the wine and food will be flowing just as easily as that chilled soundtrack, headlined by an abundance of bubbly courtesy of Champagne Lanson, one of France's oldest champagne houses. In Sydney, Rosebery French eatery Frenchies is packaging up luxe charcuterie hampers, and you can also tuck into fine French fare from Bellevue Cottage. In Melbourne, Frederic Bistro, Milk The Cow and L'Hôtel Gitan are doing the honours to ensure your day's picnicking is top-quality stuff. If you're more of a mix-and-match kind of picnicker, you'll also find a huge array of food stalls slinging all the chic essentials — think, oysters, lobster rolls, croque monsieurs, cassoulet, madeleines, crème brûlée, crêpes and cheese upon cheese. And of course, there'll be plenty of French beer, cocktails, and rosé, red and white wines, too. [caption id="attachment_868021" align="alignnone" width="1920"] By Tekni[/caption] If you're quick, you can snap up one of the limited Premiere Pique-Nique group tickets for crews of 10 — coming it at $205, they include a full picnic set-up, with two cheese hampers, two charcuterie hampers and two bottles of champagne. Early bird tickets are now on sale for $79.40 a pop. If you've got kids, you'll be happy to know that the whole thing is very family-friendly, with children's tickets starting from $10 (free for kids under three). [caption id="attachment_868016" align="alignnone" width="1920"] By Liz Sunshine[/caption] SO FRENCHY SO CHIC 2023 AUSTRALIAN DATES: Sunday, January 15 — Werribee Park Mansion, Melbourne Saturday, January 21 — Bicentennial Park, Glebe So Frenchy So Chic hits Sydney and Melbourne in January 2023. For more information or to buy tickets, head to the event's website. Images: Liz Sunshine and Tekni.
More of a pop-up library than an exhibition, the RMIT Design Hub is hosting a dual show of Archizines, an internationally touring collection of architecture-focused zines, and Public Offer, a similarly expansive catalogue of design magazines. The exhibit provides an alternative voice to mainstream discourse about architecture and design by showcasing a wide range of independently published material — each zine a little cultural freeze-frame, capturing a moment in the development of how we build and design our spaces. Printed media is tangible — you can pick it up, play with it, and flip through at your own pace — a beautiful element that was not overlooked in the curatorial decision making process behind Archizines/Public Offer. All zines are not just displayed but laid out to hold and engage with, making the whole experience exponentially more engaging and fun, particularly as many of the zines experiment with paper type, embossed fonts, and construction. True to its name, the Design Hub ensures an incredibly stylish exhibition by encouraging a different mode of view: two long tables are laid end-to-end with leaflets and magazines, with chairs dotted about the space, meaning that either a brief perusal or an in-depth reading can be comfortably accommodated. Not simply a series of hand-stapled and typewritten zines, the publications laid out range from your basic, old-school university photocopier stuff to hardback glossies. Archizine's Evil People in Modernist Homes in Popular Films does what it says on the tin, taking a lighthearted approach to the exploration of pop culture's representation of architecture. Meanwhile, They Shoot Homos Don't They is a gay look book with a serious side, confronting LGBT issues via fashion and design. Repeated discussion topics include the invasion of the virtual/digital into the physical world, unsurprising considering both architecture and design are increasingly digital mediums, being discussed here through a medium that is itself being supplanted by blogs and online news sites. A diverse and enormous amount of content to trawl through justifies repeated visits for thorough design and architecture enthusiasts. A series of projected video-blogs from various publishers, architects and designers round out the show, each video discussing a specific question, the most pertinent seeming to be, "what is the place of print media in the digital age?" If there's any exhibition that could convince a digital devotee how satisfying a lovingly created piece of printed text can be, Public Offer/Archizines is it. Image via Archizines at the Architectural Association, London, 2011. Photography courtesy of Sue Barr & the AA School.
