Since Netflix officially launched in Australia back in 2015, their buffet of streaming movies and TV shows has lacked one thing: new original local content. Indeed, it took more than two years for the popular SVOD platform to finally announce that they're making their first Aussie series — and, if the Australian government has anything to do with it, there'll be much more where that came from. During a government enquiry into the sustainability of the film and television industry, Department of Communications content head Carolyn Patteson revealed that the department is looking into quotas for Aussie content on streaming platforms. "We recognise that the system we currently have in place is probably not contemporary for our environment, and what we're really starting to grapple with is the online space," she advised. Just how much Australian programming could be required is yet to be discussed; however, under similar quotas for TV networks, local commercial free-to-air television stations must show a minimum of 55 per cent on their main channels between 6am and midnight. Further sub-quotas apply to Australian drama, documentary and kids' programs. A similar idea has been floated in Europe, with a figure of 20 per cent suggested. In the interim, in addition to their recently announced supernatural crime drama series Tidelands, Netflix has also co-commissioned new comedy series The Letdown with the ABC — their third local collaboration after the second season of Glitch and Monkey Magic reboot The Legend Of Monkey. Over at Stan, No Activity and Wolf Creek have flown the flag for local content on the Australian platform so far, with four new shows currently in the works, as well as feature film The Second. Via The Sydney Morning Herald.
In these cutthroat days of citizen journalism, a single tweet can obliterate a career. Just ask all these people. That which has been posted — and shared 20,000 times — cannot be unposted. And whether you were drunk, feeling sorry for yourself, on some kind of weird ego trip (Anthony Weiner = Carlos Danger?), really bad at conveying irony, genuinely misunderstood or just plain stupid when you penned the fatal line, excuses aren’t likely to get you out of hot water. Precedent suggests that neither your employer nor the angry mob is likely to be too easily persuaded. But if your most ill-thought-through posts are still buried deep in your feed, rather than across the front page of the Daily Mail, there’s hope. A new app by the name of Clear can burrow into your social media past, analyse your history and flag posts that seem inflammatory or offensive. Based on a mix of miraculous algorithms and Watson, a supercomputer created by IBM, the app works on Facebook, Twitter and Instagram. Clear’s creator is a man who’s name you might have seen in the headlines. Earlier this year, EthanCzahor was working on a campaign for Jeb Bush, former governor of Florida and possible 2015 presidentialcandidate, when a flurry of old tweets appeared out of thecyber-ether. One read, “Most people don’t know that Halloween is German for ‘night that girls with low self-esteem dress like sluts.’” And another, “When I burp in the gym I feel like it’s my way of saying, ‘sorry guys, but I’m not gay’.”Czahor lost his job within 48 hours of starting, which was a huge blow for a 31-year-old who’d spent his twenties pursuing a career in politics. From the get-go, Ethan maintained that the tweets were jokes, the meaning of which had become skewed. “I was telling jokes with my friends and they were completely tongue-in-cheek and completely harmless,” he told Time. “But years later after I had forgotten about them, they’d been pulled out of context and it looked terrible.” “You exist in a lot of places on the Internet,” he said. “And I just feel that you have the right to at least know what’s out there, and to take care of it.” Via Mashable and Time.
Whether you think that David Brent was awful, awkward or a bit of both, Britain doesn't have a monopoly on cringeworthy bosses. Accordingly, after the original UK version of The Office proved a huge hit two decades ago, more versions of the workplace comedy were always going to follow around the world. The American series became even more popular, and everywhere from Canada, France and Germany to Israel, India and Poland have similarly given the idea a go. Next stop: Down Under, thanks to the just-announced The Office Australia. This'll be the 13th international take on the show, and it's coming to Prime Video sometime in 2024. Yes, the fact that it has Australia in the title is already a bit clumsy. Clearly, the Aussie spinoff gets the brief. Move over Brent, and also Michael Scott — it's now Hannah Howard's turn to become the manager no one wants but everyone has worked for. Played by actor and comedian Felicity Ward (Wakefield), she'll oversee a packaging company called Flinley Craddick. And, when she receives news that head office is shutting down her branch — with everyone working from home instead — she's determined to keep her team together. Obviously, that won't go smoothly, or there'd be no sitcom antics to be had in The Office Australia. Joining Ward is a hefty cast spanning Edith Poor (The Lord of the Rings: The Rings of Power), Steen Raskopoulos (The Duchess), Shari Sebbens (Preppers), Josh Thomson (Young Rock), Jonny Brugh (What We Do in the Shadows), Pallavi Sharda (The Twelve), Susan Ling Young (Barons), Raj Labade (Back of the Net), Lucy Schmit and Firass Dirani (House Husbands). The Office Australia's eight-episode first season will shoot in Sydney from June, then stream globally next year, with an exact launch date yet to be revealed. Whenever it arrives, surely a stapler is going in some jelly again. This'll mark the first woman-led version of the franchise, with The Office Australia also featuring an impressive roster of female talent off-camera, including lead setup director and executive producer Jackie van Beek (The Breaker Upperers), plus head writer and executive producer Julie De Fina (Aftertaste). There's no trailer yet for The Office Australia, but you can check out clips from the UK and US versions below: The Office Australia will stream via Prime Video sometime in 2024 — we'll update you with an exact launch date when one is announced.
Flight of the Conchords return home for a New Zealand and Australia tour this winter. Bret McKenzie and Jemaine Clement, the goofy halves of this comedy and musical duo, announced the tour on their website, saying, "We are finally returning to Australia … mostly to apologise." Fans seem to agree that there is nothing to be sorry for: the original tour dates have already sold out. Luckily, additional dates have been added; make sure to snatch yours up quickly. The pair returns from a lengthy run of success abroad, including a BBC radio series, HBO television series, film appearances and an Oscar. Tickets go on sale here on Tuesday, April 17, at 9am. Australian Tour Dates: Thursday, 5th July 2012 - Sydney Opera House, Sydney Saturday, 7th July 2012 - Brisbane Entertainment Centre, Brisbane Tuesday, 10th July 2012 - Newcastle Entertainment Centre, Newcastle Wednesday, 11th July 2012 - WIN Entertainment Centre, Wollongong Friday, 13th July 2012 - Adelaide Entertainment Centre, Adelaide Saturday 14th July 2012 - The Plenary, Melbourne Wednesday 18th July 2012 - Challenge Stadium, Perth
Burgers are no longer the stuff of late-night drunken binges or awkward family barbecues — this fashionable food of the moment has officially shaken its association with shitty fast food and transcended into a five-storey shrine in the inner suburbs. Prepare to put on an extra few kilos this festive season. Opening in December, Easey's will be a huge elaborate diner perched just off Smith Street. Finding a home in the space designed by ITN Architects on Easey Street, this sprawling feast factory will no doubt be defined by its strange characteristics; namely the three full and intact train carriages that sit on the top floor. These carriages will be open to all diners, finally offering you the golden opportunity to chow into a huge burger on public transport without offending anyone. This strange and decidedly excellent idea comes to us from Jimmy Hurlston and Jeremy Gaschk. While Gaschk earned his stripes with cafes like Silo (since re-launched as Brothl) and Two Birds One Stone, Hurlston has taken an unconventional route to where he stands today. Better known by his first name, Hurlston is the brains — and more importantly, mouth — behind Jimmy's Burgers. Jimmy has become a local icon defining himself as "One man in search of the best burgers our world has to offer". Pictures of his regular feasts could basically form the working definition of the words 'food porn' and his exploits have even been turned into a much-loved book. The dude seriously knows his stuff. With multi-pattied, vegetable-less bacon burgers already planned, Jimmy's not taking the opportunity lightly. In case that doesn't sound like your thing, there will also be a wholefoods cafe on the ground floor of the restaurant serving quality coffee, sushi and raw foods. But really, you should make it worth your while. If you're going to go to a five-storey burger restaurant, you may as well go all in. Via Broadsheet. Photos via Easey's and Jimmy's Burgers.
We all know that Melbourne is the place to be if you love music; this week's the time to prove it. Melbourne Music Week is back for another year with 250 artists taking part in 110 events over 10 days of festivities in 40 locations. While your usual bars and bandrooms are all accounted for, this year you'll also be seeing music in laneways and trams, at Rooftop Cinema, the NGV, MPavilion, and power stations. It'll even be in elevators. No kidding — elevators. This enormous reach comes in an effort to showcase not only Melbourne's music, but the city itself. "Melbourne is one of the world's greatest music cities," says Councillor Beverley Pinder Mortimer from the City of Melbourne."[In this festival] the city becomes the stage." Kind of like in that film with Kiera Knightly and Mark Ruffalo... but better. Here are a few things to pencil in your diaries to make the most of it. Opening Night with Architecture in Helsinki There's no better to kick off your Melbourne Music Week celebrations than with an opening night extravaganza, and there's no one better to lead the charge than Architecture in Helsinki. These local kids done good have been putting the pep in your summer house parties for just over a decade now. After the release of their fifth album NOW + 4 EVA they're back to christen the new festival hub at Queen Vic Markets. After supporting Client Liaison earlier this year and recently being signed to Two Bright Lakes, local boogie kids Total Giovanni will also be on the bill with Rainbow Connection DJs. Get ready for some magic. November 14, 7pm-1am, Queen Vitoria Market, $35. Morning Ritual There's a reason this event is a regular at MMW. While the rest of the program favours night owls and those up for a bit of a bender, this is a rare opportunity to get some tunes in the sunlight. This year's Morning Ritual will see five bands including The Harpoons, Klo and Lowtide playing a bunch of free sets at Queen Vic from 10.30am. It's an amazing way to wake up, a decent substitute for coffee and, quite frankly, a freebie you should definitely take advantage of. November 15-22, 10.30-11.30am, Queen Victoria Market, FREE. Love in an Elevator Does corny elevator music get you down? Local folk-pop duo The Twoks have concocted an ingenious morning pick-me-up for those Melbourne nine-to-fivers with better taste. Setting up in undisclosed elevators around the CBD, the boppy electronic duo will be hosting impromptu performances starting from 8am, riding up and down with unsuspecting members of the public as they make their way to work. Not the easiest of gigs to find, but if you're in the city this early, it'd definitely be worth searching out. Fair warning: venues may hit capacity pretty quickly. November 17-19, 8-9am, Elevators across the city, FREE. The Roller Jam Presumably inspired by the plot of Xanadu, Foreign Brothers are transforming 1000 £ Bend into a full blown, '80s style roller disco. A collection of DJs and live artists including Northside Records, The Mondo Freaks, ALTA and Jimmy James & DJ Jnett will keep your wheels turning late into the night, and surely someone will have the good sense to crank some Olivia Newton John. Skates will be available for hire. If there's not a smoke machine and mirror ball, we'll be very disappointed. November 20-22, 6pm-1.30am, 1000 £ Bend, $25. Hunt. Tram. Party. No Myki? No worries. Hop on board a moving Melbourne icon, for a one-of-a-kind tram party without a single mouth-breathing ticket inspector in sight. Clues around the CBD will reveal the hidden starting point where your musical transportation will be waiting. Suffice it to say, moshing is probably out. After rattling around the city to the tunes of a secret artist, the party will terminate right outside Ding Dong Longue, where a live performance by totally charming poppy hip hoppers Jakubi will see the good times continue long into the night. November 20, 7pm-1am, Trams across the city, FREE. Mixed Doubles Artist-run record label Air Punch Collective has pitted the stars of the Melbourne indie music scene against one another for a collaborative song tournament that looks set to be a grand slam. Hosted at the North Melbourne Rec Centre and umpired by the audience, competitors in the musical tennis showdown include Milk Teddy vocalist Thomas Mendelovits, as well as Helena Plazzer, Ellen Sorensen, David Carlin and Mark Mannone. We're not saying things could get violent out there on the court. Then again, we're not not saying it, either. November 15, 1pm-4pm, Bella Union, $10. Free Screenings at Rooftop Cinema Relax under the stars with a cold beer and a bucket of popcorn, and enjoy a trio of free, music-themed screenings at Melbourne's favourite outdoor cinema. Sort-of documentary 20,000 Days on Earth provides a weirdly meta look into the life and creative process of enigmatic artist Nick Cave, while Mistaken For Strangers chronicles the 2010 tour of your favourite sad rockers The National through the eyes of its lead singer's younger brother, who tagged along for the ride. The third screening remains cloaked in an air of mystery. Is it too much to hope for a bit of Bjork? November 18-20, 8pm-11pm, Rooftop Cinema, FREE. The Church Plays The Blood of a Poet One of the all-time great examples of avant-garde filmmaking, Jean Cocteau's The Blood of a Poet is getting a brand-spanking new musical score, courtesy of legendary Australian rock group The Church. First released in 1932, the film follows an artist through an unsettling parallel dimension; its impenetrable imagery a perfect fit for the band's evocative alt-rock sound. Whether you're a film buff or a music lover, this live performance/screening absolutely shouldn't be missed. Alternatively, if French surrealism isn't your thing, check out William Friedkin's 1977 thriller Sorcerer, accompanied by visiting German electro pioneers Tangerine Dream. November 21, 7.30-8.30pm, ACMI, $30-38. Swell Just when you thought you'd figured your way around the giraffes in jewellery, watchful elephant heads and tree-lined rooftop spaces, they throw another thing in the mix. For six nights in November, the Carlton will be opening up an abandoned space that lies above the main bar but below Hasti Bala. Through labyrinthine corridors and hidden little rooms, you'll be treated to an array of secret gigs and intimate "plastic-coated" raves featuring a load of surprise acts. I know that's a whole load of craziness to hear with little to no context, but it's all we've got at this point. This very hush hush event is mysteriously titled Swell. November 14-23, Friday-Sunday, Various times, $25-39. Live Music Safari Without a doubt the highlight of the whole MMW program, the Live Music Safari brings the entire city to life. Fourteen of Melbourne's best venues including Boney, Section 8, The Toff and The Hi-Fi are hosting some of the city's most exciting bands and they're doing so for the ever-so-tasty price of free. Running for nearly 12 hours of sonic bliss, the Safari wants you to pop in and out of shows from 4pm-5am. Ideal route: chill out in Ferdydurke as City Calm Down and Milwaukee Banks turn Tattersalls Lane into an all-out laneway party, head along to Queen Vic to catch a set from Kingswood, cruise down to the Toff to catch The Harpoons, get a load of newbies Japanese Wallpaper at the Kelvin Club and, as always, finish it all off at Boney. There's no judgment here, friends. November 20, 4pm-5am, Various locations, FREE. Photo credits: jaded on and flattop341 via photopin cc. Written by Tom Clift and Meg Watson.
Here we go again, folks. In a move which feels uncomfortably similar to what we saw happen to The Palace earlier this year, St Kilda's Prince of Wales Hotel has just been put up for sale. The entire four-storey building — including the pub, bandroom, restaurants, hotel, spa, and carpark — is currently open to expressions of interest online and estate agents are hinting at its potential for imminent residential development. "[The site has] immediate development potential with approved plans and permits for four (4) additional levels of premium residential accommodation," the listing reads. Of course, at this point nothing is set in stone. Either way, both the pub and bandroom will remain tenants of the building until the end of their lease, and there's still a good chance the building's new owner will want the businesses to stay on. After all, the site in all its current form takes in a whopping $2.3 million per year. Unfortunately, none of this can be determined by the venue operator. Until a buyer is confirmed we're all in an uneasy state of limbo. More than 60 years since its opening, Prince Bandroom is still regarded as one of the city's best mid-size venues. With a capacity of just 900, it's been a stalwart of the south side's live music scene regularly hosting big name acts including Coldplay, Bright Eyes, Goldfrapp, Lenny Kravitz, The Scissor Sisters, and just this year, Solange and Kelis. This is quite the legacy to hold onto, and if we've learnt one thing from being a music-loving Melburnian it's that you should never say die. Though we saw The Palace close their doors forever, there are now whispers of a white knight developer looking into restoring the site to its former glory. Anything can happen. Either way, there's a good chance we could have another fight on our hands. Via Tone Deaf.
Part bar, part performance venue, Loop provides a space for artists, film makers and live audiovisual performers (and fans of all the above) to share their creative energies — over a pizza and pot of beer. With an event calendar that offers something different almost every night of the week, expect film festival screenings, performances of buzzing electro-pop and DJs every weekend. Loop is also a pillar of the local filmmaking community, presenting Comfortable Shorts each month — a series of short films from local and international creatives.
Wow. Sugar Mountain are going next level. After taking a year off, this boutique music and art festival have just dropped their new and improved 2015 lineup. Held at the VCA instead of The Forum, Sugar Mountain will feature Nas, Ariel Pink, Kim Gordon, Swans, Dan Deacon and many more. We'll repeat that news in case it was so huge and strange it completely blew your mind: Nas is performing at the VCA. Playing his seminal '90s debut Illmatic, this legendary US rapper is a strange addition to the festival which has previously steered clear of hip hop acts in favour of electronic and indie offerings. Other acts on stage will be more consistent with what we've seen in previous festivals. Experimental rockers Swans and Kim Gordon's new project Body/Head will be bringing the classic alt sounds supported by other US electronic acts like Dan Deacon, ODESZA, How to Dress Well, and Soul Clap. On the local scene, Midnight Juggernauts will be leading the charge backed up by King Gizzard and the Lizard Wizard, Twerps, No Zu and Oscar Key Sung — a strong and crowd-pleasing lineup of Melbourne locals. But Sugar Mountain is not your average music festival. This killer lineup will be complemented with a selection of artists too. With paint-shooting Ash Keating, laser-blasting Robin Fox and the self-explanatory Confetti System on board, VCA is in for one amazing, artsy mess. Get amongst it. Music Nas Body/Head (Kim Gordon & Bill Nace) ODESZA Ariel Pink Soul Clap Horse Meat Disco The 2 Bears Anthony Naples Swans Dan Deacon Terrible Love feat. Kirin J. Callinan How to Dress Well Midnight Juggernauts Bo Nigen King Gizzard and the Lizard Wizard Twerps Dexter No Zu Chela Banoffee Oscar Key Sung Rat & Co Slum Sociable Waxo Paradiso LA Pocock Noise in My Head Art Leif Podhajsky Hisham Bharoocha Ash Keating Abby Porter Robin Fox Nonotak Johann Rashid Cara Stricker & John Kirby Keith Deverell Ghostpatrol Sean Morris Cornelius Brown Poppy Lane Confetti System Sugar Mountain Festival will be at VCA on Saturday, January 24 2015. Entry will cost between $120-195 depending on whether you opt for early bird general release or a sweet VIP package. Tickets are on sale via Moshtix from Monday, October 20. There are 5,500 up for grabs in total, so get in quick.
This year's Melbourne Music Week is truly blanketing our city with good vibes. From November 14-23, the festivities are taking over the Queen Vic Markets, there are shows on trams, in laneways, and even jumping in and surprising you on random city elevators. And to follow suit in this full-blown takeover, the Carlton is inviting you onto a whole undiscovered level of their iconic and exotic watering hole. Just when you thought you'd figured your way around the giraffes in jewellery, watchful elephant heads and tree-lined rooftop spaces, they throw another thing in the mix. For six nights, the Carlton will be opening up an abandoned space that lies above the main bar but below Hasti Bala. Through labyrinthine corridors and hidden little rooms, you'll be treated to an array of secret gigs and intimate "plastic-coated" raves featuring a load of surprise acts. I know that's a whole load of craziness to hear with little to no context, but it's all we've got at this point. This very hush hush event is mysteriously titled Swell. "There's an appetite for discovery in the Australian music scene," says creator Janenne Willis. "People buy tickets out of curiosity... Now is the time for a fresh take on the live music experience." Though we may not know who will be playing on each night, we do have some insight on the people behind it all. We know that the space is being designed by New York-based architect Brooks Atwood and the music is being coordinated by local DJ Edd Fisher. With these details we can expect very, very good things. "The format of Swell is not the traditional headliner and support acts," says Willis. "We can reveal that the lineup will be a surprising and astounding mix of genres, including contemporary improvised jazz, cutting edge beatmakers, dreamy soundscapes, vocal harmonies and more." If you feel like taking a chance on this big bag of mystery and good times, snag an early bird ticket for $25 from the Melbourne Music Week website or support the cause with a $55 fundraising ticket via their Indiegogo campaign. If they're going to coat this space in cling wrap and deck it out for a full-blown rave, they're going to need a little help. Swell will be at The Carlton Club every Friday, Saturday and Sunday night form November 14-23.
If you're on the hunt for a gift that's truly unique, there's a good chance you'll find it at Pepperberry. Describing itself as "hunters and collectors" of beautiful objects that range from homewares to eccentric fashion and children's products, the store has proved popular since opening just around the corner from Maling Road in 2007. Focusing on well-designed products that are also affordable, this charming little store is overflowing with items that'll be the ultimate gift for friends or family — or a treat to keep for yourself.
For more than two decades now, the sound of much in the science-fiction, fantasy and horror genres on-screen — small and big alike, and across not only TV and movies but also video games — has hailed from Bear McCreary. The show that kickstarted his career: Battlestar Galactica. In his mid-twenties, McCreary began living his score-composing dream when assisting on the 2004 miniseries led to a job on the 2004–09 TV series that followed. Next came Terminator: The Sarah Connor Chronicles, another entry on a resume that's now filled with bringing his own sonic spin to well-known realms again and again. With Agents of S.H.I.E.L.D., McCreary stepped into Marvel's orbit, for instance. Before it was a television sensation, The Walking Dead came from graphic novels. Outlander stems from the books of the same name. Everything from the Snowpiercer TV series and Isaac Asimov adaptation Foundation through to prequel series The Lord of The Rings: The Rings of Power, streaming's Percy Jackson and the Olympians and Halo as a television show — plus movies Godzilla: King of the Monsters, Child's Play, and both 10 Cloverfield Lane and The Cloverfield Paradox — also fit. "I did the show for The Omen," McCreary notes to Concrete Playground, mentioning more. "I did a game in the Star Wars universe." "That's quite a list," he continues. "It's funny, now that you put it all together, it's like 'wow, maybe more often than I haven't, I've been'," McCreary says of his long lineup of projects based on recognisable titles so far. "But that really is a commentary on our industry today, which involves so much recycling of older IP." [caption id="attachment_1013960" align="alignnone" width="1920"] Timothy Norris/Getty Images for The Recording Academy[/caption] For God of War and God of War Ragnarök, McCreary has two BAFTA Games Awards. His three Grammy nominations in three successive years — 2023–25 — come from Call Of Duty: Vanguard, God of War Ragnarök again and the latter's DLC pack God of War Ragnarök: Valhalla. The Emmys have recognised his work on Human Target, Black Sails and Outlander with nominations, and on Da Vinci's Demons with a win for Outstanding Original Main Title Theme Music. McCreary has also scored five films in a row for director Christopher Landon: Happy Death Day and its sequel Happy Death Day 2U, Freaky, We Have a Ghost and 2025's Drop. He's been reading scripts for the upcoming third season of The Rings of Power when we chat, and his efforts are now echoing from the third season of Foundation, too. But 2025 has also been about a first for him; although he's far from new to performing his music in concert, he's been embarking upon his first proper tour. After dates in Europe and North America across April and May, McCreary is playing four Australian dates between Wednesday, July 23–Monday, July 28: at The Forum in Melbourne, Sydney's Enmore Theatre, Eatons Hill Hotel in Brisbane and Perth's Astor Theatre. [caption id="attachment_1013953" align="alignnone" width="1920"] Ted Sun[/caption] When you primarily compose for the screen, what does it mean to be able to play your music live to an audience in concert? "There's a fundamental thing about making music that I love and crave. And when you write music for the screen, you get it in a weird way — and that is that audience feedback," McCreary advises. "You get it over time. You get it online, interacting with people out in the world that may figure out who you are — but for the most part, you don't experience your music with other people. You just sort of trust that it's out in the universe and people like it or they don't; they're having an experience." "So I wanted that visceral, immediate sense of community and interaction. And playing music live for an audience, it happens immediately. You can feel it. There's an electricity in the air. And I was craving that. I had performed a lot, maybe 15 years ago, when I had done Battlestar Galactica — I performed that music live with increasing frequency. And I sort of stepped away from that in order to solidify my career in film, television and video games. But it was time to get back to it. It was time to get back to my roots," he says. Australian audiences aren't just being treated to music from many of the above titles live when McCreary takes to the stage, however. In 2024, he also released The Singularity, his star-studded debut rock album. How did his big break on Battlestar Galactica help lead him to here — and before that, how did being self-described lifelong "soundtrack-collecting nerd" and "sci-fi/fantasy/horror nerd", too, as well as the type of kid who recorded the soundtrack to Back to the Future in the cinema as a six year old, set him on this path? We also spoke with McCreary about that, finding inspiration for his projects, the intimate relationship that audiences have with music for the screen, evolving the sound of a series, repeat collaborations, a future stage musical and much, much more. On Battlestar Galactica Becoming McCreary's Big Break "I really have to go back to when I was five. I was obsessed with film music, even when I was five or six years old. I started collecting soundtracks. I started trying to write my own music when I was like seven or eight. And by the time I was 13, I was writing music all day, every day — and bringing in everybody around me that I could. My friends in high school, I would force them to be in bands and come over to record. When I got to college, I started doing student films with increasingly large student orchestras. Anybody that I met that could make a movie or play an instrument, I tried to work with them. So by the time I was an assistant on Battlestar Galactica at the age of 21, 22, I'd put in my 10,000 hours a couple times. So as I recall, I had the opportunity to score one episode of the show while they were looking for a real composer — because no television series of that scale would hire an unproven 23-year-old child. Whether or not I'd worked on the miniseries, I mean, it just didn't matter, they were looking for somebody else. And I did the first episode of the show — I did work with Richard Gibbs [The Simpsons, 10 Things I Hate About You] on the miniseries and learned a lot during that experience, and contributed some to the sound of Battlestar Galactica. And then I had the chance to do one episode, and I guess the rest is history. I remember at the end of that episode, the producer sat me down and said 'well, why don't you come in tomorrow? Let's take a look at the next episode'. And there it was." On Why McCreary Was Drawn to Film Scores as a Child "When I was a baby, my mum would take me to movies. She took me to movies that you shouldn't take a baby to go see — dramas like The Natural and Gandhi. I saw The Empire Strikes Back when I was two. I was so small that I think I wasn't tall enough to see over the seat. My mum would set her purse down, because the flip seat would otherwise smash me. So I do think that for some of these movies, I sat there staring at the back of a chair, listening to the movie. And when I was six, a film called Back to the Future came out. And that one really caught my ears. And I asked my mom to take me a second night. So we went back the next night after I saw Back to the Future. This time, I snuck in a cassette recorder — my little Fisher-Price cassette recorder — and I held it up over my head and I recorded the movie so that I could hear the music, and fast forward past all that annoying dialogue and sound effects. So even at age six, I was trying to filter out the other sounds in a film so I could hear what was going on in the music. Why that is, I don't know. But you can easily imagine how you take a kid that's wired that way, and I'm definitely on path to become a soundtrack-collecting nerd, which I still am — if you combine that with the piano playing that I started learning at that time, it was almost like 'ohh, it's chocolate and peanut butter, let's put those together. I can use those skills to explore this passion'. So it really was something I knew that I wanted to do from a very young age." On Where McCreary's Inspiration Comes From, Especially When Working on Projects with Such Pivotal Source Material "I definitely feel very fortunate that I can take on projects that inspire me. And every once in a while somebody will call me about a project, and I will confess to them that I think their story is really solid and their vision is really clear, and I'm just not excited by what they want and that they deserve to have someone who's passionate about the kind of story they want to tell. That happens pretty rarely, because I started my career with Battlestar Galactica. And then I went to Terminator: The Sarah Connor Chronicles, and then The Walking Dead and Outlander and Marvel's Agents of S.H.I.E.L.D. And I've worked with Godzilla and Star Wars and Lord of the Rings and God of War. I grew up a sci-fi/fantasy/horror nerd, so I very much planted my career in the orchard I wanted to grow in. So I'm very fortunate to be inspired by the material that I'm offered, but also I am inspired by going back to the music that I loved as a kid. I think there's some scientific truth that the ages 12 to 16 are where our brains form, and we form a bond with media at that age that is lifelong. And I do find myself returning to that material and even applying it to modern material. When I scored The Lord of the Rings: The Rings of Power, I was inspired by Howard Shore's music for the films to a degree, but I was 21 when those came out. I was more inspired by James Horner [Titanic, Avatar], John Williams [Star Wars, Indiana Jones, Jurassic Park], Basil Poledouris [Conan the Barbarian, Starship Troopers], Jerry Goldsmith [Planet of the Apes, Star Trek], Ennio Morricone [The Good, the Bad and the Ugly, Once Upon a Time in the West]. I think if you put my scores for Rings of Power up against those older scores from the 80s and 90s, there's a more obvious connection there. That's where my heart lies. So I want music to make you feel the way the music from my childhood made me feel." [caption id="attachment_794091" align="alignnone" width="1920"] Jackson Lee Davis/AMC[/caption] On Thinking — or Not — About the Intimate Relationship That Audiences Have with Music for the Screen "I try not to think about that, because it adds undue pressure. Ultimately, my job is I need to write that scene and make it work, and if I start thinking about writing something that transcends that, it just adds undue pressure. When I wrote The Walking Dead main title, if I had been thinking 'well, this needs to last 15 years — or more, the rest of your life. This little idea, is it good enough? Is it good enough to last forever?', I would freak myself out, right. 'No, it's not. It can't be that good.' No, I just needed to tell this 30-second story for The Walking Dead main title. And that 30 seconds arguably is the most-successful 30 seconds I've written in my entire career. So I try not to think about those things, but I am grateful for those transformative relationships, because I have those. So many of my favourite scores are for films that I have not seen as many times as I've listened to the scores. Or the scores transcend even the movies. The movies not might even be that good, but the scores become invaluable to me. And I try to have space in my heart for being grateful for that. If that happens, if I can write this scene, do my job, but also be open to the fact that maybe some six-year-old kid will hear that and want to record it and listen to it again — if I could be part of somebody else's journey the way that Alan Silvestri [Back to the Future, Predator] or Elmer Bernstein [The Magnificent Seven, Ghostbusters] inspired me — that's a pretty magical thing. And I try to be grateful for the possibility without applying pressure to myself that I have to do that." On the Sense of Responsibility That Comes with Working on Projects with Inbuilt Fanbases Attached Because They've Existed in Some Form Before "That definitely comes with, I don't want to say pressure, but a thing to be mindful of. And I always try to look at something through the lens of a fan and deliver what is most effective for the most-passionate fans, and yet will not be distracting or kitschy for someone who does not know that material. I think I was very successful in that in particular with Battlestar Galactica and Godzilla: King of the Monsters. Both had big, brassy fanfares that were — in one, the Godzilla march was written in the 50s by Akira Ifukube; Battlestar Galactica was written in the 70s by Stu Phillips, obviously as a response to Star Wars. And nothing could have been further from the trend in scoring when I did Battlestar or Godzilla than big brassy marches. But in both cases, I struggled and found ways to very earnestly and lovingly take that music and bring it into something that sounds very modern — that doesn't sound like a cameo or an homage, it just sounds like the score. And if you know, you know. And that's what, I guess, I pride myself on that. I try to be very respectful of the older material, and maybe part of it is karmic — eventually people will be doing new versions of all these things, right? I'm a steward of this material for a while, and I hope at some point in the future, when somebody does a remake or continuation of something I worked on, that I'll be afforded the same consideration." On the Thrill of Being Able to Add Your Voice to a Genre or Title That You've Always Loved, Like Fantasy and Lord of the Rings "It's pretty incredible. It's almost unlike anything else. Just earlier today, I was reading scripts from the new season. And I've had the same experience every time I read the scripts: 'I get to do that? I get to do that! Wait, I get to do that!'. I'm giddy. It's like a joyous experience. It fills me with joy. I've never really felt pressure, except in the second season, I think, when I wrote a song called 'Old Tom Bombadil' — I did feel the weight there. Tom Bombadil [played by Rory Kinnear, Toxic Town] appears in the show. He's a beloved character who goes very deep in the lore. If you loved these movies and you don't know who we're talking about, that's how deep it goes. He was not in the Peter Jackson films. Probably the most-glaring omission from those films. So for him to be in our show is a big deal — and he sings. When you read the book, like half his dialogue is in verse. And I realised that aside from writing a song for a television show, I was potentially codifying, in an official adaptation of Tolkien's material, a melody for Tom Bombadil that people would hear in their heads when they read Fellowship of the Ring. That is the first time that I've really felt that weight — of working outside the medium. I'm not even thinking about the show. He appears very briefly in the show. It's not really that big a deal. But the idea that if this melody is good, it might resonate with people the next time they read Fellowship of the Ring — and at that time I was writing it, I was reading it to my daughter. And so before the show even came out, I got to give it a test run. When we got to the Tom Bombadil pages and I caught myself going 'ohh, he started to sing. Should I? Should I try it? Should I try my melody? Here it goes'. And I just rolled those lyrics right off the tip of my tongue, using that melody, and it worked. And I was pretty happy. I was pretty happy with that." On Bringing a Sense of Weight, Urgency and Epicness to a Score, Such as Foundation "I am still looking to the masters that I grew up listening to. And in the case of Elmer Bernstein, I came of age with him as a mentor. I knew him personally. I think it's fascinating your question — because how does the Foundation main titles start? Sparkling flutes and clarinets. Cellist. Glockenspiel. This very light, delicate, sparkling cloud of particles. It's not heavy at all. And you get acclimated to that texture — and then halfway through, when the bottom drops and suddenly 'boom', now we're getting epic. It feels more epic, because I actually reacclimate your sense of frequencies. I sort of took those frequencies away for a while. So it's through that kind of contrast that I think you can achieve real dynamics and emotional impact. And with Foundation, that's the name of the game. We're telling a story that takes place over like a millennium, and asking the audience to keep track of characters spanning centuries. So I'm really trying to tread lightly where I can, so that I can come back in with devastating impact." On Evolving the Sound of a Series Across Multiple Episodes and Seasons "I have found I have to be very open-minded. Not evolving the sound is much harder for me than evolving it. Granted, I've never done like a Law & Order show that goes on for my entire life and is very similar every week, so I'm already taking on shows where the characters change a lot. And look, my first show was Battlestar Galactica, and I learned this real fast — I had a theme for Starbuck [Katee Sackhoff, Fight or Flight] and I really wasn't looking ahead. So she escapes from the planet in episode 104, big triumphant moment, and I've got this theme that I kind of decided 'oh, that's her theme'. And then in the eighth episode, she starts torturing this guy, Leoben [Callum Keith Rennie, Star Trek: Discovery]. And suddenly I'm realising the range that our show has, and we are creating complex characters. Just four episodes later, after her triumphant fanfare, I wanted to use that same theme but tell a very different story — and I had to really work because I hadn't prepared for that. I really wasn't looking ahead. So having learned from that, I am often looking ahead now. Knowing what's coming really helps, but also just being flexible. You don't always know what's coming. Certainly when I started the first episode of Walking Dead, no one would have been talking about season ten. No one would have been thinking 'in a dozen years'. We were just thinking 'we've got six episodes here, how can we we stretch this formula for six episodes? Here we go'. And I ended up doing 100, I don't even know — I've lost count. Many, more than 100." On Returning Collaborations with the Same Filmmaker, Such as Christopher Landon's Movies From Happy Death Day to Drop "I adore Chris Landon. I love that relationship. And so many of my favourite composers had these long-term relationships. And I've studied their scores. I think subconsciously, we all have. Spielberg-Williams. And George Lucas and John Williams. Hisaishi and Miyazaki on all the Studio Ghibli movies. Danny Elfman and Tim Burton. Fellini and Rota. There are so many more. And we start understanding that this director's style, this director's voice, is aided by this composer's sound. And with Chris, he is the feature film director with whom I have worked the most. We've currently done five films together in the span of not ten years. So I cherish that relationship. And I'm always trying to keep up with Chris. He is such a visionary. He's always combining different genres. It's a slasher and teen drama. Now we're going to throw in Back to the Future time travel. Now I'm going to do Freaky Friday meets Friday the 13th. And I'm just like 'okay, okay, hold on. Hold on, Chris. Give me a minute. Let me catch up. Let me catch up with you'. Drop was — maybe it was in some ways the easiest, and in some ways the hardest, because it completely shook up the rhythm. I read his script for Drop, and I called him and I said 'Chris, I think you're just making a movie — you're making a movie with one tone. I can't believe it. This is essentially a high-concept 90s thriller. That's it'. And he goes 'yeah, isn't it fun?'. So it really took me a minute to recalibrate and just do one genre with Chris Landon. That was a nice, welcome surprise. [caption id="attachment_1013961" align="alignnone" width="1920"] Jeremychanphotography/Getty Images[/caption] On the Ultimate New Composing Music Challenges for McCreary "I think to be completely honest with you, I am so grateful to have worked on all of the things that I already described. Any one of those is a dream project. I think it's why you can see me working in other mediums where I am not established — where I'm the very small fish in a big pond. I put out my first metal record last year, The Singularity. And on that I collaborated with Serj Tankian from System of a Down, Slash, Jens Kidman from Meshuggah, Kim Thayil from Soundgarden, Corey Taylor from Slipknot and all these people. And I learned so much about rock 'n' roll. And I've been working on a show, a musical intended for Broadway, working with some incredibly talented people for the last six, seven years. We're going into a number of readings over the next two years. And again, I'm learning on the job — and how to write a Broadway show. So in many ways, when it comes to being fundamentally challenged and pushed out of my comfort zone, I kind of am looking at records — and I made a graphic novel out of The Singularity — and just other mediums. Because as fun and thrilling and exhilarating as scoring film is, I've been doing it professionally for 20 years. And if you factor in all my childhood experiments with trying to do it, I mean it's 30 years, right? So if you give me footage and tell me what you want, I have a lot of experience, no matter what the footage is, in doing that. So I think also ultimately, that's why I'm going on the road — is it's another huge challenge, just suddenly bringing this music out on the road, bringing it to an audience and playing it for an audience that maybe isn't used to hearing this music live. That's really scary. I feel like I'm up on the tightrope there. So those are the kinds of projects I think you'll see me adding to my portfolio as time goes on. But I love I love scoring. It's like my happy place. I've been working on a movie all week for a director I've never worked with before who I admire greatly and it's just, it's the best feeling. So you know me, I'm just multitasking and juggling all this stuff all the time." Bear McCreary is touring Australia between Wednesday, July 23–Monday, July 28, 2025 — head to his website further details and the tour website for tickets.
Spoken word events are few and far between these days. Haunted by a sometimes cringeworthy past of beat poetry and undergrad creative writing workshops, storytelling is close to becoming another lost art form. But with Tell Me A Story recently selling out shows in Sydney, this new oral phenomena is a welcome addition the Midsumma program. For one night only, under the theme of 'GLBTI Family', comedians, experienced storytellers, and tenacious beginners will share personal experiences over ten minute blocks with a relaxed audience at Gasworks Arts Park. The event on January 17 will be hosted by Kathryn Bendall and will feature Adam Richard, Em Rusciano and Joel Creasey among others. For more information check out the website. This show was one of our top picks for Midsumma 2014, see our full list here.
It's time to get that old jester suit out of Mum's costume box and read up on how to make mead because the next instalment of Underground Cinema will be of the medieval fantasy genre. Thy kingdom will open its Royal Court to its subjects (you) while providing delicious era-appropriate snacks (cheese and wine) for seven appointments (nights in July). If you haven't been to an Underground Cinema show before, know that it's much more than just a cinema — they use actors, sets and costumes to immerse the audience in the film (to be revealed on the night) and make them part of that world. We're sure this time round will no exception, and you'll be summoning your dragon instead of an Uber to take you home. The location is secret for now with more details upon ticket purchase, and the only instructions are a) to bring your will to conquer, and b) be valiant — so you can assume you're in for something that'll have you wishing you lived in Westeros and played the lute. Tickets sell fast and some nights have already sold out, so get in quick sticks, lords and ladies.
Aussie hip hop is just one of those things you can't feel indifferent about. Sure, everyone bopped along to the Hilltop Hoods in high school but after that, tastes divided. You either live and breathe Horrorshow, Drapht and Illy, or you smash your car radio with a closed fist whenever Triple J insists on playing them. Much like caviar, the genre is an acquired taste — just because I don't like it doesn't mean it's bad. On January 26 — Australia Day — filmmakers, producers, MCs and community activists will descend upon Studio 1 at ACMI to take a good look at the music genre and its culture. While, of course, having roots in American hip hop, it's hard to deny the evolution of the music in Australia. Our homegrown outfits set themselves apart with an idiosyncratic twang, and always have unique stories to tell. With a particular focus on film and video content, this panel at ACMI will include both performances, screening and discussions with MCs, directors and producers. Tickets to this event are free, but for more information on panellists or ticketing see here. This event runs concurrently to ACMI's Spectacle: The Music Video Exhibition which runs until February 23.
Summer's peak is here, which we love to see. But it also means the cooler months are creeping ever closer. Rather than letting the season slip away, consider a trip to the Peninsula Hot Springs, where the team is turning things up for February with a series of special deals and events designed to help you connect. That's made especially easy and affordable when you can bring a friend for free. Available every Monday–Friday in February, Peninsula Hot Springs invites guests to enjoy a shared midweek ritual with a pal by offering Revitalise Bath House bathing for the price of one. With the promo running until the end of the month, there's still time to organise a truly peaceful catch-up. Yet the month's experiences culminate on Saturday, February 21, when the Peninsula Hot Springs celebrates Lunar New Year. Featuring a daylong program spanning traditional Chinese medicine, hands-on flower-arrangement workshops, lion dance performances, and live music from Melbourne musician Sui Zhen, this festive encounter is complimentary with a bathing purchase. Lastly, the romantic surroundings of this geothermal wonderland make it the ideal destination for a Valentine's Day retreat. Whether you're keen for a lovely-dovey dip, an overnight stay, or need a last-minute present — a gift certificate never goes amiss — the Peninsula Hot Springs make spoiling your partner a stress-free experience.
As its name suggests, Melbourne's newest Japanese-accented restaurant leans right into the contemporary. The Future Future has officially arrived — in Richmond, at least — and it's already wowing with its incredibly considered offering. Design-wise, the Swan Street eatery wholeheartedly embraces that Japanese concept of wabi-sabi — that is, exploring the beauty in imperfection — as well as the philosophy of omotenashi, which is the concept of offering primo service without expectation of a reward. Out of the kitchen comes a technique-driven menu that's high on creativity and filled with revamps of classic Japanese dishes, that are fun, yet innovative. Unsurprising, given head chef Atsushi Kawakami's resume includes stints at some of Melbourne's hottest Japanese eateries, including Kappo, Izakaya Den and Hihou. You're in for plates like raw wagyu teamed with puffed wild rice and a wasabi-infused creme fraiche, meatball katsu-sandos, and donburi rice bowls filled with combinations like sweet-soy salmon, crisp tofu skins and green tea dashi broth. The hibachi grill also gets a solid workout, turning out skewers threaded with panko-crumbed barramundi, kewpie and tobiko, or maybe Japanese chicken meatballs, matched with sweet soy and an onsen egg. The drinks offering champions quality over quantity, running to an interesting lineup of whisky, sake, wine and beer from both Australia and Japan. Right now, you'll find the likes of a friulano and a pinot noir, both on tap, from the Mornington Peninsula's legendary Quealy Winemakers, alongside selections from one of the world's only female-owned and -led sake breweries, Japan's Imada. Crafty cocktails include the likes of the Tokyo Express-o, blending vodka, cold drip coffee, umeshu and maple syrup, and the Harajuku Highball, featuring strawberry whisky and vermouth. Meanwhile, a custom line of dapper tea cups, sake sets and candle holders round out the slew of thoughtful touches, courtesy of Copenhagen's Studio Arhoj. Future Future is now open for dinner Tuesday to Saturday, and lunch on Friday and Saturday, at 191 Swan Street, Richmond. Images: Josh Robenstone
How do you say goodbye to one of Australia's great music festivals? Bringing together as many local acts as possible, filling the event's stages with homegrown talents, is one excellent option. When Bluesfest bids farewell with its 2025 fest, it'll also have help from international artists, but so far the lineup is jam-packed with Aussie names. It's the end of an era, and it's going out with some impressive assistance. Come April 2025, Crowded House, Ocean Alley and Vance Joy will lead the roster of talent getting behind Bluesfest's microphones in Byron Bay for the last time, as already revealed back in August. The festival has now dropped its second lineup announcement, which adds everyone from Hilltop Hoods and Budjerah to Kasey Chambers and The Cat Empire to the bill — and there's more on the list now, and still more to come. [caption id="attachment_969986" align="alignnone" width="1920"] LD Somefx[/caption] On their return to Bluesfest, Hilltop Hoods will headline Sunday night lineup. Also no strangers to the event: Xavier Rudd and John Butler. From there, the bill also features Miss Kaninna, Velvet Trip, Melbourne Ska Orchestra, CW Stoneking, Lachy Doley Group, Ash Grunwald and Kim Churchill. The new additions will join Tones and I, Gary Clark Jr, Rag'n'Bone Man, RY X, Allison Russell, Christone 'Kingfish' Ingram and plenty others across Thursday, April 17–Sunday, April 20, 2025. Another announcement is on its way soon, which is when international artists will start hitting the roster. [caption id="attachment_969990" align="alignnone" width="1920"] Joseph Mayers[/caption] "While this lineup focuses on our homegrown talent, it's still a strong blues and roots announcement, staying true to the heart of what Bluesfest has always been about. I can't begin to tell you how many incredible artists have reached out, wanting to be part of our final festival," said Festival Director Peter Noble about the second Bluesfest 2025 lineup drop. "Scores of amazing talents from across the country have thrown their hats in the ring. It's a testament to how special this festival is to the Australian music community. As much as I would love to include everyone, there are only so many spots we can fit into one lineup." "That said, I'm thrilled to welcome back some of our all-time favourites. You can't say no to artists who have helped shape this festival over the years, including Hilltop Hoods returning after a 20 year gap — and how can we be doing a best of Bluesfest without Xavier Rudd, John Butler, The Cat Empire and the incredible Kasey Chambers, alongside some rising Australian stars who represent the future of our music scene? This mix of legendary performers and up-and-coming talent is what makes this announcement so special and uniquely ours." The festival has been showered with affection since news arrived, also back in August, that it was planning to wrap up after the 2025 event. An ePetition has been launched by New South Wales MP Tamara Smith, asking the NSW Government to put together a rescue package for Bluesfest — a petition that'll be debated in the state's parliament if it hits 20,000 signatures. "It's been truly humbling to see how much Bluesfest means to so many of you. While the future remains uncertain, I am encouraged by the petition that's been raised to keep the festival going by our state member of parliament. There's real hope that with your continued support, and the backing of our community, we might just keep the Bluesfest legacy alive for generations to come," advised Noble. Bluesfest 2025 Lineup: First announcement: Crowded House Vance Joy Ocean Alley Tones and I Gary Clark Jr Rag'n'Bone Man RY X Allison Russell Christone 'Kingfish' Ingram Brad Cox Here Come the Mummies The California Honeydrops Marc Broussard Pierce Brothers Taj Farrant Fanny Lumsden 19-Twenty WILSN Cimafunk Neal Francis Second announcement: Hilltop Hoods Xavier Rudd John Butler The Cat Empire Kasey Chambers Melbourne Ska Orchestra CW Stoneking Budjerah Lachy Doley Group Ash Grunwald Kim Churchill Miss Kaninna The Beards Velvet Trip FOOLS ROSHANI Sweet Talk The Memphis Three featuring Fiona Boyes, Jimi Hocking and Frank Sultana [caption id="attachment_969988" align="alignnone" width="1920"] Roger Cotgreave[/caption] [caption id="attachment_969989" align="alignnone" width="1920"] LD Somefx[/caption] [caption id="attachment_969987" align="alignnone" width="1920"] LD Somefx[/caption] [caption id="attachment_867504" align="alignnone" width="1920"] Kurt Petersen[/caption] Bluesfest 2025 will run from Thursday, April 17–Sunday, April 20 at Byron Events Farm, Tyagarah. Early-bird tickets are on sale now — for further information, head to the Bluesfest website.
Housed inside a former 1930s warehouse, Nest Homewares is a bustling setting for those who like their blankets soft and their home smelling fragrant all year round. As one of the more popular boutiques along Coventry Street, Nest presents a huge range of home decor products, such as alpaca blankets, stonewashed French linen and finely made candles, plus a comfortable mix of clothing that's ideal for wearing around the house on a lazy weekend. Nest Homewares also stocks the full lineup of Aesop products for the home and skin, so head in-store to grab something that smells and feels great.
Sedonia's stylish array of products are hand-picked by founders Nicola and Inge, who have curated a collection of items from Australian and international artists, designers and studios. Dotted throughout the vibrant shop, you'll find an extensive list of gifts, homewares, clothing and items for kids, with more products arriving each week from around the world. There's a lot to choose from, but the duo clearly admire the work of Finnish home and design company Marimekko, while another standout favourite is the fine linen woven by Melbourne's own Bedouin Societe.
We all know that fast fashion is gross. And yet, we're all familiar with the need to something cheap and quick in a time crunch — often overwhelming our need to not pollute the planet beyond repair. We really don't do well by Mother Earth here in Australia. According to the Australian Bureau of Statistics, every year 500,000 tonnes of fashion ends up in landfill and each Aussie consumes 27 kilograms of textiles. Rhianna Knight believes we can do better, so she started an apparel business that won't leave you feeling shamefaced. The result is Mister Timbuktu and, after a successful crowdfunding campaign earlier this year, it's kicking ass — with its debut collection now available. Mister Timbuktu's outdoor apparel is made from recycled plastics and discarded fishing nets. At the moment, the range is all about quality leggings, raincoats and crop tops, but they'll soon branch into all things outdoorsy, including tents, sleeping bags and puffer jackets. The designs are gorgeous and bright because outdoor activities don't have to be completed in drab natural colours (apologies, Kathmandu, you serve a purpose but there's a new queen on the block). According to Knight, eleven plastic bottles are recycled in each pair of leggings they create. How in the name of activewear is that possible? Well, recycled plastics are collected, shredded into chips, washed, melted into liquid form and then spun into thread that goes on to become your new favourite comfy pants. Science, bitches! The company also puts 20 percent of profits back into helping the planet in other ways: by partnering with both a mental health charity (Waves of Wellness) and the Foundation for National Parks and Wildlife. But wait, there's more. Okay, we probably shouldn't get so excited about this part because the rest of the initiative is so phenomenal, but check out the leggings: they have a pocket in the waistband which is the best and most practical thing ever. Thank you for listening to our secret wishes and delivering. For more information, visit Mister Timbuktu's website.
A verdant oasis awaits those who visit Coburg Lake reserve, just a short stroll from the suburb's centre. The sprawling park, an erstwhile bluestone quarry worked by prisoners from the adjacent Pentridge Prison is home to many walking paths, bike trails, two playgrounds and public gym equipment, all centred around the picturesque Coburg Lake. It's also a great spot for a barbecue with a number of public grill stations dotted around the park, while a public bocce court is an ideal spot for a post-lunch activity. The reserve is home to a large colony of ibis, while you can also expect to see ducks, water hens and mallards. The reserve's range flora includes mature native and exotic trees, which provide beautiful shade along the meandering walking trails and open green spaces.
Plenty of us are keen to focus more on our own wellness in 2024, but there are so many places to start. Are we forking out for yearly gym memberships? Is it the year of the monthly massage? Or have we already reverted back to our old habits, feeling the twang of burnout creep on in? Whatever your journey, it's hard to pass up the opportunity to join Hepburn Bathhouse and Spa's inaugural Wellness Weekend on Saturday, March 23–Sunday, March 24, which includes personally curated spa treatments, bush walks, healing workshops, yoga classes, sound healing, meditation and nutritious meals. Marye O'Brien, an Ayurvedic health practitioner, vedic counsellor and yoga teacher, will be leading the weekend, trying to help guests relax and reconnect with themselves. It sounds like a super-chill couple of days in Daylesford, wherein there'll also be a bit of time to also soak in the mineral waters that the spa and region are famous for. Wellness seekers can either go all in and get the two-day overnight package ($2899), staying at the spa's accommodation while joining both days of experiences, or simply get a day pass (from $349) to one full day of events. So, you can go totally luxe or keep the self-care weekend within a more reasonable budget.
Craving some crispy calamari? Or maybe you're in the mood for a spot of gözleme? Whatever your fancy, it'll soon be a whole lot easier to keep tabs on your favourite food trucks, with the launch of new app Snack Tracker. Following a successful roll out in Perth, the free app lands in Melbourne tomorrow, allowing customers to track any mobile food vendor using GPS. You can find out which food trucks, ice cream van and even mobile coffee spots are open, and where they're located, minimising wait times between you and that tasty burger or toastie. Menus, contact details, customer reviews are all right at your fingertips, along with a handy events calendar. You can use the app to curate your own list of favourite vendors and score a notification when one's nearby, and even purchase gift certificates that can be used at any participating vendor. The food trucks have their own supporting app, too, so they can easily control their details. Local vendors currently on the app include The Bearded Jaffle, Taste of Cyprus, Nicolosi Pizzeria, Jim Brown Cypriot Food and Chef Calamari, with plenty more to follow. Snack Tracker is celebrating its Melbourne launch with a grand opening party at food truck park The Ascot Lot on Tuesday, November 19. Head along from 7pm to score free food from participating trucks for the first hour, along with the chance to win drink vouchers and other prizes. Snack Tracker is available for free from the App Store and Google Play. Top image: Ascot Lot
If life has you travelling regularly between Melbourne and Geelong, here's a little win for you: you'll soon be able to do so via ferry. After successful trials in July 2018, Port Phillip Ferries will launch a regular service between the two cities from next Monday, December 2. Transporting commuters between Geelong's Steampacket Quay, near the Carousel and Cunningham Pier, and Victoria Harbour, the ferries will run twice daily. On Monday, Tuesday and Wednesday, the ferry will depart Geelong for Docklands at 6.45am and 11.45am; on Thursday and Friday, it'll depart at 6.45am and 3pm; and on Saturday and Sunday at 9.15am and 4.45pm. Ferries travelling from Docklands to Geelong will depart at 9.15am and 5.30pm on weekdays, and 11.15am and 6.45pm on weekends. The trips are expected to take about 90 minutes — aka the same as a train journey. That said, it might be quicker than driving in peak hour traffic, especially if you work in or near the harbour. Tickets are a little pricier, with the ferry costing $18 one way (or $15 if you get a ten-pack) and the V/Line costing around $13. Built by Tasmanian-based company Incat, the new route will be sailed by a purpose-built Geelong Flyer catamaran, which'll boast indoor and outdoor spaces, and can seat 400 people. Either way, with the added bonus of free wifi, phone charging stations, bike racks and an on-board licensed cafe (perfect for that post-work tipple), the ferry ride sounds a whole lot more picturesque than the train journey — and much more tempting than a peak-hour crawl over the West Gate Bridge. If you don't get seasick, that is. Committing to the route continues the expansion of Port Phillip Ferries' commuter services. It has already been running a daily service between Portarlington and Melbourne, the Bellarine Express, for the past three years. On the very first Geelong-Docklands ferry, departing at 6.45am on Monday, December, the first 50 commuters will score free doughnuts, coffee and drink voucheres. Port Phillip Ferries' new Geelong Flyer will hit the water from Monday, December 2, 2019. For further details, about fares and timetables Port Phillip Ferries website.
In what's proving to be a huge year for new places to stay in Brisbane, Fortitude Valley has just welcomed its next addition: The Calile Hotel. Two years in the making — as anyone that spotted the constant construction site on James Street will know — the seven-storey, 175-room spot is calling itself 'Australia's first urban resort'. Yes, that means that going for a splash in the central pool, lazing around in cabanas or on a sun lounge, and eating on the hotel's outdoor deck are all on the agenda. So is hanging out at the spa, which is also open to the general public, and just making the most of Brissie's climate. The white brick design, by architects Richards and Spence, certainly highlights the tropical side of things. Think open-air spaces and breezeways, natural ventilation and plants aplenty, as well as a cool, soothing colour scheme. Inside the rooms, guests will find oak furniture, cork floors and sisal matting in the bathrooms, day beds for afternoon naps, linen robes and a mini bar stocked from local suppliers. Recognising how sunny the city gets, every room is also fitted with motorised blackout blinds. If you need to escape the glow, the in-suite Chromecast and sound bar will help as well. Rooms start from just over $200, with The Calile also featuring nine suites and two premier suites, complete with poolside and terrace-style balconies as well as two private rooftop terraces — for when you're feeling like splashing some cash around. Operated by TFE Hotels Collection, other drawcards include the all-day Lobby Bar, the opening of Hellenika's first Brisbane digs — bringing the Gold Coast's favourite Greek eats to town — and meeting and function rooms that can cater for up to 500 people, including an outdoor amphitheatre. The Calile joins W Hotel Brisbane, the Ovolo Inchcolm Hotel in Spring Hill, the Novotel in South Bank, the new Emporium (also in South Bank) and the revamped Ovolo in Fortitude Valley among the fresh staycation spots opening their doors across the city in 2018. It will boast one unique highlight, too — Ada Lane, a micro-precinct filled with five bars and eateries, that's set to open later this year. Find The Calile Hotel at 48 James Street, Fortitude Valley. Images: Sean Fennessy.
That soothing feeling that sweeps over you when you spy a cute canine, spend too much time watching internet cat videos or even just spot a picture of a newborn animal — that's the feeling at the heart of Australia's newest wellness sessions. Sure, you've been to kitten yoga and puppy pilates, and they're both great. But we're guessing that you haven't tried meditating with baby goats or getting mindful with soft, cuddly lambs. After launching in Brisbane and on the Gold Coast, Karmably's cuddly classes are now a regular fixture in Melbourne. During them, you'll attempt to find inner bliss while surrounded by rescued baby farm animals. In short, it's the best way to de-stress when life's got your goat. After all, who can remain overwhelmed, exhausted or annoyed when they're sharing their chill-out session with actual goats? The classes focus on relaxation techniques, like Breathe In & Bleat Out, which gives you an idea of just what's in store. Those heading along can expect three parts to the session: mindful stretching, meditation and snuggling the four-legged participants. If you're wondering where the concept came from, it was inspired by organiser Berenice Tan's own experiences trying to find something other than the usual mindfulness classes within Australia. Tan began to research animal therapy and, after learning of the benefits (and realising that everyone loves cute critters), her sessions with goats, lambs and even piglets were born. The bliss goes both ways, too — with Karmably not only helping humans to relax in a fun manner, but also assisting animals in need. Tan works with sanctuaries, rescue centres, and organisations such as Harmony Hooves Healing Hearts and ABC Animal Farm. They both raise baby creatures who have either been rejected by their mothers or lost their mums in other ways, and hand-rear them until they can be adopted out as pets to families who live on suitable properties. The next sessions take place at 8.15am and 9.45am on Saturday, March 14 at Northcote's Big Bang Studios — and tickets usually get snapped up fast, so you'll want to book yours ASAP.
Plenty of sun. A little shade. Icy, refreshing beverages. Proximity to a body of water. On a hot summer's day, that's exactly what you want from a bar. Thankfully, Melbourne currently has seven bars that tick all of those boxes — and, they're only around for a short time. Yep, they've only popped up for the hotter months. You'll find an Amalfi-themed oasis on a CBD rooftop, a vodka-fuelled pop-up in St Kilda, a games-filled garden at Fed Square and even one right on the sand at Port Melbourne Beach. Check BOM, round up your mates, head out for an arvo at one of these extremely summery pop-up bars before they disappear
Since 2019, when it was finally announced that Lin-Manuel Miranda's game-changing, award-winning, rightly raved-about Hamilton was coming Down Under, every Australian musical theatre fan has wanted to be in the room where it happens. Sydneysiders got their chance first up, and the blockbuster production has been treading the boards in Melbourne since March this year. That Victorian run will end in January 2023, however — and if you haven't yet taken your shot to see the hit show, it's slinging $70 tickets to help. Hamilton is already known for being part of the TodayTix lottery, which gives you the opportunity to nab tickets for a mere $10 — but this new $70 offer doesn't involve chance at all. There's no need to enter a ballot, although you do only have a three-day window to score the discounted seats in the first sale of its kind that Hamilton has ever done. The $70 tickets are available from 9am AEDT Wednesday, November 9–5pm AEDT Friday, November 11, covering all remaining seats to all shows left in 2022. Fancy giving yourself or someone you love an early Christmas present? This is the ticket. Already seen Hamilton before? In the words of King George III in the show, perhaps you'll be back. There are a few caveats. Tickets are obviously subject to availability, and there's a one-off transaction fee of $7 on all transactions. Also, there's no refunds or exchanges on tickets once you've bought them — and clearly the offer can't apply to tickets that've already been bought for the sale dates. Plus, if you're gathering the gang, there's an eight-ticket limit per transaction. New to the the Broadway sensation? Haven't become a Hamilton obsessive yet? Not quite sure why it has been the most-talked about theatre show of the past decade? The critically acclaimed, 18th century-set hip hop musical, for which Miranda wrote the music, lyrics and the book, is about the life of Founding Father Alexander Hamilton, as well as inclusion and politics in current-day America. In addition to its swag of Tony Awards — 11 in fact, which includes Best Musical — it has nabbed a Grammy Award and even a Pulitzer Prize. Until this year — and after it wraps up on Sunday, January 15, 2023 as well — Melburnians eager to see the show had to be content with watching the filmed version of its Broadway production, which started streaming via Disney+ in 2020 (and yes, it's as phenomenal as you've heard). Hamilton's Melbourne season wraps up on Sunday, January 15, 2023 — with $70 tickets available from 9am AEDT Wednesday, November 9–5pm AEDT Friday, November 11. Head to the musical's website for further details. Images: Daniel Boud.
Despite the relentless challenges that came with 2021, Melbourne's bar scene has continued to grow and flourish. Against every odd, new watering holes and drinking destinations have popped up all over the city — opening everywhere from the residential streets of the southeast to sparkling 14th-storey CBD rooftops. To celebrate the freshest entrants to Melbourne's hospitality scene, we've rounded up six of our favourite new bars that opened their doors in 2021, including a sleek brewery taproom, a three-level social club and an elegant 14-storey rooftop hideaway.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. 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, 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 this week. https://www.youtube.com/watch?v=3TG-Mxzl88Q LOCKED DOWN Sparked by the pandemic, lockdown films aren't just an exercise in adapting to stay-at-home conditions — or a way to keep actors, directors and other industry professionals busy and working at a challenging time. The genre also provides a window into how the creatives behind its flicks view everyday life and ordinary people. Arising from a global event that's placed many of the planet's inhabitants in similar circumstances, these features tell us which stories filmmakers deem worth telling, which visions of normality they choose to focus on and who they think is living an average life. With Malcolm & Marie, a hotshot young director and an ex-addict were the only options offered. In Language Lessons, which premiered at this year's virtual Berlin Film Festival, a wealthy widower and a Spanish teacher were the movie's two choices. Now Locked Down directs its attention towards a CEO and a courier, the latter of which stresses that he's only in the gig because his criminal record has robbed him of other opportunities. Yes, these films and their characters speak volumes about how Hollywood perceives its paying customers. That's not the only thing that Locked Down says. Directed by Doug Liman (Chaos Walking) and scripted by Steven Knight (Locke), this romantic comedy-meets-heist flick is verbose to a farcical degree — awkwardly rather than purposefully. The repetitive and grating misfire is primarily comprised of monologues, Zoom calls and bickering between its central couple. Well-off Londoners Linda (Anne Hathaway, The Witches) and Paxton (Chiwetel Ejiofor, The Old Guard) are weeks into 2020's first lockdown, and their ten-year relationship has become a casualty. Whether chatting to each other or virtually with others, both commit a torrent of words to the subject. Linda has decided they're done, which Paxton has trouble accepting. She's also unhappy with her high-flying job, especially after she's forced to fire an entire team online, but gets scolded by her boss (Ben Stiller, Brad's Status) for not telling her now-sacked colleagues they're still like family. Tired of driving a van, Paxton is willing to do whatever his employer (Ben Kingsley, Life) needs to climb his way up the ladder. That said, he's still tied to the road, with the ex-rebel's decision to sell his beloved motorbike — a symbol of his wilder youth, and its fun, freedom and risks — hitting hard. Read our full review. https://www.youtube.com/watch?v=0GC--RZ3jOo THE PERFECT CANDIDATE With 2012's Wadjda, Haifaa al-Mansour became the first female filmmaker from Saudi Arabia to make a full-length movie. Fittingly, she achieved the feat via a powerful tale about a girl breaking boundaries — by fighting to ride a bicycle in the street, an activity that's by no means routine in the Middle Eastern country. A hopeful yet truthful film that depicts the present-day reality for Saudi women, while also remaining committed to dreaming of a different future, al-Mansour's directorial debut marked the first-ever feature shot entirely in her homeland, too. Accordingly, she smashed barriers in multiple ways, including both on- and off-screen. Nine years later, she demonstrates the same spirit again with The Perfect Candidate. After exploring another female trailblazer in 2017 biopic Mary Shelley, then pondering the beauty standards imposed upon women in 2018 rom-com Nappily Ever After, al-Mansour delivers the ideal companion piece to her applauded first picture — this time focusing on a young Saudi doctor who tackles her town's misogynistic and patronising attitudes by running for local council. No matter the day or situation, the ambitious Maryam (debutant Mila al-Zahrani) is repeatedly reminded that women aren't considered equal in her community. In one of The Perfect Candidate's early scenes, an elderly male patient writhes in agony, but is more upset about the fact that she'll be treating him — until Maryam's condescending boss proclaims that male nurses can easily step in and do the job for her. When her recently widowed musician father Abdulaziz (Khalid Abdulraheem) goes away on tour, she attempts to fly to Dubai for a medical conference and subsequent job interview that would see her move to Riyadh. Alas, she's stopped from departing because her dad hasn't updated her travel permit, and she can't leave unless he rectifies the paperwork. A male cousin (Ahmad Alsulaimy) in a role of authority within the government might be able to assist, but even the bonds of blood aren't enough to get her through the door to his office. He's interviewing and approving candidates for the municipal election, so Maryam puts her name forward just to progress past his secretary. That still doesn't help her make her flight, but it does send her in a different direction. While already struggling to convince her employers to pave the road to the town's emergency medical clinic, she decides to run to fix that specific problem — and the more backlash she receives for putting herself in contention, the more determined she is to campaign for change. The Perfect Candidate is currently screening at Sydney's Randwick Ritz cinema, and will play at ACMI in Melbourne from May 13–25. Read our full review. https://www.youtube.com/watch?v=bv72JDeSaXY DE GAULLE Paris' international airport is named after him, so even if you know nothing else about Charles de Gaulle, you know that his chapter in French history turns out well enough to be immortalised in one of the country's most pivotal sites. The new biopic that also shares his name endeavours to help explain why by focusing on a specific period during the Second World War — the few weeks in June 1940 when France's powers-that-be were contemplating kowtowing to Germany rather than continuing to lose men in their battles against the Nazis. As Prime Minister Paul Reynaud (Olivier Gourmet, The Midwife) attempts to decide how to proceed, de Gaulle (Lambert Wilson, The Translators) ranks among the government's key voices. But support for capitulating to their enemy keeps growing stronger, including via Philippe Pétain (Philippe Laudenbach, Ad Vitam), who would become the Chief of State of Vichy France shortly afterwards. Trying to thwart his nation's submission to and collaboration with the Germans, the movie's eponymous figure heads to London to meet with Winston Churchill (Tim Hudson, A Very English Scandal). Swiftly, and while causing ire at home, he becomes a driving force behind the Free France movement — which would lead the resistance against occupation during the remainder of the war. De Gaulle's audience doesn't need to have an intimate awareness of France's involvement in WWII before they start watching this sombre drama, with writer/director Gabriel Le Bomin (Our Patriots) and his co-scribe Valérie Ranson-Enguiale (who also co-wrote his 2008 short film L'occupant) routinely demonstrating their fondness for using dialogue to deliver exposition. Indeed, much of the feature is dedicated to talk describing the situation — as intertwined with glimpses of de Gaulle's home life, and of the efforts of his wife Yvonne (Isabelle Carré, Moving On), elder children Elisabeth (Lucie Rouxel, Rascal) and Philippe (Félix Back, Black Tide), and younger daughter Anne (debutant Clémence Hitten), who has Down Syndrome, to flee France as the Nazis invade. The end result, while never short on intrigue, always seems more interested in explaining history than depicting it. The ceaselessly worshipping tone doesn't help flesh out the movie's subject as a person, either; again, viewers already know that he's worthy of celebration going in. And, while De Gaulle's urgent efforts to save his country and his family's quest to escape should be tense and suspenseful, much of the feature feels like a by-the-numbers mashup of Second World War film tropes. Wilson's performance is solid, and the period detail catches the eye, but De Gaulle is never more than standard. https://www.youtube.com/watch?v=FXn0ryXxfak JUNE AGAIN The third film about dementia to reach Australian cinemas in little over a month, June Again starts as The Father did: with its elderly protagonist losing time, and her sense of her place within it, as moments, days and life in general all seem to rush by. The titular June (Noni Hazlehurst, Long Story Short) barely greets her daughter Ginny (Claudia Karvan, Bump) or grandson Piers (Otis Dhanji, Aquaman) when they visit the aged care centre she has lived in for five years, rarely passes her doctor's (Wayne Blair, Rams) cognitive tests and constantly feels disoriented due to vascular dementia that's been caused by a series of strokes. But, one otherwise ordinary morning, she wakes up lucid, annoyed, and wondering where she is and why. So, as Supernova did, this Aussie feature then follows June's quest to make the most of the time she has left as herself. Here, however, that involves trying to set right the many wrong choices she thinks her adult children have made, and also attempting to snatch a last grasp at happiness. Dramas ensue, with Ginny thrilled to have her mum back as she once was, but frustrated with her meddling — and her sibling Devon (Stephen Curry, Mr Love) mainly falling into the latter category. But June's window of clarity doesn't simply allow her to be herself again; it lets her address her mistakes, follow paths not taken, and try to become the woman that life and raising a family never her let her be. For 23 years on Play School, Hazlehurst helped guide young minds and teach pre-schoolers about the world that they were only just beginning to explore. Accordingly, there's a feeling of synergy about her role in June Again. Playing a woman slipping out of a world that she's navigated for a lifetime, she tackles a condition unlikely to have been directly experienced by many of the viewers who grew up peering through square, diamond, round and arched windows with her — and looking at rocket and flower clocks, too — but might now be touching those that watched with them. And, alongside fellow familiar faces Karvan and Curry, Hazlehurst is one of the best things about June Again. First-time feature writer/director JJ Winlove keeps things comfortable and predictable in his warm-hearted narrative and warm-hued stylistic choices, but every scene, emotional moment, and insight into life, love, loss, ageing, forgetting and farewelling those dearest to us is improved by his all-star cast. That's never more accurate than when Hazlehurst is cherishing June's renewed lease on life, reminding viewers how delightful she always is on-screen, and selling the film's sentimental but heartfelt message about the importance of chasing what you love in the time you're given. https://www.youtube.com/watch?v=civOp5c5GM0 FATALE Only 14 women have ever won more than one Academy Award for Best Actress, and Hilary Swank is one of them. When she earned the Oscars double for 1999's Boys Don't Cry and 2004's Million Dollar Baby, she beat both Meryl Streep and now three-time recipient Frances McDormand to the feat — but her career hasn't brought the coveted accolade her way again since. Fatale isn't going to change that recent trend. It hasn't earned Swank a Razzie either, but she could've easily been in the running. Playing a Los Angeles cop who has a one-night stand in Las Vegas with an ex-college basketball star turned high-profile player manager, then starts stalking her way through his life while also trying to intimidate her politician ex-husband into giving her back access to her young daughter, she has one mode here: stern-faced yet unbalanced. Even when her character, Detective Valerie Quinlan, is first seen flirting, Swank plays her as if something isn't quite right. That's accurate, plot-wise, but it robs Fatale of any semblance of tension it might've possessed. The film is meant to be an adultery-focused thriller in the Fatal Attraction mould — with even its title blatantly nodding that way — but it just ends up recycling tired, simplistic, overused cliches about unhinged women into a monotonous and unnecessarily convoluted package. Valerie and Derrick (Michael Ealy, Westworld) hit it off at a Vegas bar, then get physical; however, the next morning, he heads home to his wife Tracie (Damaris Lewis, BlacKkKlansman), who he actually suspects of being unfaithful herself. Before Derrick can meaningfully process either his infidelity or his fears about his crumbling marriage, his swanky home is broken into one night — and, because director Deon Taylor (Black and Blue) and screenwriter David Loughery (The Intruder) are content to hit every expected beat there is (and because they've seen every 80s and 90s erotic thriller ever made, too), Valerie is the investigating officer. Despite being woefully predictable from the outset, Fatale doesn't dare have fun with its cookie-cutter narrative. It doesn't evoke thrills, bring anything more than surface style or prove particularly sexy, and it never gets its audience invested in its obvious twists, one-note characters or rote dialogue. And, although having its badge-toting stalker use excessive force and exploit her power to target a person of colour could've been a choice that said something about America's current reckoning with law enforcement, race and police brutality, Fatale doesn't even contemplate anything other than clunky formula. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow and Wrath of Man.
Running from Friday, March 6 to Tuesday, March 10, 2026, the four-day festival will be headlined by Belgian techno heavyweight Charlotte de Witte, who'll join a global roster that includes Eris Drew & Octo Octa, Ewan McVicar, MARRØN, Girls Don't Sync, Yung Singh, DJ Nobu, and Melbourne's own STÜM. All three of Pitch's signature stages will return, but 2026 marks a shift from the traditional ballot model to a new "Register or Reserve" system. Festivalgoers can either reserve tickets immediately or register to gain access when presales open at 6pm AEDT on Wednesday, October 29. Registration is now live and will close at 12pm AEDT on Tuesday, October 28, ahead of the general on-sale at 12pm AEDT on Thursday, October 30. The lineup is as massive as ever, spanning more than 70 acts from across the world — including Âme DJ, CC:DISCO! b2b DJ JNETT, Moodymann, Job Jobse, Saoirse, Palms Trax, Sleep D b2b Jennifer Loveless, Special Request, and DJrum, alongside homegrown favourites like C.FRIM, Andy Garvey b2b DJ Scorpion, Myles Mac, and Yikes. Now in its ninth year, Pitch has grown into one of Australia's most beloved electronic music gatherings — a mix of world-class DJs, art installations and design-led production set against the Grampians' dramatic backdrop. Tickets and registration details are available now via pitchfestival.com.au. Images: Supplied.
Ever had that feeling of rustling around in a cupboard on the hunt for a beach towel, only to uncover something that looks suspiciously like a bath mat? Or maybe you're flush with beach towels but just feel like a fancy new one this summer. Whether you're in need of a new towel, are looking to buy one as a Christmas gift or have seen lots of snazzy ones at the beach and simply want to see what's out there, our list will help you out. From geometric shapes, to luxurious linen, towel with hoods and those roundies everyone seems to have nowadays, here's our favourite Australian and New Zealand-made towels and where to get 'em. CLASSIC TOWEL, VERTTY Nope, that's not an artfully folded stack of towels. That's Vertty's reinvention of the humble beach towel into a geometric design object. Not only does their unique design show that you can think outside the box (or, er, rectangle) for even the most everyday beach object, they've incorporated other handy design features like a waterproof pocket, and quick-drying, lighter weight fabric. Plus, it comes in a range of eye-popping colours to make sure summer is just the way you like it. Check out their matching geometric swimwear, too. $79. THE AZTEC ROUNDIE, THE BEACH PEOPLE Round towels. They're a thing. According to The Beach People, they dreamt-up "the original roundie" in the lush Northern Rivers region of NSW. That was back in 2013, and their first collection sold out in weeks. Current towels on offer include this hand-drawn black and white design, as well as other spiffy prints like The Paradis. Others have jumped on the round towel bandwagon — including Basil Bangs, whose round 'Love Rugs' also feature a waterproof pocket and fold down into a carry case with built-in shoulder strap. $110. LUXE TOWEL WATEGOS, SUNNY LIFE It's no secret, we love Sunny Life's beach towels just as much as we love their umbrellas. And for tropical colours that pop on an unmissable beach towel, it's hard to go past this velour-finished number. You'll never lose sight of your spot on a packed summer beach again. Pair it with one of their beach pillows and we reckon you're onto a winning combination. Or, if you're looking for something floating to stretch out on, these guys also do some pretty mean inflatables. Luxe lie-on floating cactus, anyone? $69.95. STONE PRINT TOWEL, MÖVE Here's an unusual one for you. Möve's towels feature lifelike digital prints, like this stone design. They also have one with a print of weathered wooden boards, rippled water, and even landmarks like the Eiffel Tower and Brandenburg Gate. Those ones are a bit cheesy, but the pebble print is mint. Although it might look like you're lying on stones, you'll be a lot comfier — the 100 percent cotton velour towel has a snuggly weight and is soft and absorbent. Their bath towels are worth checking out while you're there, too – they even have a line of towels inspired by architecture, namely the drawings of renaissance master builder Andrea Palladio. Möve ships their towels worldwide. EUR €39.90. LINEN LAGUNA, COAST NEW ZEALAND Step aside, Turkish towels, because we just discovered linen towels — and can't get enough of them. Well, maybe we won't do away with them entirely, but linen is pretty great. Incredibly fast drying, versatile and lightweight in your beach bag, we reckon they might be the next big thing. This towel from Coast New Zealand is available in a range of fetching stripes, and comes all the way from an 100-year-old family mill in Lithuania. There are also these guys in the US who make a plainer linen towel which comes with a compression strap, or the House of Baltic Linen closer to home. NZD $149. THE ECLIPSE LINEN THROW, KATE & KATE This is one hella pretty linen towel. Yes, we're still on about how great linen towels are — and, yep, this throw counts as a towel. Its name is a nod to this multi-functional rectangle's nature. When you're not using it on the sand, it's equally as useful as a lightweight blanket, picnic rug, shawl, tablecloth, throw for your sun-drenched daybed… you get the drift. Designed to fade, they come in a stack of designs including a couple with some pretty nice bronze and metallic details. $159. MARINE TIGER HIDE BEACH TOWEL, MASLIN & CO Well, this was the first time we've come across a beach towel that folds out into the shape of a tiger hide (don't worry, it's 100 percent cotton). Manufactured by Maslin & Co, who take their name from Australia's first nude beach, these guys say they're inspired by nature, the surreal, and beach vagabond culture. You can choose which one's your jam from their collection of different-coloured animal-shaped towels. Plus, they come with either a classic leather short or longer cross-body strap holder, so it's easy to carry your new towel with you wherever you wander. $195-250. EXTRA LARGE RAINBOW POM POM TURKISH TOWEL, I LOVE LINEN Somewhere along the line we're sure our grandmas had a towel like this, brought out for summer beach picnics or to dry off after running through the sprinklers on the lawn. Now our retro towel memories have come back to life (albeit with a little upgrade) thanks to the clever people at I Love Linen. Designed in Melbourne, their towels are hand-woven in Turkey's central region, famous for the quality of its textiles. Retro pom poms, 100 percent cotton, and that distinctive Turkish towel edging. It's comfy, super-absorbent and big enough to be a picnic rug as well as a beach towel. $89.95. SOUTHERN HIGHLANDS TOWEL FOR TWO, PENDLETON A towel wide enough for two — now that's the recipe for a comfy beach session. Whether you've got a beach buddy or just want the extra room to stretch out yourself, this luxurious 100 percent combed cotton number from Pendleton has you sorted. Based in the States' beautiful Pacific Northwest, as well as making a range of other spa and beach towels (and their iconic woollen blankets) the sixth-generation family-owned business has a focus on social responsibility — community, country and planet. USD $79.50. HOODED TOWEL, TURKISH MURKISH A towel and hooded wrap? Why didn't we think of that before? This handy number brings the best of Turkish towels and beachwear together in a classic striped print. Each batch of towels are dyed and loomed by artisans in Turkey. The end product? A modern shape you can wear as well as lie on, served up in a fast-drying blend of bamboo and Buldan cotton from the inner Aegean region of southwest Turkey. $99.95. Top image: The Beach People.
'I Miss You' isn't just the name of a beloved blink-182 song. It isn't just a track they're busting out on their 2024 tour Down Under, either. It's also the vibe being felt around the band in general, based on how popular tickets to its 2024 Australian and New Zealand tour have been proving — but there's still seats available. In 2022, blink-182 revealed that they were reforming their classic lineup of Tom DeLonge, Mark Hoppus and Travis Barker, then hitting the road — and that Aussie fans would get their chance to see the end result live in February 2024. Melbourne's dates, at Rod Laver Arena with Rise Against in support: Tuesday, February 13–Wednesday, February 14, Monday, February 26–Tuesday, February 27 and Thursday, February 29. For three decades, blink-182 have been the voice inside punk and rock fans' heads, especially in the late 90s and early 00s thanks to albums Enema of the State and Take Off Your Pants and Jacket. Accordingly, expect to hear everything from 'Dammit' and 'The Rockshow' to 'What's My Age Again?' and 'All the Small Things' live. Now that they're back together after DeLonge left the band in 2015, blink-182 are also recording new music together, with single 'Edging' out now — and on the setlist.
A few years back, prior to starting Concrete Playground, I worked at a creative agency in New York. The oversized SoHo loft it was housed in was an exciting place to find yourself working each day, and things got fun when I was transferred to work on the Converse account. One of the first big projects I was a part of in 2007-08 was a campaign called '3 Artists, 1 Song', created to celebrate the brand's centenary around the world. Pharrell Williams worked with his band, N.E.R.D, as well as The Strokes' Julian Casablancas and Santogold, on a brief to make a song as a group of artists. 'My Drive Thru' was the result. More than four years on and the project is still going strong. LCD Soundsystem frontman James Murphy was the person whose involvement was most coveted (on our end at least) on the original project, and now he has teamed up with Gorillaz and Andre 3000 from Outkast to create 'DoYaThing'. It's a good track, and it's free. You can get the download here. https://youtube.com/watch?v=yNeF30RverQ
It's happening again: in response to a new community case of COVID-19 in Brisbane, other states are changing their health advice and border requirements. So, if you're a Brisbanite planning to head south soon, you're located elsewhere and you'll soon be travelling to the Sunshine State, or you've recently journeyed from the latter to another state, you might have some new rules to adhere to. New South Wales has issued two pieces of health advice. The first from NSW Health says that anyone who is in the state and has been in Brisbane or the Moreton Bay area since Saturday, March 20 should abide by the requirements outlined by Queensland Health regarding venues visited. It also advises that anyone who falls into that category and went to Mamma's Italian Restaurant in Redcliffe from 12.30–3.10pm on Sunday, March 21 must get tested immediately and go into isolation for 14 days. As noted in the second alert, NSW Health now requires anyone who has been in Brisbane City Council or Moreton Bay Regional Council areas in the past fortnight and enters NSW from 12.01 am today, Saturday, March 27, to fill out a passenger declaration form — which includes confirmation of whether you've visited any venues of high concern. And if you have been in a venue of high concern as listed by Queensland Health, you should not enter NSW at all. https://twitter.com/NSWHealth/status/1375392223844429825 Victoria has mandated that anyone who has entered the state from Brisbane and Moreton Bay since Friday, March 12 needs to immediately self-isolate, get tested within 72 hours and stay isolated until they receive a negative result. It's imposing this rule strictly, with Brisbanites who'd travelled to Geelong for the Brisbane Lions versus Geelong AFL match on Friday, March 26 asked to leave the ground when the new requirement came into effect. Brisbane and Moreton Bay have also been designated an orange zone under Victoria's traffic light travel permit system. That means that if you're entering Victoria from the area, you have to apply for the appropriate permit. And you won't be given one if you have COVID-19 symptoms. Upon arrival in Victoria, you'll also have to self-isolate immediately, get a coronavirus test within 72 hours of arriving and stay in isolation until you return a negative result. https://twitter.com/VicGovDH/status/1375358820634013696 How long these new border requirements will apply hasn't been revealed. Other states have similar rules in place, with Western Australia mandating that anyone who has arrived in WA from Queensland since Saturday, March 20 and visited any of the affected locations during the relevant times must get tested immediately for COVID-19 and self-quarantine. The ACT requires 14-days of quarantine for arrivals from Greater Brisbane since Saturday, March 20 who visited any of the close contact exposure sites, and testing and self-isolating until receiving a negative result if you've arrived in the same period but haven't been to any of the places listed. Tasmania won't allow entry from folks who've been to sites in Brisbane now deemed high risk, and everyone else who has arrived from Brisbane and Moreton Bay since Monday, March 8 is asked to monitor for symptoms. The Northern Territory requires anyone who has been to a high-risk venue to get tested within 72 hours and isolate until receiving a negative result, while South Australia is yet to update its travel advice. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
There's a time for coffee and there's a time for cocktails — and, sometimes, there's a time in the day when you want both. Australia's caffeinated booze expert Mr Black ticks both boxes with the release of its new bottled beverage: a pre-batched coffee negroni. The company's first bottled cocktail, the coffee negroni is made with Mr Black coffee liqueur, Campari, sweet vermouth and Moore's dry gin, which is produced at the same distillery as Mr Black, Distillery Botanica. Each bottle is going for $49 and can be used to make five cocktails (yes, that's a very reasonably $9.80 a drink). To make said cocktail, you just need to pour 100 millilitres of the sweet stuff into a glass over ice and garnish with a citrus twist — if you want to get a little fancy. No stirring (or shaking) required. It's the second new product the Mr Black team has released during lockdown, with the company launching a hand sanitiser in late March. As well as selling thousands (and thousands) of bottles to the public, the team donated hundreds to front-line medical workers, not-for-profits, testing clinics and medical centres. It's not the only distillery to launch its own hand sanitiser during COVID-19, either, with Queensland icon Bundaberg and Sydney rum distillery Brix, among others, also jumping on the trend. To get your hands on a bottle of coffee negroni, which, knowing Mr Black's track record, will sell out fast, head over to the Mr Black website. It's currently offering free shopping on all orders over $80. Mr Black's coffee negroni is on sale now for $49.
It's happening again: Dune, the sci-fi epic with a tumultuous on-screen history, is stuck in another cinematic sandstorm. There's always a feeling of déjà vu around Dune chaos, after David Lynch's 80s version became one of the most unfairly maligned sci-fi films ever crafted, and Alejandro Jodorowsky's take sadly didn't make it to screens (see: excellent documentary Jodorowsky's Dune). For filmmaker Denis Villeneuve's (Blade Runner 2049) two-part vision of Frank Herbert's 1965 book, off-screen events keep stopping it from reaching picture palaces when planned — initially COVID-19, and the latest setback coming during the writers' and actors' strikes. Pop culture's spiciest sci-fi saga went through this before a few years back, with Dune: Part One delayed considerably in the pandemic's early days, jumping from Boxing Day 2020 to early December 2021. Now, as expected since SAG-AFTRA joined the WGA on strike in mid-July, Dune: Part Two is pushing back its release date from November 2023 to March 2024. The film's Twitter account (now X) now states "only in theatres March 15", which is the US date. Because films open on a Thursday Down Under, Dune: Part Two should now release in Australia and New Zealand on March 14. Variety reports that Godzilla x Kong: The New Empire will also move release dates from mid-March to mid-April 2024 — and shifts back are also still being considered for Aquaman and The Lost Kingdom and The Colour Purple. Already, Force of Nature: The Dry 2 has been delayed, with no new date announced as yet; and so have Kraven the Hunter, the sequel to Ghostbusters: Afterlife, tennis flick Challengers, the Ethan Coen (The Ballad of Buster Scruggs) solo-directed Drive-Away Dolls and Spider-Man: Beyond the Spider-Verse, all either to 2024 or with no date confirmed so far. Villeneuve's first Dune scored ten Oscar nominations and six wins, but only told part of the novel's story. Cue Dune: Part Two to keep the tale going when it now hits the silver screen next year. As seen in not one but two trailers so far, war has arrived on the franchise's spice-laden planet, and Paul Atreides (Timothée Chalamet, Bones and All) and the Fremen are ready to fight. The former doesn't just want to face off against the folks who destroyed his family, but for the sandy celestial body, with Zendaya's (Euphoria) Chani at his side. The first film had Paul head to Arrakis because his dad Duke Leto Atreides (Oscar Isaac, Moon Knight) had just been given stewardship of the planet and its abundance of 'the spice' — aka the most valuable substance in the universe — and then get caught up in a bitter battle with malicious forces over the substance. It also saw Paul meet the population of people known as the Fremen, including Chani, plus Javier Bardem's (Lyle, Lyle Crocodile) Stilgar, which is who he and his mother Lady Jessica (Rebecca Ferguson, Silo) are with in Dune: Part Two. Expansive desert landscape, golden and orange hues (again, Villeneuve helmed Blade Runner 2049), sandworms, the director's reliable eye for a spectacle and Hans Zimmer's (The Son) latest likely Oscar-winning score: they've all shown up in the new film's two glimpses so far. So have some of the franchise's new players, with Austin Butler ditching his Elvis locks as Feyd Rautha Harkonnen, the nephew of Stellan Skarsgard's (Andor) Baron Harkonnen. Christopher Walken (Severance) and Florence Pugh (The Wonder) also join the saga as Emperor Shaddam IV and his daughter Princess Irulen. From the first film, Josh Brolin (Outer Range), Dave Bautista (Guardians of the Galaxy Vol. 3), Stephen McKinley Henderson (Beau Is Afraid) and Charlotte Rampling (Benedetta) return, while Léa Seydoux (Crimes of the Future) is another fresh addition to the cast. Off-screen, Villeneuve has brought back not just Zimmer, but Oscar-winning Australian director of photography Greig Fraser (The Batman), Oscar-winning production designer Patrice Vermett (Vice), Oscar-winning editor Joe Walker (The Unforgivable), Oscar-winning visual effects supervisor Paul Lambert (First Man) and Oscar-nominated costume designer Jacqueline West (Song to Song). Hollywood's actors are on strike to fight against diminishing residual payments for performers, and to establish firm rules about the future use of artificial intelligence in the industry, among other improvements to working conditions. When they took action in mid-July, SAG-AFTRA's members joined their counterparts in the Writers Guild of America, who've been striking since May. Check out the latest Dune: Part Two trailer below: Dune: Part Two will now release in cinemas Down Under on March 14, 2024. Via Variety / The Hollywood Reporter.
Take an intimate walk alongside the mind and brushstrokes of David Hockney, who has been touted as one of the world's most influential living artists. David Hockney: Current has been curated by the National Gallery of Victoria in collaboration with Hockney and his studio. The exhibition features over 700 works and amalgamates a variety of different mediums, including painting, digital drawings, photography and video. Hockney has been known to work on iPhones and iPads as well as canvas, making him an incredibly intriguing and versatile artist. The exhibition will also display his largest artwork, Bigger Trees Near Water, which is comprised of 50 oil on canvas panels. If the treat of an expansive gallery exhibition doesn't excite you, rest assured there's still more on offer — the NGV will also be holding a range of programs that delve into the themes of the works and Hockney's artistic career throughout the duration of the exhibition, which runs from November until March 2017. Image: Wayne Taylor.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've been under the weather. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are nine that you can watch right now at home. THE BANSHEES OF INISHERIN In The Banshees of Inisherin, the rolling hills and clifftop fields look like they could stretch on forever, even on a fictional small island perched off the Irish mainland. For years, conversation between Padraic Súilleabháin (Colin Farrell, After Yang) and Colm Doherty (Brendan Gleeson, The Tragedy of Macbeth) has been similarly sprawling — and leisurely, too — especially during the pair's daily sojourn to the village pub for chats over pints. But when the latter calls time on their camaraderie suddenly, his demeanour turns brusque and his explanation, only given after much pestering, is curt. Uttered beneath a stern, no-nonsense stare by Gleeson to his In Bruges co-star Farrell, both reuniting with that darkly comic gem's writer/director Martin McDonagh for another black, contemplative and cracking comedy, Colm is as blunt as can be: "I just don't like you no more." In the elder character's defence, he wanted to ghost his pal without hurtful words. Making an Irish exit from a lifelong friendship is a wee bit difficult on a tiny isle, though, as Colm quickly realises. It's even trickier when the mate he's trying to put behind him is understandably upset and confused, there's been no signs of feud or fray beforehand, and anything beyond the norm echoes through the town faster than a folk ballad. So springs McDonagh's smallest-scale and tightest feature since initially leaping from the stage to the screen, and a wonderful companion piece to that first effort. Following the hitman-focused In Bruges, he's gone broader with Seven Psychopaths, then guided Frances McDormand and Sam Rockwell to Oscars with Three Billboards Outside Ebbing, Missouri, but he's at his best when his lens is trained at Farrell and Gleeson as they bicker in close confines. The Banshees of Inisherin is available to stream via Disney+, Google Play, YouTube Movies and Prime Video. Read our full review. THE FABELMANS "Movies are dreams that you never forget," says Mitzi Fabelman (Michelle Williams, Venom: Let There Be Carnage) early in Steven Spielberg's The Fabelmans. Have truer words ever been spoken in any of the director's flicks? Uttered to her eight-year-old son Sammy (feature debutant Mateo Zoryon Francis-DeFord), Mitzi's statement lingers, providing the film's beating heart even when the coming-of-age tale it spins isn't always idyllic. Individual pictures can come and go, of course. Only some — only some on the Jaws, Indiana Jones, Jurassic Park and West Side Story filmmaker's own resume, in fact — truly stand the test of time. But as former concert pianist Mitzi understands, and imparts to her wide-eyed on-screen Spielberg boyhood surrogate, movies as an art form are a dream that keeps shining in our heads. We return to theatres again and again for more. We glue our eyes to films at home, too. We lap up the worlds they visit, stories they relay and fantasies they inspire, and we also add our own. To everyone that's ever stared at the silver screen in awe, The Fabelmans pays tribute far more than it basks in the glow of its director. Because everyone is crafting cinematic memoirs of late, Spielberg adds this tender yet clear-eyed look at his childhood to a growing list of self-reflective flicks; however, he's as fascinated with cinema as a dream-sparking and -making force as is he with fictionalising his own tale. Slot The Fabelmans in alongside James Gray's Armageddon Time, Kenneth Branagh's Belfast, Paul Thomas Anderson's Licorice Pizza and Alejandro González Iñárritu's Bardo, False Chronicle of a Handful of Truths from the past year or so, then, but don't merely consider it Spielberg jumping on a trend. Focusing on Sammy's film fixation, including as a teen (played by Gabriel LaBelle, The Predator) and as his fragile family hops around the US following his computer-engineer dad Burt's (Paul Dano, The Batman) work, this is a heartfelt, perceptive and potent movie about how movies act as a mirror — a vividly shot and engagingly performed one, too, complete with a pitch-perfect late cameo — whether we're watching or creating them. The Fabelmans is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MARCEL THE SHELL WITH SHOES ON Every couple has in-jokes, a valuable currency in all relationships, but only Jenny Slate and Dean Fleischer-Camp have turned a cute private gag into Marcel the Shell with Shoes On. The Parks and Recreation actor and the Fraud director are no longer together romantically, marrying and divorcing in the 13 years since they first gave the world the cutest talking shell anyone could've imagined; however, they've now reteamed professionally for an adorable film based on their 2010, 2011 and 2014 shorts. Marcel the Shell with Shoes On also gave rise to two best-selling children's picture books, unsurprisingly, following a familiar internet-stardom path from online sensation to print and now the big screen. Neither Slate and Fleischer-Camp's faded love nor their joint project's history are ignored by their footwear-sporting seashell's cinematic debut, either; in fact, acknowledging both, whether subtly or overtly, is one of the things that makes this sweet, endearing, happily silly, often hilarious and deeply insightful movie such an all-round gem. That inside jest? A voice put on by Slate, which became the one-inch-high anthropomorphic Marcel's charming vocals. In Marcel the Shell with Shoes On's three initial mockumentary clips, the tiny critter chats to an unseen filmmaker chronicling his life, with earnestness dripping from every word. ("My name is Marcel and I'm partially a shell, as you can see on my body, but I also have shoes and a face. So I like that about myself, and I like myself and I have a lot of other great qualities as well," he advises in his self-introduction.) The same approach, tone and voice sits at the heart of Marcel the Shell with Shoes On's feature-length leap, of course, but so does a touching meditation upon loss, change and valuing what's truly important. Fleischer-Camp plays the movie's documentarian, mostly off-camera, who meets Marcel and his grandmother Connie (voiced by Isabella Rossellini, Julia) after moving into an Airbnb following a relationship breakup — and, yes, their work together becomes a viral phenomenon. Marcel the Shell with Shoes On to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BABYLON Exclaiming "I'm already a star. You don't become a star: you either are one or you aren't. I am!" to get into the hottest party in Los Angeles, aspiring 1920s actor Nellie LaRoy (Margot Robbie, Amsterdam) has ambition. Gracing the same Golden Age soirée after ending his latest marriage with an overplayed joke that could've sprung from Inglourious Basterds, veteran leading man Jack Conrad (Brad Pitt, Bullet Train) wouldn't have gotten where he is without the same drive and determination. And, helping the shindig be the only place to be, including wrangling an elephant for the night's entertainment (a pachyderm that empties its bowels on everyone pushing it up a hill no less), Manny Torres (Diego Calva, Narcos: Mexico) has the eagerness to do something — anything — in show business. Meet Babylon's zeal-dripping on-screen threesome, a trio matched only in their quest to rocket sky-high as the man conjuring them up: jazz-loving, La La Land Oscar-winning, Tinseltown-adoring writer/director Damien Chazelle. As Babylon unfurls across its hefty 189-minute running time, it takes a colossal heap of ambition — perhaps as immense as the pile of cocaine that Nellie gravitates towards inside the party — to make it or even fake it in the film industry. For his fifth feature, and first since 2018's First Man, Chazelle waves around his own as enthusiastically as he possibly can. Even just considering his hefty list of conspicuous influences makes that clear, with the filmmaker unshackling his inner Baz Luhrmann, Martin Scorsese, Paul Thomas Anderson and David Lynch, to name a mere few overt nods. The Great Gatsby, Goodfellas, The Wolf of Wall Street, Boogie Nights, Magnolia, Mulholland Drive: swirl them together with Kenneth Anger's 1959 publication Hollywood Babylon, plus everything from Sunset Boulevard to Hail, Caesar!, and that's just the beginning of Chazelle's plans. The end result also makes for a relentless and ravenous movie that's always a lot, not just in length, but is dazzling (and also very funny) when it clicks. Babylon is available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. TRIANGLE OF SADNESS Ruben Östlund isn't interested in keeping his viewers comfortable, no matter how cushy their cinema chair. To watch the Swedish filmmaker's features is to feel yourself reacting — emotionally, always, and sometimes physically as well. It was true of 2014's phenomenal Force Majeure, aka as clever and cringe-inducing a portrait of marriage and masculinity as the 21st century has provided. With dropped jaws over a divisive piece of art within a divisive piece of art, it was true of 2018's The Square, the writer/director's first Cannes Film Festival Palme d'Or-winner, too. And, earning him that same prestigious prize again in 2022, it's also wholly accurate of Triangle of Sadness. Make a movie with a shape in its title, score one of the biggest filmmaking awards there is: that's been a nifty formula for Östlund of late. But even if he directs a flick called something like Hexagonal Dreaming soon, or anything else with a geometrical bent, and it too nabs that Cannes gong, beating Triangle of Sadness' vomit sequence is highly unlikely. To remind audiences that responding to films and life alike is an involuntary reflex, Östlund shows plenty of his characters doing just that — to existence, and to a choppy luxury cruise. It makes for simply unforgettable cinema, but it's also just one part of Triangle of Sadness and its sublimely shot unpacking of wealth, privilege and social hierarchies. Appearing to be coasting through perfection is an ongoing quest for Carl (Harris Dickinson, See How They Run) and Yaya (Charlbi Dean, Black Lightning), well-known models-slash-influencers, and the movie's focal point. When they take to the sea among the uber rich, they're still working the requisite angles (and snapping everything for Instagram from every angle). But then, under the captain's (Woody Harrelson, Venom: Let There Be Carnage) watch, being stranded on an island becomes their fate — and the way that Östlund satirically carves into the resulting chaos is equally hilarious and and astute, even when his film is both obvious and hardly subtle. Triangle of Sadness is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. M3GAN Book in a date with 2 M3GAN 2 Furious now: even if it doesn't take that name, which it won't, a sequel to 2023's first guaranteed horror hit will come. Said follow-up also won't be called M3GAN 2: Electric Boogaloo, but that title would fit based on the first flick's TikTok-worthy dance sequence alone. Meme-starting fancy footwork is just one of the titular doll's skills. Earnestly singing 'Titanium' like this is Pitch Perfect, tickling the ivories with 80s classic 'Toy Soldiers', making these moments some of M3GAN's funniest: they're feats the robot achieves like it's designed to, too. Although unafraid to take wild tonal swings, and mining the established comedy-horror talents of New Zealand filmmaker Gerard Johnstone (Housebound) and screenwriter Akela Cooper (Malignant) as well, this killer-plaything flick does feel highly programmed itself, however. It's winking, knowing, silly, satirical, slick and highly engineered all at once, overtly pushing buttons and demanding a response — and, thankfully, mostly earning it. Those Child's Play-meets-Annabelle-meets-The Terminator-meets-HAL 9000 thoughts that M3GAN's basic concept instantly brings to mind? They all prove true. The eponymous droid — a Model 3 Generative Android, to be specific — is a four-foot-tall artificially intelligent doll that takes the task of protecting pre-teen Cady (Violet McGraw, Black Widow) from emotional and physical harm deadly seriously, creeping out and/or causing carnage against everyone who gets in its way. Those Frankenstein-esque sparks, exploring what happens when humanity (or Girls and Get Out's Allison Williams here, as Cady's roboticist aunt Gemma) plays god by creating life? They're just as evident, as relevant to the digital age Ex Machina-style. M3GAN is more formulaic than it should be, though, and also never as thoughtful as it wants to be, but prolific horror figures Jason Blum and James Wan produce a film that's almost always entertaining. M3GAN is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MAGIC MIKE'S LAST DANCE Ted Lasso fans, rejoice — the Magic Mike franchise is taking its lead from the hit sitcom now. Swap soccer for stripping, obviously. From there, the sports-themed favourite and Magic Mike's Last Dance both transport their namesakes to London, then give them jobs under wealthy women managing publicly beloved assets after bitter marriage breakdowns, all as those ladies try to spite their exes while also finding themselves and sorting out their lives. In the third film in the Channing Tatum (Bullet Train)-starring series, there's a team to oversee featuring players from around the globe, too, plus a gruff butler doing his best not-AI Roy Kent impression. And, it all climaxes with a showcase event demanding dedicated training. That said, only this exceptionally choreographed but never earth-shattering flick fills its final quarter with wall-to-wall gyrating, including a male-revue number soundtracked by 1998 Dandy Warhols' single 'Boys Better' that has to be seen to be believed. New Magic Mike movie splashing glistening chiselled abs across the screen, same Magic Mike, though. Tatum and filmmaker Steven Soderbergh (Kimi) — the prolific creative force who helmed, shot and spliced the first instalment; then just lensed and cut the second with his regular assistant Gregory Jacobs (Wind Chill) directing; and now returns to his trio of OG roles (still credited as Peter Andrews for his cinematography and Mary Ann Bernard for his editing) — have Mike Lane living his own Groundhog Day in a way. The more things change, the more that plenty stays the same for the saga's hero. This series started out not just putting its star's ripped physique and knack for erotic dancing to eye-catching use, but drawing upon his own story thanks to Tatum's past onstage Florida. He isn't currently getting by stripping while striving to follow his passion, of course. Before Magic Mike was scorching the screen, he'd already made it big. But these films, all three of which are penned by Reid Carolin (Dog), understand that Tatum's reality isn't the way that this tale usually goes. Magic Mike's Last Dance is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE LOST KING When King Richard III was killed in battle in the 15th century, did anyone wonder about a public holiday? Given the era and its working conditions, likely not. There's also the hardly minor fact that the monarch was slain by the forces of Henry Tudor, who promptly became England's ruler, so downing tools for a day of mourning probably wasn't a priority. The world has a frame of reference for grieving a British sovereign, though, and recently. When Queen Elizabeth II died in September 2022, pomp and ceremony reigned supreme. Dramatising the discovery of Richard III's remains, The Lost King wasn't made with the queen's passing in mind. Actually, it world-premiered a day afterwards. But the Stephen Frears (Victoria & Abdul)-directed, Steve Coogan- and Jeff Pope (Philomena)-scripted drama benefits from audiences knowing what's done now when whoever wears the crown is farewelled. The Lost King isn't about chasing a parade, pageantry, and a day off work for the masses in Britain and further afield. Charting the true tale of Richard III's location and exhumation 527 years after he breathed his last breath, it follows a quest for recognition and respect. When the film opens, Philippa Langley (Sally Hawkins, The Phantom of the Open) wants it for herself, as a woman over 40 overlooked for a promotion at work in favour of a younger, less-experienced colleague — and as someone with a medical condition, myalgic encephalomyelitis/chronic fatigue syndrome, who's too easily dismissed due to her health. She's also newly separated from her husband John (Coogan, This Time with Alan Partridge), adding to her unappreciated feelings. It's no wonder that Richard III's plight catches her interest thanks to a production of Shakespeare's Richard III, aka one of the reasons that the king was long seen as a hunchbacked villain. More surprising: that the film about all of this, while engaging enough and featuring stellar work by Hawkins, doesn't seem to trust that its real-life story can hold its own. The Lost King is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. A MAN CALLED OTTO In reality, cantankerous curmudgeons don't routinely possess hearts of gold. Genuine intentions don't always gleam behind petty folks with grudges spouting insults, either. Movies like A Man Called Otto keep claiming otherwise, though, because cinema is an empathy machine — and placing viewers in the shoes of characters different to them, whether in background, behaviour, situation or temperament, remains key among its functions. Tom Hanks, the silver screen's beloved everyman of more than four decades, knows this. Veteran filmmaker Marc Forster does as well. After getting villainous in Elvis and sweet with Christopher Robin, respectively, the actor and director join forces for a feature advocating for understanding, kindness and acceptance. Behind that cranky nitpicker, local annoyance or rude aggressor might just lurk a story worth appreciating and a person worth knowing, it sentimentally posits. This Americanisation of A Man Called Ove, Fredrik Backman's Swedish 2012 novel that first hit the screen in its native language in 2015, did indeed come about exactly as expected. Hanks and his wife Rita Wilson saw the Oscar-nominated OG movie, contacted its producer Fredrik Wikström Nicastro (Borg vs McEnroe), then went about making a US-set, Hanks-starring iteration. Wilson is now also one of A Man Called Otto's producers. Truman Hanks, Tom's youngest son with Wilson, co-stars as the young Otto (nabbing just his second on-screen credit after popping up in his dad's News of the World). This flick's smooth path to cinemas and the easy family ties behind it speak volumes about the film that results; despite focusing on a man repeatedly trying to take his own life, attempts at which are constantly interrupted by his rule-breaking neighbours, openly and breezily warming hearts and pleasing crowds is this remake's aim. A Man Called Otto is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January and February, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies, plus movies you might've missed and television standouts of 2022 you mightn't have gotten to.
When Netflix decided to give The Addams Family a new take, it was a lightbulb moment. More than two decades after the last live-action version of the beloved creepy, kooky, mysterious and spooky characters hit screens, the Jenna Ortega (Scream VI)-led revamp Wednesday proved a smash. No one likely stuck a lightbulb in their mouth when they came up with the idea to revive the franchise, and we're hoping that no one did to celebrate the show's success, either; however, the streaming platform's next series linked to the horror-loving crew could feature exactly that. After dropping its first season in late 2022, then notching up more viewers, memes and mimicked dance moves than the Addams crew have pieces of black clothing, Wednesday was officially renewed for a second season at the beginning of 2023. That's still on the way, with no ETA as yet after Hollywood's strike-filled year, but Netflix is already thinking about giving the show an Uncle Fester-focused spinoff. Bloomberg reports that while production on Wednesday season two hasn't begun, the streaming service is eager to keep all things Addams Family on-screen via multiple shows. The Uncle Fester series has been put forward as the first. Presumably, that'd mean Fred Armisen (I Think You Should Leave with Tim Robinson) reprising his role — unless it's an Uncle Fester origin story. There's nothing locked in, so no casting details, no storyline and no timeline for the show to hit your streaming queue so far, but we all know how much pop culture's powers that be — aka studios and streamers — love franchises. The Addams Family realm has always been beloved by audiences — the Christina Ricci-led 90s films have been favourites for decades for good reason, plus the 1960s TV show and 1930s The New Yorker comics before that — so Netflix wanting more is far from unexpected. Indeed, if you were channelling your inner Wednesday, as we all should, you wouldn't raise an eyebrow in astonishment. Wednesday's first season broke the Netflix record for most hours viewed in a single week, then did so again — earning 341.23-million hours viewed in its first week, then 411.29-million hours viewed in its second. There's no trailer for the Uncle Fester spinoff yet, of course, but you can check out Wednesday season one's sneak peek below: Wednesday streams via Netflix, with season one available now and season two arriving at a yet-to-be-announced date. We'll update you with further details about season two and the Uncle Fester spinoff when they're revealed. Read our full review of Wednesday season one. Via Bloomberg. Images: Courtesy of Netflix © 2022.
Hosting season has arrived. Gather your mates for one last hurrah that will impress with minimal effort — because who needs more to do at this time of the year? We've partnered with the legends at The Kraken Black Spiced Rum to put together some easy ideas for your next summer sesh, from simple snacks and refreshments to tips on keeping cool in the heat. Whether you're just venturing into the world of hosting or are after some fresh ideas to spruce up your skills, you'll be primed to start throwing some dates in the group chat. SIP Nothing says summer quite like sipping a cold one in the backyard. In addition to the usual sessionable favourites, you can't go wrong with some convenient canned tipple, so you're not running around topping up drinks or whipping up cocktail concoctions. The Kraken has released a new canned cocktail perfect for sipping on balmy afternoons. Featuring its signature spiced rum, the Kraken Caribbean Punch delivers a tropical hit of pineapple, mango and coconut. For a fruity, icy twist, add the premixed drink to a frozen fruit slushie of mango and coconut water or pineapple and mint. Other classic options by Kraken include the Black Spiced Rum and Cola, Black Spiced Rum and Dry Ginger Ale and Black Mojito mixes. EAT Equally important is the spread. Cater to a wide range of preferences with snacks that guests can tailor to their tastes. A taco bar, salad station or charcuterie board allow even the pickiest of eaters to put together a combination of bites they'll enjoy. Add an elevated twist by including refreshing summer salads like watermelon and haloumi or spicy marinated cucumber, or a baguette board with tinned fish, dips and pickles. All of these nibbles can be prepared well in advance. Plus, you won't face complaints when they're served at room temperature. For more substantial fare that's still low effort, you can't go wrong with a rotisserie chook from your local chicken shop, which you can pair with salads, wraps or a baguette, or even a pizza kit from Hank's Hot Box that's delivered straight to your door. If you'd prefer to flex your grilling skills, keep it simple by purchasing pre-marinated cuts from the butcher or supermarket. Skewers are always great for variety and easy munching that'll cook in a flash. And don't underestimate the importance of a strong sauce. In a previous interview, Chin Chin's Executive Chef Benjamin Cooper shared his advice for pared-back hosting: "Less is more. Focus on simply cooked proteins or veg and spend your time on a wicked sauce or dressing." Not only will this save you on prep time, but it also means that you'll be able to enjoy your event. COOL DOWN It's all well and good to prepare an impressive feed, but the last thing your guests will want to do is eat if all they're feeling is the sweltering summer heat. When in doubt, look to the freezer. Stash cut fruit in the freezer for chilled nibbles — grapes work exceptionally well — and use them instead of ice cubes to cool drinks without watering them down. Cups can also be stored in the freezer or fridge for refreshing sips. Grab a facial spray, like Mario Badescu's Aloe, Cucumber and Green Tea, and keep it in the fridge or on ice for a fresh twist that serves the dual function of calming redness and making your skin glow. Don't underestimate the power of a hand fan. Leave these scattered around for guests to use at their leisure — you can even include markers and stickers so friends can decorate their own to take home. PLAY Your friends won't have any trouble keeping themselves entertained, but it's helpful to have some activities on hand for any awkward lulls in conversation, especially when you're mixing different groups of mates. Don't want the activities to be a huge focus? Go laidback with a small paint-and-sip station with watercolours and drawing pads or small canvases and easels. Otherwise, you can pick up some tapered candles and coloured tealights (like these IKEA options) for dinner candles that your guests can paint and take home. There's no shortage of zany games on TikTok, like Fear Pong. Set up a game of giant Tic Tac Toe with some strips of tape and different coloured cups, or get your hands on giant Jenga, bocce or cornhole from Sunnylife, Rebel Sport, Kmart or Big W. If you're keen to get even more active (and have ample space), go for a casual game of backyard cricket or table tennis. And when all else fails, you can't go wrong with a deck of cards or a round of UNO. GROOVE Don't overlook the power of a well-curated playlist, particularly when you've a crowd of different groups and ages. You could stick to a theme and build around it, whether it's this vibrant indie mix from Spotify, classic disco, chill hip hop or new jazz. Or, mix it up with a variety of tunes and genres. Our Editorial Director's advice for pleasing a diverse audience? "The safest bet is to have a list of certified classics, recent bangers and cheesy guilty pleasures with a few surprise or little-known tracks mixed in that could get people talking." Either way, the key is to make sure the music isn't so loud or distracting that it overwhelms conversation. Even if you love deep house, it's hard to carry a convo over those throbbing beats — remember that you can always build up to firing up a dance floor later in the night. The refreshing Caribbean Punch from The Kraken Black Spiced Rum is now available at your local bottle shop or online from Kraken's website.
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]
Melbourne, rejoice! No longer will your late-night pho cravings go unsated. From early December, the team behind Hochi Mama are opening Australia's first ever 24-hour pho joint in the CBD. Pho real. Set to open on Russell Street in the heart of the CBD, the team at Twenty Pho Seven will set out to deliver exactly what their name suggests. Pho. 24/7. Whether it's a breakfast broth or a substitute for that 4am kebab, these guys will have you covered. "We are confident in providing an authentic yet tasty and hearty bowl of Pho that will keep you coming back for more," said co-founder Thai Ho. "We have so many great ideas that we can't wait to share with everyone." In addition to promising "the best pho in Melbourne", Twenty Pho Seven will also serve up an array of Vietnamese entrees – including rice paper rolls, spring rolls and banh me. They'll also have a number of Asian-inspired cocktails on offer, served in bubble cups. Look for Twenty Pho Seven at 138 Russel Street, Melbourne from early December. For more information, you can check them out on Instagram.
You can't re-do Christopher Walken. But Flight Facilities have given it red hot go. The Aussie producer duo have thrown down a brand new video for single 'Down to Earth' from their 2014 critically acclaimed debut album, recruiting none other than Sam Rockwell to Walken the Dinosaur through a tired ol' diner. From the disco ball-flanked kitchen to Rockwell's vicious thumb grooving, Flight Facilities latest video presents the ultimate happy place for jaded, Hawaiian shirt-wearing folk. Rockwell falls asleep at a diner and goes on an epic danceology quest through the kitchen and out to the carpark and back. The whole thing was directed by Rhett Wade Ferrell, who lent his mad skills to FF for 'Sunshine' with Reggie Watts and breakthrough, 15 million views single 'Crave You' with Giselle. Rockwell's strong moves were choreographed by the legendary Vincent Paterson, who's worked with the top tier likes of Michael Jackson and Madonna. "I really, really liked the song, and it was an honour to work with legendary choreographer Vincent Paterson," says Rockwell. "I’m the kinda guy that likes to shake my tail feather, and so it was a great opportunity to get some new moves, especially to such a sweet beat.” Here's Flight Facilities' 'Down to Earth' video. See if you can spot the FF cameo. And here's Christopher Walken in Fatboy Slim's 'Weapon of Choice', because.
If battling zombies in your lounge room through a games console no longer cuts it, an augmented audio running game called Zombies, Run! might be the answer. London-based games and app developers, Six to Start, have combined mobile GPS technology with augmented audio technology to create a game whose story unravels in the outside world. The game's storyline may be based on an old cliché - a player runs from zombies in a post-apocalyptic world - but its method of delivery is certainly new. Players are presented with location-specific challenges in their mission to rebuild civilisation, completing the game by listening to atmospheric audio commands on their headphones and finishing a series of runs in which they collect medicine, ammo, batteries and spare parts. Adrian Hon, CEO and co-founder of Six To Start, told PSFK: "The idea is that we want to make running – and exercise in general – more fun and more captivating through game-play and story." The game for iPhone, iPod and Android devices has over 30 unique missions to be completed and most recently featured on Kickstarter. It can be pre-ordered online at their site.
Saving money is hard. It's especially hard when you live in Melbourne, and there are mouth-watering options for breakfast, lunch and dinner on every corner of every street. Good food comes at a price, and that often thwarts any effort you've made to save your pennies. We did some research and found that it doesn't have to be that hard. In collaboration with Bank of Melbourne, we've come up with three handy guides that will help you save some money while living in the world's most liveable (but expensive) city, Melbourne. Here's the first – your guide to getting a cheap, decent meal every night of the week. [caption id="attachment_585112" align="alignnone" width="1279"] The Aviary Hotel[/caption] MONDAY The first day of saving is always the easiest – so don't start your week by blowing $25 on dinner. On Mondays you can pay no more than $12 for a burger, a pizza or a hot dog at these budget friendly pubs, bars and restaurants. The Aviary Hotel – $12 burger and a pot Sparrow's Philly Cheesesteaks – $8 philly cheesesteak The Mill House – 2 for 1 pizza The Collection Bar – $11 hamburger The Cornish Arms – $11 hotdogs [caption id="attachment_585098" align="alignnone" width="1278"] Beach Burrito[/caption] TUESDAY Just because taco Tuesdays are famous, it doesn't mean its your only option for a cheap dinner. Because you live in Melbourne, you can have fried chicken, a parma or a cheeseburger as well. Choose wisely. The Reverence Hotel – $3 tacos, $3 Mexican beer The Mill House – $10 fried chicken bucket Beach Burrito – $3 tacos The Royston Hotel – $17 parmas and trivia The Burger Project – $9.90 American cheeseburger [caption id="attachment_585087" align="alignnone" width="1278"] Howler[/caption] WEDNESDAY Celebrate the end of hump day by spending no more than $15 on dinner. Head to Howler or The Retreat and grab a burger and a pot for $15. Normally we would suggest skipping the drink and saving the cash – tonight you don't have to. The B.EAST – $10 wings, $10 fried chicken The Retreat Hotel – $14 burger and a pot The Precinct Hotel – $1 dumplings Mr. Scruffs – $5 burgers, $5 nachos Howler – $12 burger and beer [caption id="attachment_585093" align="alignnone" width="1279"] Veggie Pack at Wonderbao[/caption] THURSDAY It's almost the weekend, that's enough of a celebration to indulge in a good piece of steak. Take advantage of steak night and save yourself some extra money for the weekend. The Terminus Hotel – $14 steak, $14 parmas The Penny Black – $12 burgers The Swan Hotel – $12 steak, $12 pie Wonderbao – $9.50 veggie pack [caption id="attachment_585198" align="alignnone" width="1279"] Yum Cha at Oriental Teahouse[/caption] FRIDAY It's Friday – time to celebrate. Indulge (cheaply) in an Asian banquet from Oriental Teahouse or China Bar. How often does 'all can you eat' only set you back $30? Oriental Teahouse – $30 all you can eat yum cha Fitzroy Beer Garden – $10 lunches (12pm–3pm) The Penny Black – $4 pizza Bimbo Deluxe – $4 pizza China Bar – $29 buffet [caption id="attachment_585107" align="alignnone" width="1279"] The Cornish Arms[/caption] SATURDAY Saturday is the perfect night to grab a $4 pizza from Lucky Coq before heading out for a drink. If you end up having a big night, you'll probably end up buying late-night food on your way home. May as well save a little money while you can. Goz City – $10 herbed chicken gozleme Malaysian Laksa House – $9.80 combination laksa The Cornish Arms – $13 burgers (12pm–3pm) Lucky Coq – $4 pizza Acland St Cantina – $8 late-night hotdogs [caption id="attachment_585090" align="alignnone" width="1170"] The Cornish Arms[/caption] SUNDAY If you've followed this guide you'll more than likely have a few extra pennies in your wallet at the end of the week. Don't be tempted to blow it on an expensive meal – get a good Sunday roast at The Penny Black for $12 instead. The Collection Bar – $1 buffalo wings The Cornish Arms – $13 parma Changz Canteen – $1 fried chicken ribs Fitzroy Beer Garden – $10 parma, steak or burger The Penny Black – $12 Sunday roast Bank of Melbourne has collaborated with the National Gallery of Victoria to bring ancient art to life via interactive water projections. Watch the Wishing Well experience here.
If, like most Australian kids, you once dreamed of spending your school holidays at one of the Gold Coast's theme parks, then you probably hoped that you'd be making your way to Sea World. Historically Dreamworld has been home to plenty of rides, while Movie World has its whole 'Hollywood on the Gold Coast' theme going for it — but Sea World is the one with an onsite resort. In the near future, that might change, with slumbering at Dreamworld after a long day spent riding rollercoasters now on the cards. Ardent Leisure, the theme park's parent company, has announced plans to turn part of the land next to the Coomera spot into a new $75 million Dreamworld Resort, which is set to include a hotel and a tourist park. For those keen to bunk down for the night, there'll be options. The resort's four-star hotel is slated to include 250 rooms, and there'll be 40 bungalows as well. Making the trip to the Goldie via caravan? There'll also be 100 powered sites in the adjacent tourist park. Guests will have access to restaurants, swimming pools, a gym and conference facilities, too. Ardent Leisure also plans to include accommodation and theme park package deals, including exclusive offers to access both Dreamworld and White Water World during your stay. Just what that might look like hasn't been revealed — and, before you start making holiday plans, neither has a timeframe for the hotel and resort's opening. [caption id="attachment_810953" align="aligncenter" width="1920"] Saberwyn via Wikimedia Commons[/caption] At present, Ardent Leisure has entered into an agreement with accommodation developer Evolution Group to fund and build the resort and tourist park — although it is non-binding, and also subject to a number of preconditions being met. Planning approvals also need to be secured; however, it's hoped that if the resort comes to fruition, it'll help Dreamworld, White Water World and the Coomera region to recover from the economic impact of the pandemic. For more information about Ardent Leisure's plans for Dreamworld Resort, head to the company's website. For further details about Dreamworld, visit the theme park's website.
Through an outsider's eye, Melbourne might be known for its stunning museums, the historic Flinders Street Station, delicious coffee and killer nightlife. And while all that is true, there's more to this diverse city than you might think. International tourists and out-of-towners typically gravitate towards exploring the CBD, where most of our city's big-ticket attractions are conveniently located. With that being said, the inner south is where the action is at. If you want to go beyond the free-tram zone, we've partnered with the City of Port Phillip to curate a guide to the city's breathtaking inner south. 7AM: MORNING SWIM AT ST KILDA SEA BATHS Beat the summer heat by taking a morning dip at St Kilda Sea Baths. Filled with natural seawater — which provides healing properties like relieving muscle soreness, injuries and skin ailments, as well as restoring energy — the 25-metre pool is an ideal place get your laps in as well as your cardio kick for the day. For something more laidback, the beachside establishment also features a hydrotherapy spa pool, a unisex aromatherapy steam room and a lounge area that boasts stunning views of the bay. [caption id="attachment_699200" align="alignnone" width="1920"] Simon Shiff[/caption] 9AM: BRUNCH AT LENNY, ALBERT PARK After getting your morning endorphins, head on over to Lenny in Albert Park and refuel with a hearty brunch. You obviously can't go wrong with a classic smashed avo toast or eggs benedict; however, if you're feeling adventurous, do try out the banoffee pie french toast or the prawn omelette. For a boozy brunch experience, opt for a mimosa, Aperol spritz or a gin and orange Mediterranean-style tonic. Keeping it low key? Lenny's list of coffee, tea and smoothie offerings are a fab way to complete your meal. [caption id="attachment_703883" align="alignnone" width="1920"] Simon Shiff[/caption] 10AM: EXPLORE ARTISAN WARES AT SOUTH MELBOURNE MARKET Tourists might flock to the Queen Victoria Market, but Melbourne locals know that the South Melbourne Market is where it's really at. Open from 8am every Wednesday, Friday, Saturday and Sunday, the expansive indoor market boasts a slew of stalls housing everything from butchers, fishmongers and fresh produce to secondhand books, delis and homewares. The artisan wares in particular are worthy of attention and come in different shapes, forms and colours. While you're here, don't miss out on one of the city's best croissants from Agathé. A recent favourite has been the pandan croissant, which sells out pretty quickly. Be warned, there can be quite a queue — but it is certainly worth the wait. 12PM: HAVE LUNCH AT THE LEFT-HANDED CHEF The Left-Handed Chef is just a short stroll from South Melbourne Market and a great spot to try out Jerusalem-style street food. You can dine al fresco or enjoy the rustic interior of the restaurant as you devour popular dishes like lamb cigars served with tahini, harissa and schug, the mushroom kibbeh, chatzilim hummus served with fried eggplant slices and chraime and barramundi fillets cooked in Moroccan red sauce. Don't forget dessert — the Nutella malawach comes with a flaky fried pastry topped with Nutella and icing sugar. 3PM: REFUEL WITH AN ARVO COFFEE AT ST ALI At this time of the day you're probably feeling a little worn out. So, now's your chance to refuel and grab a cup of coffee from the legendary St Ali. You can play it safe and order a flat white, batch brew or pourover. But you could also try the café's signature creations such as the Espresso Shake, made of St Ali espresso, Jock's vanilla ice cream and milk, or the Tonic Sunrise, a mix of Strangelove tonic and Feels Good double espresso served over ice. 5:30PM: HAVE A PRE-DINNER TIPPLE AT STARWARD The time is now drink-o-clock, so head to Port Melbourne's award-winning Starward Whisky Distillery. The Tasting Flights section of the menu includes five options, each of which allows to try either try some of Starward's house-distilled whiskeys or classic cocktails. You could also try one of the inventive cocktails like the Rosella Spritz (featuring Starward's Two-Fold Double Grain Whiskey, mint, amaro, soda and red wine) or Trinity Sour (a mix of Starward's Fortis single malt, bitters, sour orange, clove and cardamom orgeat). Pair your drink with bites like a cheese board, pulled pork toastie or beetroot-cure salmon. 7PM: TAKE A SUNSET STROLL FROM PORT MELBOURNE TO ST KILDA Soak up the last rays of the day with a beachside stroll from Port Melbourne to St Kilda. It might be a bit of a walk, but the views of Port Phillip Bay more than make up for it. Once you get to St Kilda, pay Pink Flake a visit and treat yourself to some of the city's best fish and chips. [caption id="attachment_758267" align="alignnone" width="1920"] Kristoffer Paulsen[/caption] 9PM: DRINKS AT THE PRINCE PUBLIC BAR End your day with a stylish nightcap at The Prince Public Bar. This legendary Fitzroy Street spot offers 30 beers on tap as well as a fine selection of wine and classic cocktails. If you're still looking for some grub, bar snacks are served all day — the woodfired pumpkin hummus, chicken liver parfait, grass-fed beef tartare and mozzarella and spring onion croquettes are perfect pairings for your drink. To discover more ways to experience the southside, head to What's On: St Kilda and Surrounds.
