Folks can't stop talking about Christy Tania. Not only did the renowned dessert chef bend minds with her 'Floating Ice Cream' creation on MasterChef earlier this year, but she has also launched her own permanent dessert shop. Opening its doors on Windsor's Peel Street, Tania's new sweet wonderland offers artisanal frozen treats for eating in and taking away. Fancy ice cream stores mightn't be a rare occurrence these days; however, as Tania's first permanent solo venture, Glacé is every bit as impressive as the rest of her artisan treats. The contemporary space offers a hefty range of frozen desserts and innovative flavours, crafted with local ingredients — such as her trademark ice cream push pops, with their layers of cake sponge and ice cream. Diners will find ice cream eclairs and ice cream macarons on the menu, because every dessert is better in ice cream form. When it comes to flavoursome scoops themselves, think creative concoctions such as boozy date (sticky date pudding soaked in rum with vanilla ice cream and salted butterscotch), coffee caramel (caramel milk chocolate ice cream with Kahlua and orange cinnamon crumble), and lamington (coconut ice cream and chocolate brownie with a swirl of raspberry sorbet), plus the zig-a-zig-ah-inducing ginger spice (vanilla ice cream with salted butterscotch and gingerbread crumble). Those keen on something more traditional can try the likes of 72% dark chocolate ice cream, strawberry passionfruit sorbet and coconut ice cream with pure coconut droplets. The fixed digs come hot on the heels of successful pop-ups in Sydney and Melbourne in May, which gave sweet tooths a taste of the flagship store's range. As for Tania herself, the chef first popped up in 2013, after famously steering Melbourne dessert bar Om Nom into its first chef's hat within just two months of heading up the kitchen. Since then, her inspired sweet treats have continued to dazzle and astound, both out of the Om Nom kitchen and during a host of MasterChef guest judge appearances, making jealous messes of audiences across the country. Find Christy Tania's Glacé at 1A Peel Street, Windsor. For more information, check out the eatery's website. By Libby Curran and Sarah Ward.
Melbourne's got no shortage of top-notch bottomless brunch options these days, though sometimes that can leave you feeling a bit like the fabled Goldilocks when it comes to choosing one that's juuuust right. Luckily, one of the city's OG rooftop bars is ticking all the correct boxes with its brand-new weekend offering, pairing Asian fusion fare with free-flowing drinks. Perched above Swanston Street, Goldilocks' new Three Bears Boozy Brunch series is running from 1–2.30pm every Saturday and Sunday through autumn. Book a table, venture on up and for $75 you'll enjoy an enviable session of brunch bites, bevs and city views. Guests can look forward to 90 minutes of free-flowing drinks, including Hawkers beer, wine by Tarot and cocktails ranging from a classic espresso martini to the house Goldie's Spritz. Vibrant fusion dishes from Goldilocks' regular bar menu prove a perfect match, with options like spring onion pancakes, salt and chilli chicken ribs, and dumplings galore. Plus, the all-weather roof will ensure Melbourne's unpredictable autumn weather doesn't ruin your fairy tale brunch session.
The Yarra Valley and the Great Ocean Road boast scenic sights as far as the eye can see, but that's not their own attraction. Both areas are also home to a combined chocolaterie and ice creamery. Exploring the countryside, snacking on hand-crafted chocolates, licking your way through an array of gelato flavours — what's not to love? Now, the Mornington Peninsula has also joined its regional counterparts, welcoming its very own purveyor of sweets. It's the third venue for Ian and Leanne Neeland, who've created a petite-sized sibling to their Yarra Valley and the Great Ocean Road stores. As well as serving up chocolate and ice cream in the seaside town of Flinders, their new location will also feature a brownie bar. Taking over the space formerly occupied by Mornington Peninsula Chocolates on Cook Street, the chocolaterie and ice creamery combines a bit of the old and the new — although, regarding which is which, it depends on how you look at it. The store will continue to make truffles in flavours made popular by the site's previous owners, such as chilli and tequila, blood orange and tonka beans, and tangy lime caramel. And, it sells over 300 unique chocolate varieties made by Belgian and French chocolatiers Thomas Wierinck and Anna Guinet, who also provide the sweets for the Neelands' other spots. Among the chocolate range, nut clusters, rocky road, giant chocolate freckles, and choc-coated ginger, honeycomb and nougat are all on offer. At the ice creamery, a range of Italian gelato flavours are available, too. And as for the brownie bar, it's baking a revolving menu that includes triple choc, mint, Cherry Ripe, Nutella and Baileys varieties. Milkshakes, hot chocolates and barista-made coffee are also be on the menu. If you're super keen on chocolate, you can enjoy a 20-minute hosted tasting session, which take place at 11am, 12pm and 1pm each day. Or, you can book into a chocolate discovery class, where you'll not only taste a few choccies — you'll also make some. Find Mornington Peninsula Chocolaterie and Ice Creamery at 45 Cook Street, Flinders — open Monday to Sunday from 9am–5pm.
Musicals don't get much bigger than Les Misérables. That's been evident on the stage for more than four decades. When the production has been adapted for the screen, too, it's also been clear. In Australia, next comes Les Misérables: The Arena Spectacular, which is putting on a show set in 19th-century France from May 2025 in the Victorian capital. Do you hear the people sing? Audiences in Melbourne will when the production gets the music of the people, plus the songs of angry men, echoing. From Wednesday, May 14–Sunday, May 25, a stacked cast and a 65-plus-piece orchestra is bringing Les Misérables: The Arena Spectacular to life at Rod Laver Arena, with the format heading Down Under after playing the UK and across Europe. What makes this an arena spectacular, other than the venues that it's playing (including in Sydney and Brisbane, too)? The production isn't just taking the stage iteration of Les Misérables as is to sizeable sites — as a concert, it has been specifically created and designed for such locations. Les Misérables: The Arena Spectacular was born to celebrate a hefty milestone for the song-filled theatre take on Victor Hugo's famous 1862 novel: the London production of Les Misérables reaching its 40th year in 2025. Yes, it's West End's longest-running musical. But the arena spectacular's origins hail back earlier, to not long after Les Mis debuted on the stage in 1980 — and also have ties to Australia. In Australia, Les Misérables: The Arena Spectacular stars Tony-winner Alfie Boe and British talent Killian Donnelly sharing the role of Jean Valjean, with Michael Ball — who featured in the original London 1985 production — plus Bradley Jaden doing the same with Javert. Marina Prior plays Madame Thénardier, as part of an international cast that also includes Little Britain's Matt Lucas as Thénardier, Rachelle Ann Go as Fantine, Jac Yarrow as Marius and Beatrice Penny-Touré as Cosette. Images: Danny Kaan.
Road tripping is a great Australian pastime — there's nothing more freeing than setting out on an adventure of your own making, after all. In a sprawling land of diversity, a drive will take you to some pretty unique places. But, you don't have to take a few weeks off to make a proper go of it. This weekend, escape and explore something unfamiliar. Why stick around at home when you could hit the road and reach somewhere wonderful? Scenic oceanside tours, delightful countryside towns, hard-to-reach hikes or somewhere you can feel the sand between your toes and gaze off into the sea on a quiet shore. Or, if you can get some extra time off, it might even be worth taking a flight first and starting your drive on a more distant western coast… Wherever you head, don't forget The Bottle-O, the independent local slinging your favourite boozy sips all over Australia, will be close by for bevs. So you can eat, drink and be merry wherever you park yourself along the way. [caption id="attachment_891794" align="aligncenter" width="1920"] Liens[/caption] TO BE OCEANSIDE: ROAD TRIP TO PHILLIP ISLAND, CAMP IN THE HOLIDAY PARK Melburnians, you've got an island escape practically on your doorstep. Phillip Island is only about two hours' drive from Melbourne, but it feels a world away. Sure, it's famous for the penguin parade, but there's more here to keep you occupied for a weekender. With the NRMA Phillip Island Beachfront Holiday Park as your base camp, you can spend your days swimming, fishing, birdwatching, hill walking and generally just getting in touch with nature — and the serenity. (Just remember to stop at The Bottle-O for a fresh slab as you make your way to camp.) Get up early to surf at Cape Woolamai Beach; then take a trip out to The Nobbies, where you'll follow the boardwalks along the coast and climb the hill for a view of the largest fur seal colony in Australia. If you want to leave the planning to others, there are curated trips available too: circumnavigate the isle on a quest to spot some humpbacks, or ensure you catch the famed little penguins as they waddle ashore. Camping with a side of indulgence? Hit the day spa and chocolate factory. Take it easy with a cafe breakfast, pack a lunch for your beach adventures, and return to camp via the shops for a beachy barbecue dinner. Provisions acquired, sit back with a drink in hand as you watch the sun go down over your island paradise. Take your time on the drive back to Melbourne, explore a little of the villages — and epic scenery — of the Bass Coast. [caption id="attachment_891791" align="aligncenter" width="1920"] InSydeMedia[/caption] TO GET INTO THE COUNTRYSIDE: ROAD TRIP TO BALLARAT, CAMP AT CRESWICK Head inland and find out why Ballarat and its idyllic surrounds have become a primo destination for Melbourne weekenders. The township's got new restaurants and fresh artisan bakeries alongside the grand theatre, Australia's oldest regional gallery and that frontier Western fun at Sovereign Hill. A wander around Lake Wendouree is an afternoon in itself, with wildlife, wetlands, formal gardens and ample picnic spots along the shore. It's still a country city, but with plenty of small town charm. And, this is goldfields country specifically. Staying at Creswick Holiday Park will give you easy access to old mining trails and state reserves, as well as other local walks and mountain bike tracks nearby. Creswick is a charming little town of markets, historic buildings, and the renowned Farmers Arms pub. Explore all day, then sink into the peace and quiet of a country night. Gaze up at all those stars far from city lights, a drop of spicy shiraz in hand, and soak up the serenity of rural living. [caption id="attachment_891795" align="aligncenter" width="1939"] tommyg83[/caption] FOR EPIC HIKES: ROAD TRIP TO WILSONS PROMONTORY, CAMP AT TIDAL RIVER CAMPGROUND Need to burn a little pent up energy on your weekender? Hit the Prom. A three-hour drive from Melbourne, Wilsons Promontory is home to a network of both short and multi-day walking tracks that'll keep even the most restless wanderer entertained. Traverse the beaches and bays, including the aptly named Squeaky Beach; explore the stringybark, eucalypt and fern-filled forest of Lilly Pilly Gully nearby; or go all in and set off on an overnight hike. From Tidal River Campground, you can hike to Mount Oberon for sweeping views across the river and the coastline. You'll be gazing across the water and little bays, flats and boulders, back over the inland hills and forests. That famous 360° view is the perfect place to catch a sunset. This camp spot has full amenities, free barbecues and even a little general store with basic supplies. But, you'll want to stop off in the cosy little town of Grantville as you make your way out of Melbourne, keeping your eyes peeled for The Bottle-O beneath the retro VB sign on the Bass Highway. Make sure to stock up on all the necessary extras — think fizzy seltzers, pre-mixed G&Ts or ciders. You'll be ready to kick off your boots and crack open a cold one as soon as you're in your camp chair. [caption id="attachment_892143" align="alignnone" width="1920"] Tsvibrav[/caption] FOR CLOSE PROXIMITY TO CREATURE COMFORTS: ROAD TRIP TO THE MORNINGTON PENINSULA, CAMP AT WHITECLIFFS FORESHORE RESERVE The Mornington Peninsula is a southern hub of standout food and drinks, luxurious spas, bustling towns and scenic drives. A long weekend is a good stretch of time for a whirlwind tour of the whole locale, while still leaving room to linger at a few top spots. Relax at the famed Peninsula Hot Springs in Fingal — via a curated trip, if you like —experience the seaside playground of the upper crust at Sorrento and Portsea, take a cable car at Arthur's Seat for an unbeatable view, and set up camp at Whitecliffs Foreshore Reserve, just one kilometre outside of the gorgeous coastal town of Rye. You'll want easy dinners after all that driving: stop in at The Bottle-O Dromana on your way through for a few bottles of the local best, then pick up some fancy tins, charcuterie and cheese from Montino Deli. You'll be sorted for the perfect picnic of snacky bits and vino to end your day. Rye is the perfect base for a relaxed weekend, where you can rise, shine, swim and surf, then head home to the city refreshed. [caption id="attachment_891793" align="aligncenter" width="1920"] S Porter[/caption] IF YOU'RE GOING FOR LONGER THAN THE WEEKEND: FLY TO PERTH, HEAD TO MARGARET RIVER, CAMP AT PREVELLY CARAVAN PARK Not technically a road trip per se, but if you have managed to score a few extra days off, why not take a flight to Perth and see what the west has to offer? The routes of the Margaret River are a road-tripper's dream. A region of truly diverse (and delicious) diversions. Snorkel, swim, bask and explore the shoreline, surf where the pros compete and take in spectacular views all the way along. History buffs and art aficionados can do a tour of museums, galleries and cultural sites as they cruise the roads that wind between coast, hill and forest. Nature chasers can seek out a watering hole along the Blackwood River, hike through the towering Boranup Karri Forest, or just take in the changing scenery along your travels. Get aquatic and paddle down the river with a group of other adventurers, or explore Lake Cave with an expert guide. But of course, it's the food and flavours of Margaret River that really give it a place on the map. There's hip cafes and high teas, surfside coffee houses and gourmet delis dotted all over the locale. Buy fresh produce and local goods from family-run makers and provedores, and take it back to Prevelly Caravan Park for the ultimate locavore feast. But what's an epic meal without your bev of choice? Swing by the The Bottle-O Brunswick Liquor on your way — looking for something local, it's wine country after all — to make sure you're deliciously prepared. Wherever the road leads you this weekend, find your nearest The Bottle-O and stock up on some standout bevs. Ready to start planning? Head to the website. Top Image: Maythee Voran; Tommy G; S Porter.
One of the reasons that it's so easy to lose yourself at teamLab Borderless, the acclaimed and hugely popular Tokyo digital art gallery that should be at the top of every visitor to Japan's must-visit list, is the way that its stunning sights keep moving around you. No one just looks at art here — they're truly immersed in it. At RISING 2025, expect that same sensation. When Melbourne's annual winter arts festival returns, expect to step into a field of red beams, too. Whether you're a local or hitting up the Victorian capital just for the fest, expect to never see The Capitol the same way again as well. After first announcing that it'd be getting swinging in 2025 — at mini golf, that is, courtesy of an art exhibition that's also a nine-hole mini-golf course that's taking over Flinders Street Station Ballroom — RISING has unveiled its full program. Hailing from teamLab alum Shohei Fujimoto, intangible #form is a massive highlight. The Japanese artist's free installation will take over The Capitol each evening complete with all of that crimson lighting, which'll respond to your movement. Sparking the feeling losing yourself in its beams and hues is 100-percent the piece's aim. With 65 events featuring 327 artists on RISING's 2025 lineup between Wednesday, June 4–Sunday, June 15, intangible #form is just one of the fest's standouts this year. Another comes courtesy of Suki Waterhouse playing her first-ever Aussie shows, which you can only see in Melbourne at the fest. After proving a drawcard in 2024, Yasiin Bey is returning to RISING in 2025, this time joined by Talib Kweli. Still on tunes, Portishead's Beth Gibbons, Aotearoa favourite Marlon Williams, septuagenarian grime stars Peter Bowditch and Basil Bellgrave, Black Star, RONA, Soccer Mommy and Japanese Breakfast are also on the bill — as is the return of eight-hour music fest-meets-block party Day Tripper, with DIIV, Mount Kimbie, Annie and the Caldwells, Bktherula, Paul St Hilaire and Bad Vacation taking to the stage. [caption id="attachment_994703" align="alignnone" width="1920"] Mathieu Bitton[/caption] If you haven't seen Hedwig and the Angry Inch before, this is your chance to redress that gap in your theatregoing, with this new Australian production of the rock musical starring Filipino Australian singer Seann Miley Moore. And if you've ever wondered if you could manage to sit still — completely — for 90 minutes, Woopsyang's "do nothing" challenge is part of RISING, and asking festival attendees to participate. Or, catch the Australian premiere of Olivier-winning hip-hop dance work BLKDOG by Botis Seva — and then grab a seat for The Wrong Gods, a new piece by S Shakthidharan, the playwright behind RISING 2024's Counting and Cracking. Celebrating Divinyls legend Chrissy Amphlett via cabaret, hearing sound artist Sara Retallick dive deep into The City Baths as a composition space, dancing again at the return of SHOUSE's Communitas, spotting Melbourne Art Trams' latest iteration rolling around town, embracing a playful stage musing on heartbreak with the appropriate soundtrack: that's all on offer, too. [caption id="attachment_994693" align="alignnone" width="1920"] Ryan Cara[/caption] Also on the agenda: peering at large-scale projections that champion Yorta Yorta ancestral connections as they flicker across Hamer Hall, all thanks to Moorina Bonini; discovering what happens when time and sound bend in the void beneath Federation Square; watching six performers work through 36 Shakespeare plays using household objects; and another date with the Bard, with Hamlet staged by a neurodiverse cast. BLOCKBUSTER, also at Fed Square, looks set to live up to its name, giving RISING a free ode to South Asian culture. Think: street food, Pakistani R&B, Punjabi rap, art trucks, workshops and more. To similarly feel spoiled for choice while hitting up just one part of the festival's program, head to Night Trade, which is again part of the program, bringing street, karaoke and microbars to a late-night art market between Capitol Arcade and Howey Place. The list goes on — including Soda Jerk switching from bringing TERROR NULLIUS and Hello Dankness to the big screen to designing a mini-golf hole for the aforementioned Swingers: The Art of Mini Golf. [caption id="attachment_994700" align="alignnone" width="1920"] Woopsyang[/caption] "RISING is about breaking conventions — bringing wild, intimate and unexpected creativity into the heart of Melbourne," said the event's Co-Artistic Directors Hannah Fox and Gideon Obarzanek, announcing 2025's lineup. "We are a festival of art music and performance that is proudly challenging and uncompromisingly inclusive. This year, audiences are invited to navigate a storm of lasers in the prismatic fantasy of the Capitol Theatre, swim through a composition of tactile sound in the City Baths, join in an audio-visual experiment deep under the ground of our town square or compete in the defiant act of doing nothing." [caption id="attachment_994704" align="alignnone" width="1920"] Mandy Wu[/caption] [caption id="attachment_994692" align="alignnone" width="1920"] Netti Habel[/caption] [caption id="attachment_994695" align="alignnone" width="1920"] Steven Marr[/caption] [caption id="attachment_994702" align="alignnone" width="1920"] Eugene Hyland[/caption] [caption id="attachment_994691" align="alignnone" width="1920"] Remi Chauvin[/caption] [caption id="attachment_994699" align="alignnone" width="1920"] Katsuyuki Seki[/caption] RISING 2025 runs from Wednesday, June 4–Sunday, June 15 across Melbourne. Head to the event's website for further information.
Everyone remembers studying ancient Egyptian history in school. Pyramids, pharaohs, boy kings, mummification: they aren't easily forgotten. Your next chance to explore this chapter of the past will get you walking through works from centuries ago, covering the time of Tutankhamun, Ramses II, Nefertari, Khufu and even Alexander the Great, all as part of an impressive exhibition at Melbourne's NGV International called Pharaoh. Meet the venue's midyear blockbuster for 2024, which will fall into Victoria's annual Melbourne Winter Masterpieces season. Following on from 2023's Pierre Bonnard: Designed by India Mahdavi, this middle-of-the-calendar spectacular will run from Friday, June 14–Sunday, October 6 and feature items from the British Museum. That loan is quite significant, too, with Pharaoh including the venue's biggest-ever borrowing of ancient Egyptian jewellery, as well as pieces that previously haven't been shown. [caption id="attachment_918948" align="alignnone" width="1920"] Statue of Ramses II as a high-priest, Abydos, Egypt, 19th Dynasty, reign of Ramses II, about 1279-1213 BC, Limestone, H 171cm, W 71.5cm, D 98cm, © The Trustees of the British Museum.[/caption] In total, more than 500 works will be on display as the NGV peers back at Egypt from the 1st Dynasty to the Roman era — so, from around 3000 BCE to the 4th century CE. Expect to see plenty of gleaming artefacts given that focus on ancient Egyptian jewellery. The exhibition will also span coffins and other funerary items, as well as examples of architecture spanning tombs, temples, and also massive monuments and sculptures. "Pharaoh seeks to introduce a new generation of visitors to the perennially fascinating visual culture of ancient Egypt through an unprecedented exhibition of sculpture, architecture, jewellery and more from the British Museum in London," said NGV Director Tony Ellwood AM, announcing the exhibition. "The NGV's exhibition will place precedence on the exceptional craftsmanship of the ancient Egyptians, highlighting their refined artistic sensibility and technical skill." [caption id="attachment_918946" align="alignnone" width="1920"] Shabti of Pharaoh Sety I, Tomb of Sety I, Valley of the Kings, Thebes, Egypt, 19th Dynasty, reign of Sety I, about 1294-1279 BC, Blue faience, H 22.8 cm, W 9.6 cm, D 9.6 cm, © The Trustees of the British Museum.[/caption] Among the specific highlights, a hefty wall from a 2.5-metre-high, three-metre-wide limestone wall from a mastaba tomb dating back to the Old Kingdom is one of them — complete with hieroglyphic texts carved into the surface. Also going big: a huge fist made of stone from a statue of Ramses II that hails from Memphis, in the temple of Ptah, and weighs in at almost 1.5 tonnes. Still on that particular ruler, Pharaoh will feature an enormous limestone statue of Ramses II that shows him as a high priest. Visitors will also be able to see a seated statue of Sety II, Ramses II's grandson, which is also notable for being one of the most complete sculptures that still exist from the time. Or, check out Pharaoh's oldest item, a five-centimetre-wide ivory label that shows the 1st Dynasty's King Den. Jumping forward, a green siltstone head of the 18th Dynasty's Tuthmose III wearing the cobra headdress will also feature. [caption id="attachment_918943" align="alignnone" width="1920"] Ivory label with King Den, Abydos, Egypt, 1st Dynasty, about 2985 BC, Ivory, H 4.5cm, W 5.3cm, D 0.3cm, © The Trustees of the British Museum.[/caption] Among the gold, silver and gemstone-studded jewellery, everything from rings and necklaces to collars and girdles will be on display — and as sourced from tombs, so will amulets that were placed to protect the deceased, to examine the role that adorning bodies played in ancient Egyptians' beliefs about the afterlife. Pharaoh won't just focus on jewels used after death, however, with pieces from places such as Akhenaten's royal city Amarna also part of the exhibition as it examines everyday life. Still on royals, the showcase will boast objects from Deir el-Medina, where the craftspeople who were responsible for carving and decking out the Valley of the Kings' royal tombs resided. Here, attendees will see letters, notes, sketches and poems carved on limestone fragments. "The British Museum's collection of ancient Egyptian objects — one of the most comprehensive outside of Egypt — tells the fascinating story of life and death in the ancient Nile Valley in unparalleled depth and breadth. We are thrilled to be able to share the collection with the Australian public and celebrate the extraordinary artistry of the ancient Egyptians with a new international audience," added Daniel Antoine, the British Museum's Keeper, Egypt and Sudan. While Pharaoh is exclusive to Melbourne, it's about to become a great time to step back to this chapter in the past Down Under, with Ramses & the Gold of the Pharaohs also on the way to the Australian Museum in Sydney to display more 181 rare artefacts and treasures. [caption id="attachment_918944" align="alignnone" width="1920"] Ornament of a winged scarab holding a sun-disc, Provenance unknown, possibly Thebes, Egypt, 12th Dynasty, reign of Senusret II, about 880-1874 BC, Electrum, lapis lazuli, cornelian and feldspar, H 1.8cm, W 3.5cm, D 3cm , © The Trustees of the British Museum.[/caption] [caption id="attachment_918947" align="alignnone" width="1920"] Statue of a lion erected by Amenhotep III, reinscribed by Tutankhamun, Gebel Barkal, Sudan, 18th Dynasty, reign of Amenhotep III, about 1390-1352 BC, Red granite, H 117cm, W 216cm, D 93cm, © The Trustees of the British Museum. [/caption] [caption id="attachment_918942" align="alignnone" width="1920"] Head of colossal statue, probably of Amenemhat III Bubastis, Egypt 12th Dynasty, reign of Amenemhat III, about 1854-1808 BC Granodiorite H 83cm, W 85cm, D 71cm © The Trustees of the British Museum.[/caption] [caption id="attachment_918950" align="alignnone" width="1920"] Ostracon showing Khnummose worshipping Meretseger, Deir el-Medina, Egypt, 19th–20th Dynasty, about 1295-1069 BC, Limestone, H 16.5 cm, W 20.2 cm, © The Trustees of the British Museum.[/caption] Pharaoh will display at NGV International on St Kilda Road, Melbourne from Friday, June 14–Sunday, October 6, 2024 — head to the NGV website for further details and tickets. Top image: Plaque of Amenemhat IV, Probably Byblos, Lebanon, 12th Dynasty, reign of Amenemhat IV, about 1808- 1799 BC, Gold, H 2.9 cm, W 3.1 cm, D 0.1 cm, © The Trustees of the British Museum.
"Driving." That's one of the words that Justin Hurwitz uses to describe the sound of Babylon, with his score to Damien Chazelle's new Hollywood-set film after La La Land frequently thumping with a propulsive beat. An array of other terms come to mind while hearing the two-time Oscar-winning composer's latest effort kick in throughout the Margot Robbie (Amsterdam)-, Brad Pitt (Bullet Train)- and Diego Calva (Narcos: Mexico)-starring movie, including at party after party, too. It's urgent. It's infectious. It's as spirited as the liveliest of raucous shindigs. From go to whoa, a handful of quieter moments aside, it bustles with big and jazzy lose-yourself-to-dance energy. For the picture that just nabbed him his fourth Golden Globe, Hurwitz is soundtracking the City of Stars' Jazz Age, after all. And, as viewers of his and Chazelle's past features know — Guy and Madeline on a Park Bench, Whiplash and La La Land, with their fourth collaboration on First Man being the only exception — this pair doesn't just like but loves jazz. Babylon's score doesn't simply stick with the obvious, however. Exploring an era where giving oneself over to Los Angeles' star factory and its indefatigable shenanigans was all the rage in the movie's view, it takes its inspirations as broadly as Hurwitz can find them, all to help set a pace and vibe for a flick that throws almost anything it can at the screen — from glitz and glamour to copious amounts of drugs and body fluids — to paint its buzzing, pulsating portrait. [caption id="attachment_885697" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] Babylon follows its three central figures — Robbie's aspiring actor Nellie LaRoy, Pitt's established star Jack Conrad and Calva's industry jack-of-all-trades Manny Torres — as they weather everything that chasing their dreams thrusts their way. Given that the picture commences in 1926, that means traversing the Golden Age's wild highs and big changes alike, with the latter spanning the move from silents to synchronised sound from The Jazz Singer onwards, what that meant for actors now featuring in talkies, and shifting moral and societal standards of the period. Nellie parties herself into her big break, then gets saddled with the realities and contradictions of sudden fame. Even with his years of experience, Jack's ongoing lustre in the limelight is far from secure. And Manny does whatever he needs to to get jobs, turn them into better gigs, and keep climbing his way up. For all three, the successes are glorious, but the costs are significant. There's no reprieve from Tinseltown's relentlessness, or its allure, in Babylon. Hurwitz's earworm of a score is similarly persistent; having it lodged in your head long after watching comes with viewing the film. But what does it take to create that irresistible sound? To give a 1920s- and 1930s-set movie a unique but fitting soundtrack? To hark back a century ago, but interpret it with modern sensibilities? Ahead of Babylon's release Down Under on January 19, we chatted with Hurwitz about making a feature that it feels like he and Chazelle were fated to, his processes, the film's rock 'n' roll and modern dance music influences, and more. [caption id="attachment_885698" align="alignnone" width="1920"] Brad Pitt, Diego Calva and Director Damien Chazelle on the set of Babylon from Paramount Pictures.[/caption] ON GETTING JAZZY WITH DAMIEN CHAZELLE — AGAIN When you've teamed up with someone on five films, you clearly share a connection — and a wavelength. For Hurwitz and Chazelle, that started two decades back, when they both attended Harvard, met as freshmen and became roommates. And, before they were making movies, they were making music as early members of indie pop band Chester French. Yes, jazz was an influence. Chazelle was a jazz drummer, after all, and Hurwitz a pianist and percussionist. It's no wonder that the genre had an influence on their filmmaking; in fact, it'd be more surprising if it didn't. Still, while Babylon might seem like a dream for the duo, it's a long-in-the-works effort for Chazelle but a relatively new project for Hurwitz. "I didn't know about this film till 2018," he advises. "Damien told me that this was what he was writing. He'd been working on it for a long time, which I actually just learned — I learned a couple of days ago that he'd been thinking about this movie for like 15 years. I had no idea. So I guess it was part of his evolution somehow, from the other jazz movies he made." "For me, I didn't start thinking about this until a few years ago, and didn't start actually working on it till 2019. There's definitely some commonalities with the other things we've made, but I hope it's different — I hope the music sounds like its own thing." ON TURNING CHAZELLE'S SCRIPTS INTO MUSIC How does a composer start conjuring up the sound for a film, especially when it is intricately tied to a specific period of music history? For Hurwitz, it's "the script. I always start with the script". With Babylon, he says, "Damien sent me a script, and we started marking it up and talking about where is there going to be music and where won't there be music." "A lot of the music sequences were very complicated because there were a lot of performances, but also the same pieces of music had to then extend into other parts of the movie. You might have a little bit of a performance, or a little bit of Jovan's [Adepo, as a trumpeter Sidney Palmer] character playing, but then that music spills over into a montage into something else. So we had to think about what could serve the performance, but also what could serve the sequences dramatically." "You really start with asking 'what do we want to feel?' Just looking at the scenes, what do we want to feel? And then I sit down, I start writing music at the piano or using some samples, some virtual instruments, and just trying to create sounds that feel — whether it's an aggressive driving piece, if we really want to feel something that's pounding you in the face, or if we want feel something sweeter. Whatever it might be, I just start trying to noodle around and sketch in the melodies that have whatever mood we're trying to feel." ON DRAWING ON MORE THAN THE OBVIOUS MUSICAL INFLUENCES Jazz Age-set film, Jazz Age-adoring score, right? That might be the easy and obvious equation, but it wasn't Hurwitz's approach to Babylon. In its narrative, its visuals and its atmosphere, Chazelle is always pushing — as are his characters, and is Hollywood back at them. And, as tunes like 'Voodoo Mama', 'Call Me Manny' and 'Damascus Thump' make plain, so is Hurwitz. "I know certainly I was trying to push the music, ironically, a lot more contemporary than anything we've done — even though this movie is 1920s, and it's an earlier time period than anything we've done," he explains. "I was trying to push the music more modern, more aggressive, more inspired by rock 'n' roll and modern dance music. So for me it feel pretty new — like a new flavour." "I was really trying to stay away from music from the era, actually. I didn't want to listen to 1920s music, because we didn't want to have 1920s music in the movie really. So I was taking more inspiration from rock 'n' roll — imagining what it could feel like if you had rock 'n' roll riffs played on brass, played by a jazz band or a horn section. Or things that could easily be on a distorted guitar, but what if you give it to a couple of trumpeters? So that was a thought process." "I was listening to the Rolling Stones and AC/DC, and things like that. And also listening to a lot of electronic dance music, and getting inspired by the dance rhythms and dance hi-hat and driving, 808 kick-drum feels — and sort of risers and drops, and those sort of moments that build anticipation and then explode and get you wanting to mood. I was taking inspiration from modern dance music for that kind of feel." ON THE RANGE OF SOUNDS IN 'BABYLON' Hurwitz didn't just vary his influences when composing Babylon's music (one tune, 'Manny and Nellie's Theme', even sparks La La Land flashbacks). For a film that he describes as having "a lot of other weird stuff", he employed a wide range of instruments and noises. "There's a lot of circus and carnival sounds," he says. "I was recording kazoos and slide whistles, and party horns for some of the tracks." "There's erhu, which is a bowed Chinese instrument. There's a lot of world percussion. There's African percussion, Latin percussion, Asian percussion. There are very eclectic sounds in this movie, to match the very eclectic world of this movie — and of the 20s." "People were really thinking about far-off places of the world, so there was a lot of exoticism, even if it was campy exoticism. Like, you go to theatres [from then] in LA and it's Egyptian style and it's all a little campy — it's obviously not really Egyptian. But people were just interested in it back then, so we tried to bring in certain flavours. That's a very long way of saying that the influences were far and wide." Babylon screens in Australian and New Zealand cinemas from January 19. Read our full review.
Melbourne's food and drinks scene is synonymous with diversity, community and, of course, trendiness. From renowned fine dining to world-famous coffee, great market culture and even being the birthplace of the dim sim, Melburnians have a lot to brag about. This also includes having some of the best casual eats in the country. Whether you want a slice of piping hot pizza, a scoop of artisanal gelato or a burger with the lot, Melbourne has you covered. To get the lowdown on the city's fast-food scene, we recently caught up with three hospo entrepreneurs (and genuine legends) for a lunchtime live-stream. Keep scrolling to catch highlights from our chat with the gelato queen behind Piccolina, Sandra Foti; pizza pro from Small Print Pizza, Adam Chapman; and the brains (and stomach) behind Easy's and Jimmy's Burgers, Jimmy Hurlston. https://vimeo.com/723639126 HARD WORK REALLY DOES PAY OFF We're sorry to break it to you but our hospo legends didn't rise to the top without putting in a whole lot of hard work first. Sandra Foti shares that she comes from a "really entrepreneurial family" and that upbringing shaped her approach to business. "I learned that work ethic — nothing comes for free. People say 'how did you do it?'. It's like: because I work my backside off every single day," she says. The secret? Finding something you're passionate about. "I go into work every day and I absolutely love it. It doesn't feel like work, it's like a hobby," she shares. https://vimeo.com/724345108 FAILURE IS NOT AN OPTION Second to hard work is the trio's refusal to fear failure. Quick, bold decisions are the name of the game — this was the approach that Foti took when she first made the call to open a gelateria. "You're in the deep end, you move fast, you put yourself all in. Nobody wants to fail so you just...don't fail," Foti shares. This mantra surely helped her and our other guests persevere during Melbourne's seemingly endless lockdowns throughout 2020–2021. But the challenges aren't over. "It's tough out there at the moment with the cost of goods going up so much. So I am doing everything I can to keep us afloat: pump out some more marketing, make some changes in the kitchen," Chapman tells us. THE PIVOT IS AN ASSET Another common thread among our three guests is that their backgrounds are so vastly different from where they've found themselves in the hospitality realm. For starters, Chapman studied property and real estate at university, while Hurlston went from working in law to writing a book about hamburgers. But their past careers weren't a waste of time. Hurlston flexes his finely honed negotiating skills daily. And Foti, who studied graphic design, tells us that her training "unconsciously drives everything" she does. Take stock of Piccolina's impeccable branding and you'll see that to be true. https://vimeo.com/724340440 COMMUNITY MEANS EVERYTHING What makes the Melbourne hospo scene thrive? Community spirit might have something to do with it. Hurlston built his reputation as a burger connoisseur with the Instagram account @JimmysBurgers, giving shoutouts to the country's best burgers, sambos and all-around good eats. The golden rule of his account is the age-old saying "if you don't have anything nice to say, don't say it". Chapman also refuses to engage in any negative conversation on surrounding businesses. Instead, the consensus is that promoting your competitors rather than trying to take them down means creating a stronger industry for everyone involved. "I'd much rather promote the industry I'm in because the more people that love it and thinking about it, the more customers you get out of it. It was about creating a bigger industry and a bigger space that I worked in," Hurlston says. You can watch the full episode of Hot Takes & Takeaways on our Facebook page. If you'd like to learn more about what restaurants are doing to innovate right now, check out Uber Eats' Enterprise Hub.
Music lovers Down Under are accustomed to bands only playing in parts of Australia and New Zealand, sparking fan travel plans to other cities. When Coldplay brought their Music of the Spheres world tour this way on Saturday, November 18–Sunday, November 19, it did so only at an exclusive Perth leg of the tour that marked their only stop in this neck of the woods for 2023. Start getting excited about 2024, however — because Coldplay already have. It'll be all yellow in Melbourne for two October dates next year, then in Sydney for a pair of November shows — and also in Auckland for a one-night visit the same month. The Chris Martin-fronted band will play Marvel Stadium on Wednesday, October 30–Thursday, October 31, then Accor Stadium across Wednesday, November 6—Thursday, November 7, before heading to Eden Park on Wednesday, November 13. Coldplay's current tour kicked off in March 2022, meaning that the band will have been on the road for almost three years when they make their return to Australia and Aotearoa. Packed stadiums have also been awaiting; every show between now and October 2024 has already sold out, with the group playing Kuala Lumpur, Manila, Singapore, Bangkok, Athens, Bucharest, Budapest, Lyon, Rome, Düsseldorf, Helsinki, Munich, Vienna and Dublin before their return trip Down Under. So far, over nine million tickets have been sold since the beginning of the tour. When they take to the stage in Sydney, Melbourne and Auckland, the British band will play their first shows in each city since 2016. Fans can look forward to a setlist that covers Coldplay's 26-year history — 27 by the time those October and November 2024 dates roll around — including everything from 'Clocks', 'Fix You' and 'Sparks' to 'A Sky Full of Stars', 'Viva la Vida' and 'The Scientist. PinkPantheress and Emmanuel Kelly will be on supporting duties — and the tour's infinity tickets will be back, releasing at a later date and letting fans attend for $32 per ticket. COLDPLAY 'MUSIC OF THE SPHERES' WORLD TOUR AUSTRALIA AND NEW ZEALAND DATES 2024: Wednesday, October 30–Thursday, October 31 — Marvel Stadium, Melbourne Wednesday, November 6—Thursday, November 7 — Accor Stadium, Sydney Wednesday, November 13 — Eden Park, Auckland Coldplay will tour Australia and New Zealand in October and November 2024, with pre-sale tickets available from 10am local time on Wednesday, November 29 and general sales from 10am local time on Friday, December 1. Head to the Coldplay website for further details and to register for the pre sale. Images: Anna Lee.
If you're the kind of person who orders the cheese plate for dessert, this limited-time Melbourne high tea experience is all for you. From now until Saturday, September 21, The Westin Melbourne's Allegro Restaurant is serving up High Cheese in collaboration with The Studd Siblings. For $105, you get a three-tiered selection of cheese-filled sweet and savoury bites, making for one brie-lliant afternoon of fancy feasting. Start off with cloth-aged cheddar and candied apple scones before diving into five different cheese-filled savoury treats on the middle tier, including a tomato tartare tart and welsh rarebit. You'll then finish with desserts like chocolate basque cheesecake and goat's curd panna cotta. There's no way you're going to be hungry after all this, although you might want a mint — this high tea will feature some fairly stanky cheeses. The price includes a glass of Scotchmans Hill wine, but the team can always provide more pairings as you navigate these cheesey tiers. The High Cheese experience is available from Wednesday–Saturday, and you'll need to book ahead as walk-ins aren't accepted.
It's more than alright to live above your means occasionally and embrace your more pretentious desires — in fact, it's good for your soul and your mental health (just maybe not your wallet). Perhaps for you it's doing a yoga class in a fancy-smelling studio, paying full price for avocados at the organic grocers, or buying the non-house red wine. Or going out for a 'light dinner' and then spending your rent money on wheels of triple-cream brie. Together with American Express, we want to help you treat the part of you that wants to get monthly massages but maybe doesn't touch on your Myki all that often. With this list, we will guide you through realising your Champagne dreams on your beer budget with some guidance on where you can whip your Amex out, wave it, promptly forget, and then not get too much of a fright the next day upon looking at your bank account. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
This year hasn't been great for anyone; however, if you're a Parks and Recreation fan, a few tiny slivers of happiness have poked through. First, the Amy Poehler and Nick Offerman-hosted crafting series Making It finally hit screens Down Under. Then, the entire Parks and Rec main cast reunited for a one-off, COVID-19-related new episode. And now, Making It is returning for a second season. Premiering in the US in 2018 but only airing its first season on Australian screens via Foxtel earlier in 2020, Making It sees Poehler and Offerman them step into the competitive reality TV show realm. That domain isn't for everyone, but even if you usually completely abhor the genre, its manufactured dramas and its saturation across the small screen, you'll be smiling heartily at Poehler and Offerman's kind-hearted, extremely likeable and all-round nice show. Focusing on DIY crafting, and celebrating both great craftsmanship and genuine camaraderie, it's basically Project Runway — but hosted by Leslie Knope and Ron Swanson. With Poehler and Offerman leading the charge, it's warm-natured, filled with crafting puns and other gags, and showcases folks trying to do their best, helping each other and enjoying themselves. Basically, it's the feel-good, light-hearted viewing we could all use at the moment. And, when there's a stereotypical moment of heightened tension, it's because Making It is overtly making fun of reality TV's usual theatrics. When you're not watching Poehler and Offerman hang out in a tiny house — yes, really — viewers can soak in the talents of contestants who happen to be handy with a glue gun, great at woodworking, skilled at working with felt and other such crafty endeavours. The competitors complete two tasks per episode, with one person sent home at the end of each episode. The last person standing at the end of the season is crowned the show's 'Master Maker' and wins $100,000. If you watched the first batch of episodes and instantly wanted more, Making It's eight-episode second season will start streaming via Binge from Friday, July 31, with new episodes dropping weekly — and, like season one, this is a case of better late than never. Expect the show's contestants whip up everything from mailboxes and costumes to holiday wreaths and pet homes, and to laugh quite often at Poehler and Offerman's jokes. While the star duo do the hosting — and do it well, naturally, even picking up an Emmy nomination for their efforts — the judging falls to Etsy trend expert Dayna Isom Johnson and window-dresser and fashion commentator Simon Doonan. Check out the second season trailer below: https://www.youtube.com/watch?v=NhWFiFfrbY0 Making It's second season will be available to stream via Binge from Friday, July 31, with new episodes dropping weekly. Top image: Making It.
Winter's taken hold and truffle season is upon us, which can only mean one thing — it's time to celebrate one of the world's fanciest ingredients at Melbourne's huge annual truffle festival. Thought to be the largest celebration of its kind outside of Europe, Truffle Melbourne is back for its eighth edition this month, hitting the Queen Victoria Market's J and K Sheds from Saturday, July 10 to Sunday, July 11. In between watching some four-legged friends doing live mock truffle hunts, you'll be able to sample a huge variety of sweet and savoury truffle-infused dishes across the weekend — think, truffle mac and cheese, truffle-topped pizza, truffle cannoli and more. There's even a four-cheese truffle gnocchi served hot from a parmesan wheel. Or, get your truffle fix in liquid form, thanks to the bar's specialty truffle-charged lineup of espresso martinis, G&T's, beers and ciders. For kitchen inspiration, much-loved chefs including Guy Grossi (Grossi Florentino), Joseph Vargetto (Mister Bianco), Eileen Horsnell (Napier Quarter) and Jesse Gerner (Bomba) will host a program of cooking demonstrations covering everything from pork and truffle dumplings to a black truffle tiramisu. And if you're in the market for some take-home truffle, there'll be plenty of stock from five of the country's leading growers, along with truffle-inoculated trees for planting at home.
As the federal government continues to drag its feet resettling refugees fleeing the Syrian conflict (Australia had managed about 6000 by last November. Canada by comparison, was at well over 30,000), it falls once more to the non-political professions to show the government where the hands go on the humanitarian clock. This time, it's hospitality's turn. On February 27, UNICEF Australia will partner with ten of the country's best chefs for a charity dinner celebrating Syria's strong culinary tradition. Three Blue Ducks in Roseberry will host the posse of gastronomers as they prepare a banquet comprising their signature dishes with a few Syrian flourishes. If you've never been at the mercy of za'atar, pomegranate, Aleppo pepper or tamarind, this could well be a revelation. Tickets are a steep $320 per person (plus booking fee), which includes canapés, cocktails on arrival, a shared Syrian-inspired feast and wine. It may seem on the surface like you're paying for the food, but ten professional chefs jammed into a single kitchen also suggests a night of great theatre. Bennelong's Pete Gilmore, Long Chim's David Thompson and The Bridge Room's Ross Lusted will be in the fray, with Paul Carmichael from Momofuku Seiobo and Ester's Matt Lindsay contending for next use of the colander with equal ferocity. If you've ever wanted to see Kylie Kwong trying to slice potato with steel wool or fighting a pitched battle for the top shelf of the oven, this could well be your chance. While the top guns will have their turn on February 27, UNICEF Australia is encouraging anyone with passing knowledge of an oven to contribute. Restaurants and cafes can produce a limited edition 'Syria' version of a favourite dish, of which a portion of the proceeds will go to UNICEF. For those who deal in culinary delight on a slightly smaller scale, bakes sales are your recommended course. While you're waiting for the oven to pre-heat, there's more information here.
Everyone should make the trip to Victoria's Grampians at least once, and here's as ace an excuse to do so as any: the return of much-loved camping festival Pitch Music & Arts. In 2024, it'll host its seventh edition, taking over Moyston again — and the fest's just-dropped lineup is worth getting excited about. The long-running celebration unleashes its fun across the Grampian Plains, with next years' festivities happening from Friday, March 8–Tuesday, March 12. Not only will its three stages play host to a sparkling lineup of local and international musical talent, but the tunes will be backed by a hefty program of interactive art and installations. Basically, you're in for a very big, very busy four days. On the lineup: Janson, Patrick Mason, I Hate Models, 999999999, Job Jobse, Marcel Dettmann and VTSS, for starters. X CLUB., CC:DISCO!, DJ BORING, Kia and Jennifer Loveless are also on the bill, plus everyone from Chaos in the CBD, Sally C, Gabrielle Kwarteng and SALOME to jamesjamesjames playing back to back with Willaris. K, Glass Beams, Sophie McAlister and Tangela. The tunes will be paired with a yet-to-be-announced arts program, but past years have seen street artist Adnate, installation king Clayton Blake (winner of Best Art at Burning Man 2018) and Gumbaynggirr woman Aretha Brown from KISS MY ART do the honours. In between all the dance-floor sessions and arty things, festivalgoers can again make themselves at home in the Pitch Pavilion, which is where yoga classes, meditation and sound baths usually help patrons unwind. If that all sounds like your true calling, you'll have to enter the Pitch Music & Arts 2024 ballot where, just like in 2023, entrants will be required to make a 'Pitch Pledge' — a written commitment to positively contributing to the Pitch community, leaving no trace and behaving respectfully while onsite. PITCH MUSIC & ARTS 2024 LINEUP: 999999999 Ahadadream Akua Anz Aroha Aurora Halal Bailey Ibbs Bambounou Bertie Bitter Babe Cakes Da Killa CC:DISCO! Chaos in the CBD Chippy Nonstop Chlär Clara Cuvé Cromby dameeeela b2b DJ PGZ Dan Shake Daniel Avery DJ BORING DJ Gigola Gabrielle Kwarteng Gerd Janson Glass Beams Hasvat Informant Horse Meat Disco I Hate Models jamesjamesjames b2b Willaris. K Jennifer Loveless JNETT Job Jobse Kessler Kia KiNK KSMBA LB aka LABAT Mac Declos Mama Snake Marcel Dettmann Mark Blair Matisa MC Yallah & Debmaster MCR-T Memphis LK Moopie Narciss Nene H Nite Fleit ØTTA Patrick Mason priya RONA. Sally C SALOME Sedef AdasÏ Shampain SHERELLE Sophie McAlister Special Request Spray Surusinghe Tangela THC TYGAPAW VTSS X-Coast X CLUB. Yikes Pitch Music & Arts will return to Moyston from Friday, March 8–Tuesday, March 12, 2024. Head to the festival's website for further details, or to enter the ballot before 12pm AEDT on Wednesday, November 8. General tickets will go on sale from 6pm AEDT on Monday, November 13. Top Images: Duncographic, William Hamilton Coates and Ash Caygill.
Already dreaming of warmer days? The annual Tesselaar Tulip Festival is set to feature close to one million tulips planted across five acres of farmland, offering the perfect excuse to wander through endless fields of flowers to celebrate the start of spring. The tulip farm will come alive for its famous festivities from Saturday, September 16–Sunday, October 15, with a calendar of themed weekends promising something for all. Running September 16–17, Turkish Weekend will dish up a program of live art, music and food in honour of the country that played host to the first tulip festival over 400 years ago. Then, Dutch Weekend (September 22–24) will transport you straight to Holland, homeland of the festival's founders Cees and Johanna Tesselaar. Get set for clog dancing, sjoekbak (Dutch shuffleboard) and, in a recreation of Amsterdam's famed Alkmaar Cheese Market, a host of traditional eats — last year this included oliebollen (Dutch dumplings), bitterballen (meatballs), poffertjes and Tesselaar's signature Double Dutch ice cream. More great eating awaits at Food, Wine & Jazz Weekend (September 29–October 1), where you'll enjoy local drinks and gastronomical delights among the tulips. Also on the bill: a couple of Children's Weeks, a weekend devoted to retro rock 'n' roll, and an Irish Weekend filled with craic. Tickets are available at the farm, but you can buy them online in advance from August 1 to skip the queue.
UPDATE, April 19, 20201 The Invisible Man is available to stream via Amazon Prime Video, Binge, Foxtel Now, Google Play and YouTube Movies. In the latest version of The Invisible Man, Universal unwraps the bandages from one of its iconic horror figures in an astute, unnerving and thrillingly contemporary fashion. But it almost didn't happen, with the studio originally pursuing completely different plans. Let's all take a moment to thank the cinema gods that Tom Cruise's stint as The Mummy didn't work out. If his time dallying with Egyptian spirits had been a success, we'd now be watching Johnny Depp as The Invisible Man instead. That's what Universal's 'dark universe' — aka the studio's modern-day remakes of its old 1930s monster movies — had in store. Then the 2017 version of The Mummy proved a flop, forcing the company to change course. Suddenly, Depp's slated film disappeared into thin air just like the imperceptible man he was supposed to play. So too did an Angelina Jolie and Javier Bardem-starring take on The Bride of Frankenstein. And that left Universal with a gap — which Australian writer/director and Saw co-creator Leigh Whannell fills grippingly and convincingly with his top-notch update of cinema's most famous see-through character. In the Upgrade filmmaker's hands, The Invisible Man has been through some significant changes since HG Wells' 1897 novel and James Whale's 1933 first film adaptation. In fact, this movie doesn't really tell the eponymous figure's story, but that of the woman terrorised by the unseen guy. After years of suffering through an abusive relationship with hotshot optics pioneer Adrian Griffin (Oliver Jackson-Cohen), Cecilia Kass (Elisabeth Moss) works up the courage to leave him. Fleeing from his remote mansion in the middle of the night with the help of her sister (Harriet Dyer), she's petrified that he'll track her down and retaliate. But, as she hides out with a cop friend (Aldis Hodge) and his teenage daughter (Storm Reid), word arrives that Adrian has committed suicide — although when strange things start happening around Cecelia, she's convinced that he's still somehow messing with her. To not only make The Invisible Man today, but set it in today's world too, two areas needed to be addressed. The first is technology, recognising that turning a person invisible is far more plausible than it once was — and that being involved in someone's life without being physically present isn't just possible these days, but commonplace. The second is gender politics. Watching a man terrorise a woman sight unseen has very different connotations in the 21st century, as does the stalking and gaslighting that comes with it. Crucially, Whannell embraces the complexities of both areas in this thoroughly modern take on the tale, switching focus from villain to victim, and bolstering his narrative by pondering the underhanded capabilities of technology as well as the ongoing problem that is domestic violence. Accordingly, this slow-building version of The Invisible Man isn't an account of a scientist corrupted by his latest discovery, as seen in its predecessors. Rather, it's a portrait of a woman at the mercy of a man who'll do anything and use any means to get what he wants. The end result: psychological horror mixed with futuristic science-fiction and layered with a piercing societal statement, and it's as effective as it sounds. Of course, anyone who saw Upgrade will realise that this is the only interpretation of The Invisible Man that Whannell could've made. The Aussie filmmaker continues his fascination with body modification and tech-enabled surveillance, as well as his fondness for hyper-kinetic action, a pervasive mood of dread and tension, and a sparse, sleek look — plus his interrogation of the kind of society that, with not too many imaginative tweaks needed, we just might be headed for. Forgetting the terrible Insidious: Chapter 3, the only blip on his directorial resume to date, Whannell is swiftly establishing a reputation as a genre filmmaker with smarts, style and something to say — as well as the skill to combine all of the above into a thrilling, harrowing and engaging package. He also has canny casting instincts, with The Invisible Man as much Moss' movie as Whannell's. The Handmaid's Tale and Her Smell actor has had more than a little practice in this terrain of late — aka battling insidious enemies, navigating persecution, and devolving into distress, distrust and paranoia — and she draws upon that experience here. Indeed, watching someone face off against an unsighted foe can play as hokey or unintentionally comic, but not with Moss and her haunted yet determined stare taking centre stage. This definitely isn't the movie that Universal imagined when, high on dreams of building its own megastar-studded, monster-fuelled universe, the studio announced its now-defunct Depp-led project. That's something else to continue to thank the movie gods for — because no one needed Depp's usual daffy schtick wrapped in gauze, but cinema definitely does need Whannell's savvy, unsettling, spirited and refreshing The Invisible Man remake. Great horror movies have always reflected and responded to the times they're made in and, in the same vein as Jordan Peele's Get Out and Us, The Invisible Man helps lead the charge as the 21st century reaches its third decade. This is a socially conscious, savagely creepy, supremely clever reinterpretation of a classic scarefest that takes every part of that equation seriously. https://www.youtube.com/watch?v=KLAJyugYEiY
Inspiration strikes in plenty of places, including while watching movies — and if you've ever sat down in a cinema or on your own couch, directed your eyes towards a film and seen your style dreams flicker across the screen, then you might be interested in Melbourne's latest pop culture-themed pop-up. You'll need to make a choice, though: do you want to look like Ryan Gosling or Chris Evans? To be specific, would you prefer a goatee like Gosling wears in Netflix flick The Gray Man, or a moustache — a "trash 'stache", as Gosling's character calls it — that's donned by Evans as the film's villain? That's what's on offer for three days only in Melbourne, from Friday, July 29–Sunday, July 31, as part of the streaming platform's Good Guy Goatee/Bad Bro Mo Barber Shop in Fitzroy. No, you can't go rogue and ask for Gosling's Barbie look or Evans' Captain America aesthetic — this is all about The Gray Man, so looking like you've stepped out of the spy thriller is the only thing on the menu. This movie-inspired makeover is free, too, and open to everyone. Walk-ins are welcome, or you can reserve a spot online in advance. If you don't have facial hair of your own, but you'd like some, there are even stunt goatees and 'staches on offer. Otherwise, you'll slide into the barber's chair to get Gosling's rugged stubble or ape Evan's top lip. [caption id="attachment_855170" align="alignnone" width="1920"] Stanislav Honzik/Netflix © 2022[/caption] The barbershop setup has also been decked out to suit the film, so patrons will find other bits and pieces in store, including posters and pictures. If you want to spend time arguing with your mates while you're there about that Evans-style mo — to really mirror the on-screen Gosling and Evans banter — that's obviously up to you. For those who haven't seen the movie, The Gray Man stars Gosling as off-the-books CIA assassin Sierra Six, who finds himself being hunted by another killer who fits that description — Evans' gleefully unhinged Lloyd Hansen. Cue a globe-hopping espionage-fuelled affair that's brings together familiar pieces, but also isn't without its charms, in no small part thanks to its impressive cast. And yes, these kinds of pop culture experiences are popping up frequently in Australia lately. Just a few months back, an Everything Everywhere All At Once-inspired multidimensional laundromat did the honours in Melbourne, too — and Cinema Nova also decked itself out The French Dispatch-style over summer. Up in Sydney, the giant 'Red Light, Green Light' doll from Squid Game made an appearance by the harbour, and a Stranger Things rift opened up on Bondi Beach. Now, are you a Gosling or an Evans? Find the Good Guy Goatee/Bad Bro Mo Barber Shop at 306–308 Brunswick Street, Fitzroy — open from 12–7pm on Friday, July 29–Saturday, July 30, and from 10am–5.30pm on Sunday, July 31. Walk-ins are welcome, or you can reserve a spot online in advance. The Gray Man is currently playing in Australian cinemas, and is available to stream via Netflix — read our full review. Top image: Paul Abell/Netflix © 2022.
Much-loved nerdy white guy and Seth Cohen-endorsed musician Ben Folds is bringing his upbeat brand of piano pop back to Australia at the end of this year. Though you might remember his music best from the battered walkman you rocked in the late '90s, rest assured that this talented US Adelaide enthusiast is still a force to be reckoned with. And nothing proves this more than the fact that his backing band will be the nation's best symphony orchestras. From mid-November, Folds will be touring all of Australia's major cities (except Brisbane, oddly enough) performing with each state's respective orchestral talents. Taking both excerpts of his new Concerto for Piano and Orchestra as well as jazzed up versions of his old pop hits, this dynamic musician will be creating an exciting and unique show in some of the nation's best venues. Of course, this is a tour Folds is familiar with. He's performed with some of the world's best orchestras over the past decade, and before he gets to our shores this year, he'll be taking the Ben Folds Orchestra Experience all around Europe. Hardcore fans might even remember that Australia was the site of his first orchestral work — this performance with the Western Australia Symphony Orchestra was immortalised on film in 2005. But you don't need to know all that to enjoy the show. Whether you have a long history with 'Brick' and the rest of his early work, or just really like that Triple J Like A Version he did of 'Such Great Heights' — this is a show not to be missed. Ben Folds tour dates: November 14 and 15 — Sydney Opera House with the Sydney Symphony Orchestra November 28 and 29 — Perth Concert Hall with the Western Australia Symphony Orchestra December 5 — Festival Theatre with the Adelaide Symphony Orchestra December 10 — Wrest Point Entertainment Centre with the Tasmanian Symphony Orchestra December 19 and 20 — Arts Centre Melbourne with the Melbourne Symphony Orchestra Ticket prices range from $50-$129 and will be available through each orchestra's website from July 4 at 9am.
The noticeable buzz around town when a new westside cafe is set to open is almost palpable. But, what once used to be an isolated event is now one of regularity. With a wave of venues popping up west of the city — most recently the much-hyped Cobb Lane in Yarraville — The Little Man in Seddon could have easily gone unnoticed. Set on Seddon's main drag, the cafe sits in place of the old Victoria Street Post Office. While the post office drab has been eradicated, a few PO boxes stacked against the wall remain. It's a small detail, but one that shows loyalty to the area and the buildings past. The space is otherwise pleasant, although it's a little too IKEA display kitchen to express much character. Everything is white, blue and light timber, irrevocably in place and new. There's a precision in placement that can't be faulted on paper, but you get the feeling a few scuffs and coffee stains will erase the sterile brand-newness. Having only been open since early December, it's an element easily forgiven — certainly when everything else overcompensates. First there's the smell of coffee (Seven Seeds, no less) and the ensured sight of at least one cafe-goer hoeing into an enviable Little Man's Burger with a handful of rustic hand-cut chips. But if it hasn't quite hit lunchtime, the all-day breakfast menu covers all bases. The basics, including chilli and herb scrambled eggs ($12) and corn fritters with smoked salmon ($16), are solid; the more surprising dishes — yoghurt panna cotta with fresh fruit and pistachio praline ($12), espresso ricotta crepes ($14) — make it interesting. If you're going for aesthetics, the brioche French toast with nectaries, candied hazelnuts and mascarpone ($15), is very filter-friendly. With less-than-exorbitant prices, a modest concept and comforting cooking, The Little Man is a westside local in every sense of the word. A few more months of service is sure to inject some character into the space — the cafe is characterised by a chimp, after all — as well build a loyal fan base and steady slew of Seddoners.
The striking black and white cover image of Bat For Lashes' Natasha Khan standing naked with a man dragged over her frame sets the scene for her most personal (and best) record yet, The Haunted Man. Stripping back the lush ornamentation of previous pop fantasias for a more intimate sound, these tunes foreground her beautiful, breathy voice and ability to inject a shivery, otherworldly drama into every song. Apparently the product of a harrowing writing and recording process, The Haunted Man reaches for a stark beauty and retains the enchanting pull of previous work despite its more emotionally direct approach. As well as headlining Laneway Festival, Bat For Lashes will play a more intimate sideshow at the Palais Theatre. Her last tour was one of the best of the year, with inspired reinventions of Radiohead's 'All I Need' and The Cure's 'A Forest' featuring alongside classics like 'Daniel' and 'Pearl's Dream'. With the promise of stunning new songs like 'Lillies' and stirring single 'Laura', there's no doubt this tour will be every bit as magical. https://youtube.com/watch?v=EXK0Ejzin4c
That's right, folks, Banksy's been at it again. The infamous camera-shy street artist sure knows how to draw a crowd, all without showing his face. Back in October 2013, Banksy took over the Big Apple for a month-long stint of pop-up installations and ol' fashioned street art. Now, you can watch the best bits in Chris Moukarbel's doco Banksy Does New York. From the Central Park stand where priceless originals were anonymously sold for $60 to the livestock delivery truck carrying bleating stuffed animals, Banksy's 'New York residency' was designed to shock, inspire and amuse. Eager fans followed Banksy's daily social media updates for hints to his location. What ensued can only be described as the best kind of adult art scavenger hunt across New York's city streets. Comprised of clips from fans plus footage recorded by Moukarbel and his team, Banksy Does New York looks at the audience, rather than the artist. Focusing on frenzied crowds of New Yorkers, iPhones at the ready, the film begs the question: who really is Banksy's subject? Banksy Does New York is in select cinemas (Dendy Newtown, Cinema Nova, Palace Centro, Palace Eastend, Luna Leederville and Palace Electric) on April 23. Thanks to Madman Films, Concrete Playground has ten double passes to give away. To be in the running, subscribe to our mailing list and then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
As the city kicks back into gear after a long Lockdown 6.0, we're set to see plenty of venue makeovers and some bold new additions to Melbourne's food and drink scene. Including the latest iteration of QT Melbourne's rooftop hideout, the Secret Garden, which has been reimagined as a vibrant, Italian-inspired oasis complete with colourful artworks and top-notch local vino. Embodying the motto of la dolce vita, the new-look Secret Garden will open its doors from Friday, October 22, for walk-ins until the end of summer. While its sights and sounds are wholeheartedly Italian, the food and drinks are set to be an all-Victorian affair, led by a collaboration with King Valley's Dal Zotto Wines. The celebrated winemaker will be pouring a selection of its Italian-leaning signature drops — sí, that includes plenty of prosecco — alongside a special appearance from the exclusive reserve list it usually keeps for its wine club members. It'll be the first time an Aussie venue gets access to creations like the 2015 Limmigrante Barbera and early 2000s vintages of the Riesling. [caption id="attachment_828903" align="alignnone" width="1920"] Hayden Dib[/caption] Backing up the vino, you'll find beers from Beechworth's Bridge Road Brewers, gin and limoncello courtesy of Bass & Flinders on the Mornington Peninsula, and salumi from The Meat Room in Kilmore, Central Victoria. While you're sipping and snacking beneath the festoon lights, you'll also soak up the artistic offerings of artist Rowena Martinich, and rounding out the vibe, there'll be bocce, plus a soundtrack heavy on 1920s Italia from QT's music collaborator Andrew Lewis. Secret Garden launches at 3pm on Friday, October 22, at 133 Russell St, Melbourne. It's set to stick around until the end of summer, open for walk-ins only, 2pm–late, Thursday–Sunday. Images: Hayden Dib
Some film festivals take audiences to corners of the globe they won't visit in the multiplex, shine a spotlight on different cinematic voices, and showcase the wealth of talent working beyond the English-speaking realm. That's not the British Film Festival's remit. Here, you'll find recognisable names and faces aplenty as the best new movies Old Blighty has to offer embark on a tour of the antipodes. Taking place between late October and early November at Palace Cinema Como, Palace Balwyn, Palace Brighton Bay and The Astor Theatre, this year's lineup includes Andrew Garfield and Claire Foy in opening night film Breathe, which marks the directorial debut of The Lord of the Rings star Andy Serkis, as well as Nicole Kidman and Elle Fanning in the eagerly anticipated How to Talk to Girls at Parties. The former tells a true tale of a couple striving to overcome a death sentence from polio, while the latter is a queer sci-fi rock-punk comedy based on a Neil Gaiman short story and directed by Hedwig and the Angry Inch's John Cameron Mitchell. Yep, this program might speak the same language as Australians, but it's serving up a variety of stories. If you're going to put one flick to put on your must-see list, make it The Death of Stalin. It's the latest from The Thick of Itand Veep creator Armando Iannucci, and features everyone from Steve Buscemi to Jeffrey Tambor to Michael Palin. Other highlights include Fanning again in Mary Shelley, a biopic about the writer behind Frankenstein that's helmed by Wadjdadirector Haifaa Al-Mansour, as well as England is Mine, with Dunkirk's Jack Lowden playing none other than Morrissey. Elsewhere, Saoirse Ronan stars in On Chesil Beach, her latest Ian McEwan adaptation after coming to fame in Atonement, while true story 6 Days recreates the 1980 storming of the Iranian embassy in London with Mark Strong, Jamie Bell and Abbie Cornish. BFF also boasts docos about Manolo Blahnik and Eric Clapton, a biopic about AA Milne and the genesis of Winnie the Pooh, and one of the last films to feature the late John Hurt in That Good Night. Looking back as well as forward, a selection of Agatha Christie adaptations round out the lineup. Timed to coincide with the new version of Murder on the Orient Express, the program includes the 1974 take on the same tale, plus three other classics.
Fitzroy Nursery is heaven on earth for plant lovers. Whether you're obsessed with peace lilies or can't stop yourself from accumulating more and more kokedama (a type of Japanese hanging plant), you'll find it here. Having operated for 30 years, it's hard to imagine what Brunswick Street would look like without it. Seasonal fruits, citrus varieties and countless succulents cheerfully mingle within the outdoor nursery, while the interior is filled to the brim with a strange collection of rare flora. Hot tip: there's also an upstairs section that's home to a few handmade furniture items, like smooth concrete planters and colourful watering cans.
Like her relatives, Morticia Addams (voiced by Charlize Theron) is supposed to be creepy, kooky, mysterious and spooky — but in the latest version of The Addams Family, she's just creaky. Unleashing tiny spiders to build a bridge over a bottomless pit (in the family's basement, naturally) in one scene, the vampish matriarch coughs up a cringe-worthy line that everyone can see coming: "we call this surfing the web". Morticia's dad joke would prove a grim omen for this new animated take on America's most macabre family, except that it's sadly preceded by plenty of others. By the time the above dialogue is uttered, a groan-inducing town called Assimilation has already sprung up down the hill from the Addams' imposing mansion. And, within said house, sentient, unattached hand Thing has also been seen wearing a watch with an eye on it. To be honest, the pain starts in the prologue, which doubles as an obligatory origin story. As Morticia and Gomez (Oscar Isaac) tie the knot 13 years before the movie's main narrative, Fester (Nick Kroll) tells them to put the lime in the coconut and drink it all up. That's how things are done "in the old country", apparently. This opening gag doesn't nod to the 1930s New Yorker cartoons that first introduced the Addams clan, or the 60s live-action TV series that followed, or 90s big-screen favourites The Addams Family and Addams Family Values. Rather, it references Harry Nilsson's 1971 novelty song 'Coconut' and serves no one — unless this iteration of The Addams Family is aimed at fans of a singer from half a century ago, Quentin Tarantino aficionados who know the tune from Reservoir Dogs, or anyone familiar with Dannii Minogue's 1994 cover (again: no one). The track is hardly obscure; however, even as a throwaway line, non sequitur or piece of absurdist humour, it leaves audiences scratching their heads instead of laughing. Really, it just smacks of the filmmakers giggling among themselves at a bad joke, without considering whether it's relevant to the story they're telling, its characters or their viewers. Alas, as the rest of the flick shows, that seems to be directors Greg Tiernan and Conrad Vernon (Sausage Party) and screenwriters Matt Lieberman (Playing with Fire) and Pamela Pettler's (Corpse Bride) approach overall. Flimsy from the outset, The Addams Family charts the predictable clash when Assimilation's residents — and celebrity interior designer Margaux Needler (Allison Janney), who financed the town — aren't happy about their odd neighbours. This revelation coincides with Pugsley's (Finn Wolfhard) swordplay-heavy coming-of-age ceremony, which brings the extended Addams crew to visit and scares the locals even further. Cue life lessons about accepting those around you, being yourself, not judging spooky-looking people by their appearances and other similar clichés. Margaux and her mob attempt to bully the Addams family out of the area, Gomez stresses over Pugsley's fondness for bombs over blades, and Wednesday (Chloe Grace Moretz) shocks Morticia by befriending Margaux's daughter Parker (Elsie Fisher) and daring to fit in. The fact that the Addams clan stands out has always been their point, ever since their cartoonist namesake created the weird and wonderful figures. In their aesthetics, interests and behaviour, Morticia, Gomez, Wednesday, Pugsley, Fester and Grandma (Bette Midler) are clearly the opposite of the stereotypical American household, and the resulting juxtaposition — and the horrified reactions to their monster-like appearance, as well as their strange and supernatural ways — makes a satirical statement. But, even bringing social media, lifestyle gurus and a few other bits of modern technology into the mix, The Addams Family circa 2019 doesn't have anything new to say. It doesn't have much to say in general, really. Given that the family-friendly film also lacks in story, jokes and creativity, the result is ghoulish, and not in a manner that'd do the fictional characters proud. It doesn't help that, although inspired by Charles Addams' original drawings, the animation is dull — including the character design. Creepy, kooky and the like can look delightful on the screen (and all-ages appropriate), as Corpse Bride, Frankenweenie, The Nightmare Before Christmas, Coraline and ParaNorman have all shown; however, this has more in common visually and tonally with the broad and bland Hotel Transylvania movies. The picture's celebrity voices can't fill in the gaps, either. Mostly, hearing Isaac as Gomez makes you wish that someone had made a new live-action version starring him instead. That would've required more effort, though, which is something this thin, generic and not-at-all offbeat film shows few signs of. Rather, it features Snoop Dogg as Cousin Itt purely so that it can play 'Drop It Like It's Hot' when he's first seen on screen, a level that even abysmal 1998 direct-to-video threequel Addams Family Reunion (no, no one remembers it) didn't stoop to. https://www.youtube.com/watch?v=eFnn4fNsB64
During this last week of April there's been a bit of good news about Australia's battle to contain coronavirus. Queensland and NSW both announced the easing of some restrictions from this Friday, May 1, South Australia has had seven days in a row of no new cases and the ACT, as of today, has zero active cases. Also unveiled today was the Northern Territory's Roadmap to the New Normal, which includes the reopening of restaurants, bars and cafes — in just two weeks. Announced today by Chief Minister Michael Gunner, the roadmap is broken into three parts. From midday tomorrow, May 1, some "simple and safe" outdoor activities are allowed — including weddings and funerals, outdoor sports where physical distancing can be maintained (so tennis is OK, but not basketball) and fishing, boating and sailing with other people — and public swimming pools, water parks, playgrounds and campgrounds (outside biosecurity areas) can open. Stage two, set to start from midday on Friday, May 15, allows "safer" indoor activities for "less than two hours". Places of worship, public libraries, gyms, beauty therapy salons (for non-facial services), shopping centre food courts and restaurants, cafes and bars can all have customers for short bursts. So, you can go and have a couple of pints at a bar or a bowl of pasta and a wine, but not sit down for an eight-course degustation. The venues wanting to reopen as part of this second round of eased restrictions must submit a "simple COVID-19 safety plan checklist" to prove they're operating within physical distancing and hygiene guidelines, but these do not need to be approved. At present, the Chief Minister has not outlined exactly what these physical distancing guidelines are, but the checklist will be made public on May 5. [caption id="attachment_714483" align="alignnone" width="1920"] Sydney's Cantina OK is currently closed. Image by Kimberley Low.[/caption] If the guidelines include the Federal Government's previous one person-per-four-square-metre limit, it's possible it won't be viable for all hospitality venues to reopen. When this restriction was first introduced back in March 20, many hospitality spots — including tiny Sydney mezcal bar Cantina OK — chose to close. Some closed even earlier, when the government introduced a ban on indoor gatherings of more than 100 people. Part three of the NT government's plan is set to be rolled out on June 5, and includes the removal of the two-hour limit and the commencement of more indoor and outdoor activities, such as going to a football game and the opening of cinemas, theatres, concert halls, nightclubs and entertainment venues (in an "approved configuration"). The territory's 14-day forced quarantine rules for all non-essential interstate travellers does not have an end date as part of the plan — so, no, don't expect to go on a holiday to the Top End anytime soon. The NT has had significantly less cases compared to other states and territories, with a total of 27 — as of 6am on April 30 — compared with 1034 in Queensland, 1354 in Victoria and 3016 in New South Wales. But the two-month plan could be an example of what the road out might look like for the rest of the country, albeit a little later on. You can find out more about the Northern Territory's Roadmap to the New Normal here.
It premiered at Cannes, will make its Australian debut at the Melbourne International Film Festival and is shaping up to be one of this year's biggest films. We're talking about Quentin Tarantino's Once Upon a Time in Hollywood, which sees the acclaimed filmmaker step back to five decades ago to explore Tinseltown in the summer of 1969 — when the golden age of Hollywood was waning down, and when the Manson Family shocked the world with their horrific murders. Tarantino doesn't just want movie buffs to enjoy his new movie, however. He wants to steep viewers in the whole '60s vibe, including the films that inspired his own film. To help, the writer/director has curated a season of flicks all made in the era, and they'll be screening on SBS' new (and free) World Movies channel in August. The Quentin Tarantino Presents collection is a global project, airing in approximately 20 countries around the world in the lead up to Once Upon a Time in Hollywood's release. In Australia, it kicks off on Monday, August 12 with 1969 comedy Bob & Carol & Ted & Alice, about a couple who decide to become more open in their lives. From there, the season will move on to Cactus Flower with Goldie Hawn, Ingrid Bergman Walter Matthau, as well as the Dennis Hopper-directed and -starring Easy Rider. As for the rest of the bill, it all hails from the late 50s, 60s and early 70s, including Model Shop from French writer-director Jacques Demy, student politics comedy Getting Straight with Elliott Gould, crime flick Hammerhead, and westerns Gunman's Walk and Arizona Raiders. One of the films on the list, 1968's The Wrecking Crew, is a humorous spy flick that co-stars Sharon Tate — who Margot Robbie plays in Once Upon a Time in Hollywood. The whole season will set audiences up nicely for Tarantino's latest, which follows TV star Rick Dalton (Leonardo DiCaprio) and his trusty stunt double Cliff Booth (Brad Pitt). Each movie will air with an introduction from the director, who chats with film writer and historian Kim Morgan about how they influenced Once Upon a Time in Hollywood. Check out the Once Upon a Time in Hollywood trailer below: https://www.youtube.com/watch?v=ELeMaP8EPAA SBS World Movies' Quentin Tarantino Presents collection starts airing from 10.30pm on Monday, August 12. For screening times, visit the channel's online program guide. Via Deadline / SBS Movies.
What better way to launch yourself into summer than by ripping up an openair dance floor at a day party celebrating one of the past decade's big summer tunes? It's never too early to start plotting your warm weather debut, especially now that music collective Untitled Group (Beyond the Valley, Pitch Music & Arts Festival) and tour company Thick as Thieves have unveiled details of their huge first party of the summer season. Descending on St Kilda's Riva on Saturday, November 23, the beachside day party will celebrate ten years of 'In The Shadows' — the enduring summer soundtrack from Hamburg's Lovebirds, aka Sebastian 'Basti' Doering. The German artist is set to throw down a memorable set packed with his signature dance-floor fillers, and he'll be joined on the stage by UK DJ and producer Cristoph. Riva Day Party will run from 2–10pm.
In the canon of Star Wars movies, there are now essentially four chapters: The Originals, The Prequels, The Sequels and The Spinoffs. The Originals (Episodes IV-VI) are, and perhaps always will be, the best of the bunch; a genre-defining, special-effects revolutionizing space saga of such epic proportions they remain, to this day, some of the most spectacular blockbusters ever made. The Prequels (Episodes I-III) are, and hopefully always will be, the worst of the bunch; a childish, CGI-heavy money spinner that played more like hastily written video games than films worthy of their iconic opening credits and characters. The Sequels (Episode VI-IX) are only one film in (with the second now in post-production), but it's safe to say The Force Awakens gave us exactly what we needed; a thrilling if rather familiar-feeling reboot with a talented, multi-dimensional and engaging new trio of stars to pick up where Luke, Han and Leia left off. That brings us to The Spinoffs, beginning with Rogue One and soon to include the untitled Han Solo origin story. In a way, while it's not given its own Roman numeral, Rogue One is a sort of Episode III-point-V – a nifty prelude to one of the most iconic please explains in cinema history: the Death Star's infamous design flaw. In Rogue One, audiences get the answer to two important questions: why the moon-size battle station had such an exploitable Achilles' heel, and how the Rebel Alliance found out about it. The former and weaker of these two revelations occupies the first two-thirds of the movie, whilst the latter gives it its much needed closing momentum. Leading the film's magnificent ensemble is Felicity Jones as Jyn Erso, the abandoned daughter of Galen Erso (Mads Mikkelsen), a famed Imperial scientist whose work proves pivotal to both the inception and design of the Empire's new super weapon. Unfortunately, Jones's dialogue does little to showcase her ability – frankly, much of Rogue One's screenplay leaves a lot to be desired. The two big exceptions are Forest Whitaker's eccentric character Saw Gerrera, and the Alan Tudyk-voiced droid K-2SO. In particular, the latter character's deadpan honesty helps cut through the film's often overwhelming sense of gloom. On the positive side, though, we again find in the Star Wars universe a film where gender holds zero stock as either an insult or a differentiator. Whenever a character's abilities are called into question, it's because of their experience or upbringing, not their reproductive organs, and Jyn is no exception. Alongside her, Diego Luna plays a conflicted assassin whose scenes repeatedly address the film's preoccupation with the hazy moralities of war, whilst the villain in Rogue One is a ruthless egotist named Director Krennic – played magnificently by Australia's Ben Mendelsohn. Though the film's various additional characters are too numerous to mention, one does command further attention – although in the interest of avoiding spoilers, we won't mention them by name. Suffice it to say, Rogue One reintroduces a key figure from the original Star Wars film, and does so by digitally recreating the deceased actor's face and voicing him with an impersonator. Sadly, the momentary joy experienced upon first seeing this familiar face quickly gives way to disappointment as the CGI falls short. An ultimately needless piece of fan service, the character's depiction pulls you out of the moment with such intensity that it takes several minutes to draw you back in each time he appears. As The Force Awakens proved, a tangible, human actor will always be preferable to a computer-generated one, and actors should sleep soundly in that knowledge. Nevertheless, Rogue One is overall an impressive and engaging exercise in nostalgia, full of delightful nods to the original trilogy. The movie's pacing, especially at the beginning, feels well off, jumping from character to character and location to location with surprising clumsiness. Fortunately, spectacular action sequences largely make up for this issue, most notably the climactic final battle and the scenes showcasing the Death Star's destructive capabilities – which even on their lowest power setting prove legitimately unsettling. Many Bothans may have died to bring us word of Death Star 2.0, but now, at long last, we can give names to those who did the same for the original – and it's definitely worth the price of admission. https://www.youtube.com/watch?v=frdj1zb9sMY
If you're in the market for new sunnies this season, skip the shops and head to one of Sunglass Hut's Face the Sun sessions instead. Each themed event — dubbed 'The Raver', 'The Indulger', 'The Relaxer' and 'The Explorer' — comes complete with a complimentary pair of shades, plus a whole heap of other perks and good times. Coming up on Sunday, December 1 is a rooftop gig, hosted at Notel Melbourne that kicks off at 3pm till 9pm. You can kick off the festivities with a makeover by professional hair stylists and makeup artists to get you rave ready, then, pick your new pair of party-perfect sunnies — think big retro styles, colourful lenses and razor-sharp 90s shades. Don them as you get down on the dance floor, watching as the sun goes down. Tunes-wise, you can expect an intimate performance by indie songstress GRAACE in the afternoon followed by party maker DJ Tori Levett with a whole lot of bangers. Plus, to keep you going, bar snacks will also be provided throughout the event. This one-off rave will run from 3–9pm and costs $50, which includes complimentary sunnies, a makeover, live tunes and snacks. To see the full event details of this limited-edition series, head here.
After a year mostly void of dancing and nightclubs, some Melbourne party favourites are making their much-anticipated returns. The latest: electro music hub Xe54, which is making its comeback in a big way. Following 12 months in hibernation, the club night is moving into a new multi-storey venue on Little Collins Street with — wait for it — a 24-hour licence. You'll probably already know the space as The Bottom End. Kicking off this new iteration with a bang on Saturday, March 6, Xe54 is set to fire up the new digs every Saturday night, spinning electronic tunes until the wee hours each week. You can expect the same signature neon strip lighting as that of the night's former Southbank home, though this time around, it's backed by an upgraded sound system and re-energised music programming. First launched back in 2017, Xe54 has become a staple of Melbourne's underground house and techno scene, teaming up with a swag of leading promoters, and pulling an impressive mix of local and international talent to its decks. Solomun, Carl Craig and Gerd Janson are just some of the reputable names to have drawn crowds to its dance floor in recent years, though there's also been a strong focus on supporting local emerging acts. Organisers are plotting a huge night to kick-start the new series on Saturday, March 6, with the musical lineup to be revealed in the coming days. Stay tuned for all the details. Find XE54 at The Bottom End, 579 Little Collins Street, Melbourne, every Saturday from March 6. For more information and music program updates, visit its Facebook page.
In the film that brought her global acclaim, Australian filmmaker Jennifer Peedom climbed up in the world — and she hasn't looked back. Sherpa explored tense times on Mount Everest, while her next documentary Mountain pondered the world's highest peaks, their beauty and their allure. With River after that, Peedom didn't stare at towering land masses. But she does peer from great heights at waterways that snake across continents. And, she once again teamed up with none other than Willem Dafoe (Poor Things), who narrates this poetic musing on just how rivers shape the planet. Watching River itself is a meditative experience, because looking at absolutely stunning sights shot in 39 countries, listening to lyrical narration, and hearing a stirring score featuring Bach, Ravel, Jonny Greenwood, Radiohead and more has that effect. Making the movie even better is River Live in Concert with the Australian Chamber Orchestra, which returns for another nationwide tour in 2024, this time with Indigenous Australian didgeridoo player and vocalist William Barton joining in. The ACO and Barton will play the film's soundtrack right there in front of you as you watch. Melburnians can get in on the action on Saturday, February 3 and Monday, February 5 at Melbourne Recital Centre — and on Sunday, February 4 at Hamer Hall. Event images: Nick Walker.
Gelato Messina is about to become a place both wonderful and strange. With Twin Peaks finally happening again in the form of an eagerly anticipated third season, the gelato kings are getting in on the action by turning two of their stores — one in Sydney and one in Melbourne — into the show's iconic Double R Diner for one day. Naturally, there'll be themed frozen goodness aplenty, as well as free scoops. It's going to be damn fine indeed. In what will be Messina's first ever store transformations, the Double R Diner is set to take over the Newtown store on May 22 and Richmond on May 25. There mightn't be staff called Norma and Shelly on-hand, but there will be custom-made cherry gelato 'pie'. If that's your idea of dessert heaven, then here, the ice cream is what it seems. This must be where pies go when they die. In addition to the limited edition pie — there will only be 50 slices available per store — Messina has created three custom Twin Peaks flavours. They'll be served up for free (yes, free) between the hours of 12pm and 4pm, and then again from 5pm to 10pm. Just what those varieties will be, if they'll be wrapped in plastic, and whether there'll be a jukebox on-site playing tunes you just want to click your fingers to — well, you'll have to head along to find out. You can probably expect good, hot, black coffee too. Let's just hope there isn't a fish in the percolator. Unless you've been trapped in the Black Lodge for the past 25 years, you'll know that the whole thing is timed to coincide with the start of new Twin Peaks season, which will drop on Stan in Australia at 2pm on Monday, May 22. All 18 episodes have been directed by David Lynch, so we're in for quite the treat. Celebrating with pie and gelato is something Special Agent Dale Cooper would approve of — remember his wise words of advice: "every day, once a day, give yourself a present". The Double R Diner will pop up at Gelato Messina Newtown on Monday, May 22 and at the Richmond store on Thursday, May 25 from 12–4pm and 5–10pm. For more information, visit the Sydney and Melbourne Facebook event pages.
Generally well-regarded, Australian owned and operated Coopers Brewery has come under fire this week for their involvement in this painfully uncomfortable Bible Society video. The video depicts two Liberal Party MPs, Andrew Hastie and Tim Wilson, discussing marriage equality in a 'lighthearted way', washing it down with a few ice-cold bottles of Coopers Light. Yeesh. If you're confused how Coopers got roped up in such a casually offensive and poorly executed pun, the sad news is that they pretty much tied the noose themselves. As a congratulatory gift to the Bible Society's bicentenary this year, Coopers released a collaboration limited edition light beer which features the Christian non-profit's logo and Bible verses on each case — 10,000 of them, to be exact. The brewery — which is family-run and openly Christian — and their association with the Bible Society flew under the radar until the society's 'Keeping it Light' campaign went live over the weekend, which is meant to showcase "light discussion on the heaviest topics". The Bible Society's somewhat haphazard video (which, it must be noted, Coopers has claimed they had no involvement in) acts as the first in a planned series using the Coopers Light beer as a gateway for their 'light' discussion. Shortly after the video was released, The Sydney Morning Herald published these statements by the two MPs, who seemed to find nothing wrong with the video's content. With 64 percent of Australian's in support of marriage equality, the video came across as patronising and flippant to a large chunk of the public who feel same-sex marriage shouldn't be a debate at all. Coopers' involvement with the video is questionable. Their first response was a sort-of apologetic statement essentially defending the video's content, saying it was "a lighthearted but balanced debate about an important topic". When this did not quell the backlash and boycotts, they then released a second statement claiming that they "did not give permission for [their] Premium Light beer to feature in, or 'sponsor' the Bible Society's 'Keeping it Light' video". The Bible Society has since released their own statement backing up this claim, stating that they were "entirely responsible" for the video and that no money changed hands in regards to the campaign. Twitter, not surprisingly, exploded. The hashtag #BoycottCoopers has taken over social media over the last few days, with consumers and venues alike speaking out. Venues across the country are pulling Coopers stock from their bars, including Sydney's Hollywood Hotel and Newtown Hotel and Melbourne's Old Bar and Sircuit/Mollies Bar & Diner — the latter of which posted this video of their GM throwing all their Coopers stock into the bin. Whatever their involvement with the production of the video, it doesn't look like Coopers is getting out of this one anytime soon. It certainly muddies the waters in relation to how religious groups and brands can influence consumers and secular institutions — particularly as Coopers has been a donor to the Liberal Party in the past, which not one, but both MPs in the video belong to.
We'll be the first to admit that we'd love to get our hands on our favourite chefs' little black books of go-to restaurants. What does Matt Moran have saved in his Notes app under RESTAURANTS TO TRY? Where does Ben Shewry go on the nights he's not harvesting cabbages at Attica? Who does George Calombaris send food emojis to to set up a post-MasterChef feed? We bet it's some dingy, CBD dumpling bar where they let you bring in bottles of vintage from your resto for $1 corkage per person. Or maybe a tiny Italian restaurant in the suburbs run by a nonno-nonna dream team with bad tablecloths and amazing tagliatelle. Right? Evidently, that's what The Australian Financial Review thought too when they set up Australia's Top 100 Restaurants as voted by chefs and restaurateurs last year. But 2016's Top 100 was announced last night at The Star in Sydney, and you know where our top chefs eat? Exactly the same places as us. Taking out top place was the very same establishment that's been named Australia's best in The World's 50 Best Restaurants, Attica. Fellow Victorian Brae came in second for Dan Hunter's regional cuisine, and in third were last year's winners Sepia, which is run by Sydneysiders Martin Benn and Vicki Wild. How surprising. Rounding out the top ten were Sydney restaurants Quay, Sixpenny and the Opera House's Bennelong. Rockpool also got a look in, as did Hobart's Franklin and newcomers Ester and Automata. So either chef's only go to their mates' fancy restaurants, or, if they do go to dingy dumpling joints, they're keeping those ones to themselves.
Already in 2024, one huge Australian music festival that calls Byron Bay home has shut up shop, hopefully only temporarily. After Splendour in the Grass announced its dates for this year, then its lineup, only to swiftly cancel mere weeks later, another event that's synonymous with the coastal New South Wales spot is now also taking itself off the town's calendar. Bluesfest is bidding farewell — and its plans to say goodbye are definitely permanent — but it will host a final hurrah in 2025 on its way out. So, the sad news: once Thursday, April 17–Sunday, April 20, 2025 passes, Bluesfest will be no more. The silver lining is that last fest, a four-day event that'll mark the Easter long-weekend mainstay's 36th year. [caption id="attachment_969990" align="alignnone" width="1920"] Joseph Mayers[/caption] "After more than 50 years in the music business, Bluesfest has been a labour of love, a celebration of music, community and the resilient spirit of our fans. But after the 2025 festival, as much as it pains me to say this, it's time to close this chapter," advised Festival Director Peter Noble in a statement. "As I said earlier this year at Bluesfest 2024, next year's festival will be happening and it definitely is, but it will be our last," Noble continued. "To my dear Bluesfest family, I want to make it the most unforgettable experience yet. If you've been thinking about it, now is your last chance to experience our beloved festival." [caption id="attachment_969986" align="alignnone" width="1920"] LD Somefx[/caption] There's no word yet on who'll be gracing the stages at Bluesfest's swansong, following on from 2024 headliners Tom Jones and Elvis Costello. Since 1990, everyone from Bob Dylan, BB King, Mavis Staples, Robert Plant, Paul Simon, Bonnie Rait and Santana to Kendrick Lamar, Lauryn Hill, Erykah Badu, Mary J Blige, Beck, Midnight Oil and Crowded House have played the fest. And even if you've only ever been to one Bluesfest, you've likely seen Jack Johnson and/or Ben Harper on the bill. The last few years have been tumultuous for the Byron Bay event. 2023's fest lost a number of acts, including King Gizzard and the Lizard Wizard and Sampa the Great, after Sticky Fingers were added to the bill. Bluesfest ultimately dropped the controversial band. And while the fest went ahead in 2022 after two years of pandemic cancellations (and a thwarted temporary move to October for the same reason), it showcased a primarily Australian and New Zealand lineup. [caption id="attachment_969988" align="alignnone" width="1920"] Roger Cotgreave[/caption] Bluesfest calling time follows Mona Foma doing the same after its 2024 event — plus a lengthy list of festivals beyond Splendour that've ditched their plans this year, sometimes also without announcing their intentions for the future. Just two years after debuting, Adelaide's Harvest Rock has scrapped its 2024 fest as well. Spilt Milk cancelled its 2024 festivals, while Groovin the Moo did the same after announcing its lineup. Summergrounds Music Festival, which was meant to debut at Sydney Festival 2024, also pulled the plug. As announced in 2023, Dark Mofo took a breather in 2024. Yours and Owls has postponed its next fest until 2025, too, but is hosting a pre-party in October this year. [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.
In 2023, Kylie Minogue was one of the headline acts at the first-ever Sydney WorldPride. In 2024, Australia's favourite homegrown pop star is leading the bill at another huge event: Splendour in the Grass. 'Padam Padam' will echo across North Byron Bay Parklands to warm up winter — and festivalgoers will be spinning around to the music megastar's three-plus decades of hits. Kylie tops a lineup that also boasts Future and Arcade Fire, with Minogue headlining the Friday night with an exclusive set, then Future doing the Saturday and Arcade Fire taking to the stage on the Sunday. The dates, in case you don't already have them in your diary: Friday, July 19–Sunday, July 21. And yes, 2024's biggest Splendour names have plenty of company. [caption id="attachment_870885" align="alignnone" width="1920"] Darenoted Ltd[/caption] You'll also be catching G Flip, Turnstile, The Presets doing a DJ set, Yeat, Hayden James, Girl in Red, Baby Gravy, Tash Sultana, DJ Seinfeld, Fontaines DC, Royel Otis, Tones and I and more. Of course the list goes on from there — it's Splendour. Omar Apollo, The Last Dinner Party, Lizzy McAlpine, The Kills, Thelma Plum, Partiboi69, Angie McMahon, Viagra Boys: add them all to your schedule for the three days, then a whole heap more. [caption id="attachment_945649" align="alignnone" width="1920"] Leonardo Samrani via Wikimedia Commons[/caption] Splendour 2024, which is the festival's 22nd birthday, will feature beats and projections at The Forest, LGBTQIA+ dance club Rainbow Bar, everything from immersive installations to giant sculptures as part of its arts program, and Little Splendour turning a trip to the fest into a family-friendly experience, too. Don't forget that there's also a lineup for the Thursday night as well, with Jimi the Kween, Krissy Jaman, Victoria Anthony and Summer Lover kicking off the proceedings. Splendour in the Grass 2024 Lineup: Friday: Kylie G Flip Turnstile Tash Sultana Omar Apollo Partiboi69 Angie McMahon Viagra Boys ISOxo Confidence Man Otoboke Beaver Allday A.B. Original Yard Act Teen Jesus & The Jean Teasers JK-47 Leisure Kita Alexander Skeleten Radio Free Alice Becca Hatch Nick Ward Triple J Unearthed Mix Up DJs: Dameeeela Baschoe Reenie The Forest: Anthony Pappa Wongo Morgazmk Miles Jackson Arya Data Roaming K Dizzy Saturday: Future Yeat Hayden James Fontaines D.C. Lizzy McAlpine Tones and I The Last Dinner Party The Presets (DJ set) Pond Boywithuke Middle Kids Beddy Rays Swim Coco & Clair Clair Michael Marcagi Floodlights Rona. The Dreggs Teenage Joans Good Neighbours Rum Jungle Willo Miss Kaninna Logan. Mix Up DJs: Naynay Naycab The Forest: Grouch Marnie Megapixel Ish K Sophdexx Lucidream Justtim Camila Rosa. Sunday: Arcade Fire Girl in Red Baby Gravy (Yung Gravy X Bbno$) Royel Otis DJ Seinfeld The Kills TV Girl Thelma Plum Fletcher Polaris Eyedress Sofia Kourtesis Sam Alfred Pacific Avenue Erika De Casier Grentperez Danny Ocean Old Mervs Paris Paloma 6 Sense The Slingers Vv Pete Belair Lip Bombs Triple J Unearthed Mix Up DJs: Jhassic & Rakish Bria The Forest: Opiuo Godlands Käse Kochen Grouch in Dub (solo) April Kerry Surge Crooks Farfetchd Smish Wren Thursday night: Jimi the Kween Krissy Jaman Victoria Anthony Summer Lover Splendour in the Grass will take over North Byron Bay Parklands from Friday, July 19–Sunday, July 21, 2024, with ticket presales from 9am–9pm AEDT on Thursday, March 14 for Splendour members, 10am–4pm AEDT on Sunday, March 17 for locals, 9am–9pm AEDT on Monday, March 18 for PYP, 9am–12am AEDT on Tuesday, March 19 for Optus and 9am–9pm AEDT on Wednesday, March 20 via TikTok — and general sales from 9am AEDT on Thursday, March 21. For more information, head to the festival website. Images: Charlie Hardy, Bianca Holderness and Claudia Ciapocha.
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
After a sold-out season in Sydney last year, Muriel's Wedding The Musical is coming to Melbourne's Her Majesty's Theatre for a limited season in 2019. A co-production between Sydney Theatre Company and Global Creatures, the musical adaptation of Muriel's Wedding is like a perfect high school reunion — maximum 80s nostalgia without having to tell any of your old friends you're in HR now. When Muriel Heslop realises that the small town of Porpoise Spit has nothing in store but grim futures, she decides to take off, with only her parents' chequebook, a couple of ABBA albums memorised note for note and a vague sense that the wider world has something that she is hungry for. PJ Hogan, who wrote and directed Muriel's cinematic adventure, has adapted and updated the script for the stage, while Kate Miller-Heidke and Keir Nuttall have built the music around ABBA's towering back catalogue. There's a real buzz around Muriel. Sure, it's a chance to re-immerse yourself in the unadulterated joy of Muriel's hijinks, but it's also because Muriel hasn't stopped holding the mirror up to our desperate, fame-hungry society since she first hit the screen. As director Simon Phillips points out: "Muriel's governing delusion is becoming a celebrity and becoming famously married. The world has caught up with Muriel." The Melbourne season follows news that the show won a slew of awards at July's Helpmann Awards, Australia's annual awards for live entertainment and performing arts. Muriel's Wedding The Musical picked up five gongs across the two nights of awards, including Best Original Score, Best Music Direction, Best Costume Design, Best Sound Design and Best Choreography in a Musical. It will run a limited season in Melbourne before heading back to Sydney for a month in June. Muriel's Wedding The Musical will play a limited season at Her Majesty's Theatre, 219 Exhibition Street, Melbourne from March 2019. Tickets aren't yet on sale, but you can sign up to the waiting list here. Image: Christine Messinesi.
School's back — and so is the escalating battle between humans and folks with superpowers, no shortage of chaos and gore, and nothing being quite what it seems at Godolkin University. Also returning at the centre of all of the above, as seen in the just-dropped full trailer for Gen V season two: the blood-bending Marie Moreau (Jaz Sinclair, Please Baby Please), her size-changing roomate Emma Meyer (Lizze Broadway, Kinda Pregnant), gender-shifting Jordan Li (Never Have I Ever's London Thor and Shining Vale's Derek Luh), the persuasive Cate Dunlap (Maddie Phillips, Overcompensating), super-strong Sam Riordan (Asa Germann, Monsters) and superhero Polarity (Sean Patrick Thomas, High Potential). This college-set spinoff from The Boys — which takes the latter's caped-crusader satirising to the next generation — first debuted in 2023 and was quickly renewed for a second run. Season four of The Boys arrived in 2024, and now it's time for Gen V's comeback from Wednesday, September 17, 2025, ahead of the Vought Cinematic Universe's OG series wrapping up with its upcoming fifth and final season. What if dealing with possessing superpowers turned higher learning into absolute mayhem? That's one of the concepts at the heart of Gen V — although the impact of part of the population having extraordinary abilities has always been at the core of the entire franchise. As the VCU's characters cope with the fallout from Homelander's (Antony Starr, G20) actions in The Boys, what if the Godolkin gang could rival him in strength? That's where Gen V is heading, too, the new sneak peek teases. As also seen in an earlier teaser for season two, there's a new uni head, Cipher (Hamish Linklater, Nickel Boys), on the scene with a far-from-trustworthy vibe. Indeed, he wants his pupils to be more powerful than ever. Marie's stint at the Elmira Adult Rehabilitation Centre, her home since the events of season one — and for some of her friends, too — comes to an end as well; however, going back to class isn't the same as it once was, including in a "Make America Super Again" world. Then there's the discovery of a secret program dating back to God U's founding. For those who missed Gen V 's initial season, Godolkin University is the college for superheroes that's meant to help prepare the best of the best for caped-crusader life — until exploding classmates, creepy secret facilities and unnerving professors complicate matters, that is. Season one spent its time with Marie, who knows that attending God U is a pivotal opportunity. After a traumatic experience when her powers kicked in, this is her chance to completely change her life, as well as achieve her dream of becoming the first Black woman in The Seven. Then, nothing turns out as planned. Also, things on campus (and underneath it) get shady, fast. The pair of glimpses at season two so far also dive into how the show is addressing an off-screen tragedy, after season-one talent Chance Perdomo (After Everything), who portrayed the magnetic Andre Anderson, passed away in 2024. Familiar faces from across the franchise feature in the new footage as well, alongside Ethan Slater (Wicked) joining the cast as Thomas Godolkin. Check out the full trailer for Gen V season two below: Gen V streams via Prime Video, with season two releasing from Wednesday, September 17, 2025. Read our review of season one.
Like music? Like art? Then, head down to Boney for the official launch party of SUGARYAMA — a new international music and arts partnership program. You’ll get performances from Chela, Andee Frost (The House Defrost), Edd Fisher (Tomorrowland/PBS), Jamie Bennett (Red Bull Music Academy) & Julien Love (DJ/ Producer), Bryce Lawrence/Louis McCoy/ Glyn Hill (Out Of Focus) plus a secret headline act. [UPDATE: Melbourne six-piece No Zu have been revealed as headliner.] As the little sister of Melbourne’s Sugar Mountain Festival, SUGARYAMA is designed to facilitate cross-cultural artistic exchanges between visual artists and musicians, in the process getting Aussie artists out there into the international scene. First project up will see artist and creative director Pete Keen take a handpicked bunch of Melbourne musos and artists to Mexico, where they'll undertake a guest curatorial role at independent art and music Festival NRMAL next year. Proceeds from the launch party will fund the transport of Keen and fellow artists all the way from Melbourne to sunny Monterrey. Oh, and the first 100 guests to arrive get a goodie bag so get in early. Tickets are $10 at the door (no pre-sales).
Australia's about to embark upon an entire month of parties, gigs and backyard shindigs, all raising sweet, sweet money to fight poverty around the world. Having run successfully in the UK for about ten years, Oxjam is a month-long, nationwide music festival aiming to raise money for Oxfam. Now it's launching in Australia, with goodhearted gigs coming to venues, garages and backyards nationwide. Even you can throw one. One of those star-studded fundraisers which has seen the likes of Hot Chip, Fatboy Slim, Coldplay and T.E.E.D. crank out a set for a good cause, Oxjam has been a long time coming for Australia. Teaming up with MTV Music and MTV Dance, Oxfam are launching the festival in August; with the main events happening across Sydney and Melbourne. Local venues, collectives and labels like I Oh You, Noisey, Goodgod Small Club, One Day, Motorik, UNDR CTRL and more are holding some of the official gigs — where of course, funds raised will go directly to Oxfam. But you don't have to be near a major gig, you can also host your own party wherever you are. Literally anyone can hold their own Oxjam, from existing venues to local bowling clubs, big time clubs to your very own home. So if you're deep house DJ in your crew you could set up the decks in your garage, put a collection tin at the door and throw down one humdinger of a fundraving do. (And if your neighbours complain, give 'em hell until they donate too.) First time at the event-throwing rodeo? MTV Australia are hosting an official event at MTV HQ in Sydney (date TBC), where budding venue managers, club promoters and regular shindig starters can get tips on throwing their own Gig For Good during Oxjam. If you can't make it to the how-to, Oxjam's website has a bunch of handy tips and DIY guides for party planners. Oxjam is happening Australia-wide over August 2015, with the main gigs happening in Melbourne and Sydney. But with one in three people around the world living in poverty, Oxjam's probably one of the best reasons to throw a local backyard gig we've ever heard. Head over here for more info and start planning. Image: Goodgod Small Club.
The humble lamington has been given makeover after makeover by Tokyo Lamington — and the Sydney bakery is finally opening its doors in Melbourne. If you're new to the name, it's a big deal in lamington game, all thanks to Min Chai and Eddie Stewart. After starting life overseas, introducing places like Singapore and Tokyo to some innovative riffs on the humble lamington, the brand settled in Newtown and has been impressing Sydneysiders with its creative desserts ever since. And now, for the first time ever, it's setting up shop permanently in Melbourne. [caption id="attachment_774463" align="alignnone" width="1920"] Tokyo Lamington x Koko Black collaboration[/caption] Yes, Tokyo Lamington popped up in North Melbourne earlier in 2022, in a collaboration with Le Bajo, but that was only temporary. Come Tuesday, October 18, however, the dessert legends will open a permanent bricks-and-mortar Carlton location, pumping out those lamingtons with a cult following — and more. Sweet-toothed Melburnians are in for a proper treat on Elgin Street, with an extensive vegan cookies range also on offer. That said, Tokyo Lamington's Melbourne digs will serve up onigiri, pies, quiches and sausage rolls, too. For caffeine addicts, it'll be pumping out coffee from Single O seven days a week as well. Fingers crossed for some more local collabs. In the past, primarily in Sydney, Tokyo Lamington has teamed up with the likes of By George, Circa Espresso, Stitch Coffee, Koko Black and KitKat. For Chai and Stewart, who also founded N2 Extreme Gelato, there are clearly endless ways to transform the Aussie favourite into something new and exciting. Get your tastebuds ready for what they dream up next, right here in Melbourne. Find Tokyo Lamington at 258 Elgin Street, Carlton, from Tuesday, October 18 — open 7am–3pm daily.
Attic Erratic have just wrapped their first show of this year’s Melbourne Fringe, with The City They Burned playing to packed-out houses (and bulging waiting lists) for the last three weeks. Tripped looks like a slightly more light-hearted offering than Fleur Kilpatrick’s searing update of Sodom and Gomorrah, but it’s a comedy with the same kind of darkness at its core. Directed by the company’s joint Artistic Director Celeste Cody, Nick Musgrove’s Tripped sets an ambitious target — a darkly-humoured treatment of racial prejudice that sees its two protagonists, Norm and Ahmed, thrash out their differences (and similarities) in a minefield. We’re hanging out to see whether Cody and Musgrove can walk the tightrope between the work’s heavy material and its mordant, comic sensibilities. But, now that the company have well and truly established themselves as one of the city’s leading independent companies, we’re sure they can pull it off. After all, what better time for a play that navigates the monstrous waters of diversity and suspicion to arrive in Melbourne? Image: Sarah Walker
THE Rodriguez is coming back to Australia. Touring nationally this October and November, the 72-year-old enigmatic legend was last here in 1981 playing with Midnight Oil, after touring in the late '70s to small success. Now he's riding a wave of newfound support back to our biggest venues, thanks in part to two South African fans. Most people had no idea who Sixto Rodriguez was until the Oscar-winning documentary Searching for Sugar Man dropped in 2012, prompting longtime fans to shake a fist and spin a bitter "I told you so." A self-taught guitarist, Rodriguez played around the traps in Detroit during the '60s but saw no real success in the States with his two albums Cold Fact (1969) and Coming from Reality (1971). Different story in South Africa, where he was pretty much bigger than Elvis — inspiring South African anti-Apartheid activists and musicians alike (unbeknownst to Rodriguez himself). One of music's most mysterious heroes, Rodriguez was even thought to have died until two Cape Town fans in the late 1990s, Stephen 'Sugar' Segerman and Craig Bartholomew Strydom went to find out if the rumours were true (cue Oscar-winning doco). The man also has a cheeky bachelor's degree in philosophy from Wayne State University, he ran for political office and he's had to work construction jobs to support his family. Undeniable and relatively unknown legend. Rodriguez will play Brisbane Convention Centre, Sydney Opera House, Melbourne's Palais Theatre, Adelaide's AEC Theatre and Perth's Kings Park and Botanic Garden. Tickets on sale on Thursday August 28 at 12pm local time. Members of the Niche mailing list and ticket agent mailing lists can purchase pre-sale tickets on Tuesday 26 August at 12pm until Wednesday 27 August at 5pm. For further details or to sign up to the mailing list please visitwww.nicheproductions.com.au. Rodriguez Australian Tour Dates: Sunday October 19 — Convention Centre, Brisbane. Tickets via Ticketek or 132 849. Tuesday October 21 and Thursday October 23 — Sydney Opera House. Tickets via Opera House Box Office or 02 9270 7111. Saturday October 25 — Palais Theatre, Melbourne. Tickets via Ticketmaster or 136 100. Wednesday October 29 — AEC Theatre, Adelaide. Tickets via Ticketek or 132 849. Friday November 7 — Kings Park & Botanic Garden, Perth. Tickets via Ticketmaster or 136 100. https://youtube.com/watch?v=qyE9vFGKogs
