In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your next trip. In this instalment, we take you to the heart of Beechworth, Victoria, and honey country. We've teamed up with Maker's Mark and Beechworth Honey to offer a totally exclusive Concrete Playground Trips deal to stay at The Hive Apartment and enjoy the fruits of their new partnership: The Gold Rush Cocktail, a symphony of pure Australian honey and the bold flavours of bourbon. Celebrate the coming together of liquid golds for a cocktail that's rich in character and richer in history. If Beechworth looks like your ideal historical stay then head to Concrete Playground Trips, where you'll find our travel deal – including two night's stay at The Hive Apartment, a bespoke Makers Mark x Beechworth Honey gift pack (complete with everything you need to make a Gold Rush cocktail), an exclusive honey tasting experience and a dining voucher. WHAT'S SO SPECIAL? You can't get closer to the centre of Beechworth than The Hive Apartment. Owned and operated by Australian honey powerhouse Beechworth Honey, The Hive Apartment is your opportunity to explore historic Beechworth and stay in a piece of Australian history. The apartment is located in one of the most historic buildings in Victoria — originally built in 1856, it was actually the original residence of the bank manager of the Bank of New South Wales. Beechworth played a significant role in the Australian gold rush in the 1800s. Beechworth Honey pays homage to the town's gold rush past with a look to preserve the future. Stay in what was once the "Gold Office" where mined gold was stored and where a new liquid gold now calls home: honey. There are nods to honeybees everywhere from the bespoke breakfast basket (with a selection of Beechworth Honey samples) to bee-themed furnishings and gold elements throughout. THE ROOMS The self-contained apartment is situated on the first floor, providing an impressive outlook across Beechworth's two main streets, its historic buildings and its original architecture. It features a fully equipped kitchen and spacious dining and living room. You can look out over the Beechworth skyline from the comfort of the generous living room, cook up a feast in the kitchen and enjoy a meal in the dining room or on the couch while you take in a movie for a chill night in. The apartment can accommodate up to six guests across three bedrooms. The spacious king room offers a lovely light-filled space with windows on two sides overlooking Beechworth's iconic clock tower. The queen room offers its own private ensuite while the third bedroom is made up of two single beds, perfect for a family weekend away. The renovated master bathroom creates a sense of modern luxury, a place to relax and unwind from a day of exploring Beechworth's impressive sights. FOOD AND DRINK While guests can enjoy the homey Beechworth breakfast basket and kitchen amenities, there are also quaint cafes and rustic bistros footsteps from the apartment. Grab a meal at the historic Tanswell's Commercial Hotel — one of the earliest hotels opened in Beechworth and the first two-storey building in town. The menu is packed with local suppliers' produce, so guests can enjoy the best of what the local area has to offer. There's also a range of local wines, beers and spirits on offer to enjoy with your meal or alternatively to take away from the bottle shop — located in the pub's old safety deposit box. Another local favourite is The Ox and Hound Bistro, a relaxed and intimate spot along the main street that also heroes local produce. Chef (and owner) Sean Ford has stacked the menu with rustic French and Italian bistro classics including chicken liver parfait, goat cheese souffle, fettuccine with wild rabbit and the signature honey pannacotta — with cinder toffee, fresh honey and a lemon curd ice cream. Beechworth is also a small wine-producing region with local wineries producing fine examples of chardonnay and shiraz as well as some Italian varietals like sangiovese and nebbiolo. If beer is your preferred beverage, Beechworth is also home to one of Australia's oldest breweries: Billson's, founded in 1865. Settle in for lunch, a drink and a tour of the historic brewery site. [caption id="attachment_898228" align="alignnone" width="1920"] Beechworth, Gavin Green[/caption] THE LOCAL AREA The historic town of Beechworth is a treasure trove of iconic insights into the world that was. Visitors can follow the life and times of infamous bushranger Ned Kelly, starting at the Beechworth Historic Courthouse and Law Library — built in 1858 and in continuous service for 131 years — where the committal trial of Ned Kelly took place. Then move on to the HM Prison Beechworth — which held Ned Kelly as well as many of his sympathisers — and finish at the Beechworth Lockup where prisoners awaited trial. History enthusiasts will delight at the Burke Museum — named for the famous explorer and former Beechworth Superintendent of Police Robert O'Hara Burke — relive the Whatsapp of the past at the Telegraph Station, or pick up some bits and pieces at Dow's Pharmacy — a time capsule with over 4000 original items in its collection from the 19th and early 20th centuries. The Hive Apartment is located 300m meters from The Beechworth Honey Shop. Discover the wonderful world of Australian honey at Beechworth Honey's flagship store. With over 40 Australian single-varietal honey to taste, a working bee hive and a self-guided educational tour, your mind and tastebuds will be blown. The Beechworth Honey Shop is open 7 days, 9.00am–5.30pm — our Trips package includes a bespoke honey tasting at the iconic Beechworth Honey Shop. Don't forget to pack your walking boots as there's a range of walks, cycle tours and lookouts only a stone's throw from the apartment. The Beechworth Gorge is a popular walking, bike riding and driving loop with views to the Woolshed Valley and across the township. A little further afield, you can climb the 545-metre summit of Mount Pilot to enjoy 360-degree views of the surrounding countryside. THE EXTRAS The Hive Apartment is the perfect location from which to go back in time and explore Australia's Gold Rush era. And what better way to enjoy the stay than with a cocktail that celebrates the combination of two liquid golds the Maker's Mark and Beechworth Honey's Gold Rush cocktail? Book our Trips package and the Beechworth team will be on hand to ensure you have the sweetest and smoothest stay, from the private entrance and free parking to the bespoke honey breakfast package. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
If there's one food experience that's just as good enjoyed on your couch as in any fancy restaurant, it's a good old-fashioned cheese and wine session. A dabble in some gourmet dairy, matched with some crackers and a glass or two of vino — it's a much-loved culinary ritual that not even lockdown can mess with. And there are some Melbourne suppliers that can deliver the whole cheesy, booze-matched situation directly to you, with just a few clicks of a button. Whether you've got a thing for d'affinois, are craving some camembert, or only have eyes for the cheddar, we've found a cheese and wine delivery service to suit. Clear off that coffee table and check out these local spots delivering wine and cheese o'clock to your couch. HIGH CHEESE BY THE WESTIN The Westin's famed High Cheese feasts have been reimagined for lockdown, now available as elegant at-home packs delivered via Providoor. Designed for two ($189), this one's a collaborative, cheese-filled high tea, featuring a selection of Melbourne favourites. There's a pop-up high tea stand, to be loaded up with sweet and savoury cheese creations from both The Westin's kitchen and Prahran's Maker & Monger. Think, oozy baked camembert with crusty bread, gouda scones with caramelised apricot butter and creamy Basque-style cheesecake. And on the drinks front, you've got a 1.5-litre pack of spicy mulled wine from Bar Clara's new side project Scarlet & Clove. The whole tasty haul comes packed in a Maker & Monger tote bag that's yours to keep. How much? $189. Order here. THAT'S AMORE It's one of the best local cheese producers in the biz, but That's Amore is proving it's also got some chops when it comes to pairing libations with those cheesy delights. The company has created a range of gourmet gift boxes available for home delivery, including a handful of drinks-matched options that are primed for lockdown. If vino is the go, you'll find both a classic wine and cheese box, and a premium edition, each showcasing That's Amore signatures like the crumbly buffalotto, a soft-rind caciotta or the aptly named newcomer, Isolation Blue. You'll even get to choose which Italian wine's included in your stash, with options like Il Palazzo's chianti and a Salatin pinot grigio. Gourmet crackers round out the fun. How much? $70–90. Order here. HANDPICKED WINES X MELBOURNE INTERNATIONAL FILM FESTIVAL This year's Melbourne International Film Festival (MIFF) has moved to a virtual format, but you can rest easy because it's bringing the cinema candy bar to your place, too. MIFF has teamed up with Handpicked Wines to create two movie-friendly wine and cheese boxes, available for next-day delivery across Melbourne. There's a classic pack ($80) and a luxe edition ($195), each starring vino from top local regions like the Mornington Peninsula and the Yarra Valley. To match, you'll find gourmet crackers and a couple of top-notch cheese options, such as some ashed chèvre from Meredith, a wedge of L'Artisan's Mountain Man, or the cloth-bound cheddar from Tassie's Pyengana. It all comes boxed and ready to devour, with the option of adding on a curated MIFF film bundle. How much? $80–195. Order here. MCCOPPINS HAWTHORN If you've got a penchant for pick-and-mix snacking, consider McCoppins' Hawthorn store a cheese board gold mine. The grocer has an impressive collection of deli goods available via its online shop, featuring cheese, meats, dips, olives and scores of other accompaniments, sourced from Australia and abroad. You'll find everything from crumbly Bay of Fires cheddar and Milawa's goat's camembert through to the grape skin-coated Occelli tetsun de barolo out of Italy. And to match, there's a hefty range of booze, including lots of local and international wines for all budgets. Stick closer to home with something like a chardonnay from the Yarra Valley's TarraWarra Estate, or head to Europe by way of an Italian sangiovese. Select suburbs can score express delivery on their orders, seven days a week. How much? Price per item. Order here. MILK THE COW Veteran of the cheese and booze match-making game, Milk the Cow is a cheese-scoffing destination of choice for many Melburnians. And now, it's bringing all that expertise to your house, with a series of hampers available now for home delivery. For the full experience, opt for one of those featuring paired beverages, based around specific varieties like rosé, dessert wine or even whisky. The Australian Wine and Cheese hamper ($150) is packed with local goodies, like the Yarra Valley's Airlie Bank pinot noir and fermier cheese from L'Artisan. Or, you might be taken by the boutique beer-matched combo ($135), starring a selection of craft brews alongside the likes of Kris Lloyd camembert and a gouda from the Netherlands. And if you live close to either store, you'll even score free delivery. How much? $135–210. Order here. [caption id="attachment_779499" align="alignnone" width="1920"] Sarah Pannell[/caption] KING & GODFREE Legendary Italian grocer King & Godfree is basically a one-stop-shop for all your iso feasting needs, handily delivered to your doorstep. Especially if cheese and vino are at the top of your shopping list. The online store has a dreamy collection of deli goods to browse and buy, as well as a couple of antipasto boxes ($75–110) loaded with cheese, salumi, olives, house pickles, fresh baguette and more. Maximum snackage, minimal decision-making. To take it all to the next level, simply finish off your order with a boozy addition from King & Godfree's wine selection. There's an impressive lineup of drops from both Australia and Italy, with varietals to suit every palate. Perhaps a 2017 Monte Tondo valpolicella from Veneto for some Euro flair? How much? Antipasto boxes from $75. Order here. AUSTIN'S X L'ARTISAN Moorabool Valley winery Austin's has combined talents with renowned French-style cheesemaker L'Artisan and Geelong specialty grocer Fresh Food Merchant. The result? A line of lockdown-friendly cheese and wine packs guaranteed to step up your cheese board game and boost your mood. There are five packs to choose from, championing different wine styles and showcasing each drop's best cheese matches. Bunker down with the trio of reds, paired with three wedges of L'Artisan's finest ($130), or perhaps try a broader range of Austin's vino alongside four cheeses and gourmet accompaniments ($199). Whichever pack you choose, you'll be digging into some top-notch local goodies and supporting a couple of great Victorian producers in the process. How much? $85–199. Over here. Top image: Milk The Cow
Chin Chin's Chris Lucas strikes again with plans to open his second Flinders Lane haunt. It may not yet have a name, but the three-storey, three-kitchen Japanese restaurant is certainly in motion and set to open at 175 Flinders Lane — opposite Supernormal and just down the road from the forever-heaving Chin Chin — in March 2017. According to Good Food, Head Chef Shaun Presland has been lured away from his Sydney digs at Sake (which has also just opened on Flinders Lane) to run this new venture, which is a coup for The Lucas Group. Presland is clearly the man for the job — Japanese cuisine has been his focus for decades, from cheffing in Japan in the '90s (and subsequently becoming fluent in the language), to setting up Sushi e for the Merivale Group back in 2000 and even getting headhunted by Nobu in 2005. The food will aim at high-end without being exclusive — a very Lucas-esqe concept — and the three levels will be distinct and self-contained. At street level will be a 150-seater split-level main dining room with a "serious" sushi bar (sans the train) and a "hot kitchen" in the basement. But we're most excited for the top floor: an eight-seat, omakase-style bar offering traditional kaiseki, which is a delicate and extravagant multi-course display of skill and technique. On the drinks side of things, the restaurant's new wine connoisseur Philip Rich (ex-Prince Wine Store) is flying to Japan in November to create an impeccable Japanese wine, beer and sake list, and the hiring of a "sake master" is also in the works. The building itself is still far from restaurant-ready and, as it currently stands, is part office, part "reptile shop". Luckily, Wood Marsh Architecture (the architects behind ACCA) is on the case. The next twelve months will be a busy one for The Lucas Group, who has also announced a Sydney location of Chin Chin and secretive plans for their recently acquired Smith Street location. This is of course in addition to their other Melbourne eateries, which include the aforementioned Chin Chin, Kong BBQ, Baby Pizzeria and Hawker Hall. Via Good Food. Top image: Chin Chin via The Lucas Group.
Spooky season is almost upon us and the scary costume ideas are flowing — but why should your pooch miss out on all the creepy fun? This year, the dogs of Melbourne will once again get their own version of a huge communal trick-or-treat, when the Howl-O-Ween Paw Parade makes its way through the streets of Port Melbourne on Sunday, October 30. Furry friends from far and wide are invited to join in the roving festivities, which'll kick off with a group amble along Bay Street from 10am. Expect fur-shionable costumes galore, from the spooky to the adorable, as both hounds and their humans strut their stuff. Paw Parade participants will also enjoy a dedicated trick-or-treat trail, along with competitions, prizes, live entertainment and a pet market popping up along Rouse Street. Entry to the parade costs $10 per pooch (buy online), with all fees going straight to support Guide Dogs Victoria.
Frozen has done it. Beauty and the Beast and Shrek, too. The Lion King is set to again in 2026. We're talking about animated movies making the leap from the screen to the stage Down Under, as another childhood favourite is before 2025 is out. With Anastasia, Russian history first inspired a 90s hit, which then became a Broadway stage production since 2017. The musical is treading the boards in Melbourne from Saturday, December 20, marking the show's Australian debut. The Victorian capital's Regent Theatre is hosting Anastasia's Aussie premiere, with the Tony-nominated musical unveiling an all-ages-friendly tale inspired by Grand Duchess Anastasia Romanov during the Russian Revolution, as the 1997 movie also charted. Accordingly, accompanied by songs such as 'Journey to the Past' and 'Once Upon a December' — both from the big-screen release — theatregoers can get ready to spend time with a young woman named Anya on her journey to discover her past, and to unearth a story that some in the narrative don't want revealed. Audiences have writer Terrence McNally and songwriting team Stephen Flaherty and Lynn Ahrens to thank for Anastasia's existence as a stage musical — and between its Broadway run and its Aussie stint, Anastasia has also toured North America, and hit the stage in Germany, Spain, The Netherlands, Brazil, Mexico and Japan. Images: Roy Beusker.
The next time you’re waiting for a train at Flinders Street Station, pay a quick visit to Campbell Arcade. As of this time next week, the historic pedestrian underpass and subterranean shopping mall is getting an injection of exciting new and unconventional artwork, with the City of Melbourne reactivating twelve glass cabinets as a public exhibition space for local creatives. Set into the walls of the underground arcade that connects the railway station with Degraves Street, the cabinets previously housed month-long exhibits curated by Platform Arts Group. The revamp is part of the City of Melbourne’s Creative Spaces Program, and will see the display cases rechristened 'The Dirty Dozen', in what’s been described as ‘a wry nod’ to the arcade’s less than spotless decor. In addition to the name change, the handover will see the space become more accessible to artists. Under Platform Arts, anyone wanting to display work in the cases had to pay for the privilege, whereas they will now be available free of charge. Applications will open on the Creative Spaces website from June 25. The new curators have also indicated an interest in non-traditional artwork, as exemplified by the debut installation from Victoria University’s Skunk Control — an art collective consisting of creatively-inclined scientists and engineers. Each exhibition will run for approximately eight weeks, although December is being reserved for a special holiday-themed installation that will offer an alternative to the Myer Xmas Window display on Bourke Street. Want to apply to exhibit work in one of The Dirty Dozen? Head to the Creative Spaces website, applications open June 25.
If the impending winter chill has you dreaming of cosy nights spent quaffing drams of whisky, there's a new Melbourne-made creation that deserves a spot in your spirits collection. The team at the city's own Starward Whisky has just unveiled the latest edition of its Ginger Beer Cask series — and this spicy little number promises to keep those winter blues at bay. The sixth annual iteration of Starward's ginger-based program is its most experimental yet — French and American oak barrels were used to brew a citrus-filled ginger beer, which was then left to soak up maximum flavour. Next, the casks were emptied and then refilled with a blend of apera (a fortified wine) and single-malt whisky that had been previously aged in red wine barrels. The result is a boldly-flavoured ginger-forward drop with aromas of orange and dark chocolate, and a juicy taste full of vanilla and pineapple accents. Starward's experts say you can try the whisky any way you please, but they particularly recommend sipping it straight, perhaps alongside some good-quality dark chocolate. Either way, it's safe to say you can expect a very good drop — the last Ginger Beer Cask edition took out a gold medal at the World Whisky Masters, as well as a bronze at the Hong Kong International Wine and Spirits Competition. The special-edition spirit is always quick to sell out, and this year's release is pegged to be no different. In fact, after five increasingly popular runs, Starward is this year using a ballot system to determine who gets first dibs on buying the limited number of bottles available. To be in with a shot, register online before Sunday, May 9. Any remaining bottles will then be available to the general public for purchase on World Whisky Day on Saturday, May 15. And if you'd like to try before you buy, it'll be on the tasting roster at Starward's Port Melbourne distillery bar for a limited time. To get first access to Starward's Ginger Beer Cask #6, register for the ballot online by Sunday, May 9. Ballot holders will then get a few days to purchase a bottle, before any remaining stock goes on sale to the general public on Saturday, May 15. A 500-millilitre bottle will set you back $119, and will be available via the distillery's online store or at its Port Melbourne distillery shop.
When Lamaro's first announced they were swapping their gastropub schtick for something much more Spanish, South Melbourne locals weren't too happy about it. You see, the pub has been the suburb's go-to schnitzel joint for 10 years, and now there's not a piece of crumbed veal in sight. The restaurant's focus has shifted to ethical dining. The menu honours Victorian produce from Cape Schanck and Greenvale farms, which are both owned by Lamaro's parent company, Colonial Leisure Group. Upon entering the bar, a giant meat fridge filled with the farm's spoils now welcomes patrons. It's a pleasant form of compensation. The team running Lamaro's is impressive. Leading the revitalised kitchen is Louis Naepels, who previously headed the CBD's Grossi Florentino. Sworn in as floor manager is Marvin Holder, a Vue de Monde veteran who managed the restaurant for five years. Naepels has crafted a menu that sings the Spanish food language: tapas. The menu options come in forms hot, cold, sweet, spicy, sultry, crunchy and smooth. Whatever taste or texture you can think of, it's in there. Start off with some wood-fired octopus, served with broad beans, potato and squid ink ($22). The Greenvale Farm acorn-fed ham with stracciatella (shredded burrata) on country bread is a non-negotiable ($33). That schnitzel the locals were so accustomed to has been replaced by the suckling pig drizzled with pork gravy ($43). It's topped with a crackling hard to put down, regardless of how full your stomach is from overeating. Although a glance at the dessert options will make you revaluate your stomach capacity. Seal off your meal with a sweet potato ice cream sandwich drizzled with dulce de leche ($10). It's surprisingly light for something that sounds so hefty. The space has been revived by Techne Architecture, the minds behind Lee Ho Fook, Fonda and Botherambo. The interiors have been altered to create a sense of warmth, made up of tan leather seats, timber tables, and a marble fireplace that exudes an earthy vibe. Above Lamaro's communal table is a giant mural of Cape Schanck's rolling hills, giving diners a sense of the where their food has come from. At Lamaro's you can either grab a quick bite, or partake in the full tapas experience. It's one that's packed with love, community and passion for produce.
Throughout Japan's history, the country has gone through several periods of rapid transformation. The NGV's latest exhibition, Japanese Modernism, explores one of them: the prosperous era from the early 1920s until the late 1930s, a time that spawned financial independence for women and access to international travel. As movie theatres, department stores and modern transport became widespread, life quickly changed for Japan's urban dwellers. Featuring 190 works that consider the country's shifting social and cultural values, Japanese Modernism highlights these changes through an array of creative mediums that see traditional Japanese techniques blended with European influence. There are colourful woodblock prints that fuse ancient ukiyo-e methods with modern elements, plus a plethora of kimonos, street posters and glassware. Running until Sunday, October 4, Japanese Modernism is completely free to attend. You'll be amongst the first to see these works in Australia, too — the NGV has spent the last five years amassing this impressive collection from around the world. To give you a quick primer before you head along to the NGV, we've picked out five inspirational works to see at Japanese Modernism. [caption id="attachment_763292" align="alignnone" width="2000"] Installation view of Japanese Modernism at National Gallery of Victoria. Photo: Tom Ross.[/caption] PREPARING TO GO OUT (1935) BY TANIGUCHI FUMIE As a key figure in Japan's emerging generation of the time, known colloquially as 'moga' and 'mobo' — modern girls and modern boys — Taniguchi Fumie burst onto the scene to great success in the 1930s. However, Fumie's glowing artistic career came to an early halt with the onset of World War II, as she was evacuated to the countryside and her work faded into obscurity. One of Fumie's most lasting works, Preparing to go out, was produced as a large-scale, sixfold design that draws directly from the 17th-century style of Matsuura screens. This modern take on a fundamentally traditional art form sees Fumie depict a group of friends getting ready for a fun night out, leaving behind their previously reserved existence. [caption id="attachment_763296" align="alignnone" width="1920"] Saeki Shunkō, Tea and coffee salon, Sabō 1939, ink, colour, paper, lacquer, National Gallery of Victoria, Melbourne. Purchased with funds donated by Alan and Mavourneen Cowen, The Myer Foundation and the NGV Supporters of Asian Art, 2015[/caption] TEA AND COFFEE SALON, SABŌ (1939) BY SAEKI SHUNKŌ With many Japanese cities being quickly redeveloped during this era, a large population of women waved goodbye to the countryside and went in search of jobs and a modern lifestyle in the metropolis. This change gave rise to the first generation of financially independent female artists, who set about creating art that explored their new reality. Saeki Shunkō was one of these pioneering artists. Her 1939 painting, Tea and Coffee Salon, Sabō, presents two modern Japanese women wearing Western-style uniforms, highlighting the shifting dynamics of the country. This changing way of life for the nation's youth, especially women, showcased how they were no longer beholden to their parent's conservative values. [caption id="attachment_763302" align="alignnone" width="1920"] Takei Takeo (illustrator), Tōkyōsha, Tokyo (publisher), Children's land 1928, colour offset lithograph. National Gallery of Victoria, Melbourne. Purchased NGV Foundation, 2018[/caption] CHILDREN'S LAND (1928) BY TAKEI TAKEO Inspired by popular European art movements like Cubism, Futurism and Fauvism, Japanese artists began mixing these styles within their own work. One magazine in particular, called Kodomo no kuni or Children's Land, which was groundbreaking at its time, began using these styles throughout its pages and on its cover. The magazine was popular with children and young adults, as it encouraged the new generation to embrace individuality. Takei Takeo was one of the magazine's key contributors, producing works that blended geometric shapes with shadows and bright colours. His 1928 cover design had a two-fold appeal to children of the time, as it linked an exciting style of art with the modern train system, which was beginning to roll out across Tokyo. [caption id="attachment_763303" align="alignnone" width="1920"] Hisui Sugiura, The first subway in the East 1927, colour offset lithograph. National Gallery of Victoria, Melbourne, Purchased NGV Foundation, 2018 © Estate of Hisui Sugiura[/caption] THE FIRST SUBWAY IN THE EAST (1927) BY HISUI SUGIURA Described as a pioneer of Japanese graphic design, Hisui Sugiura was at the forefront of the nation's commercial art industry. Although he had a traditional painting background, his interest in Europe's art nouveau movement led him to form the artist collective known as Shichinin-sha, aka the Group of Seven. Through his position as the Mitsukoshi Clothing Store's chief graphic designer, he exposed Tokyo's residents to a wave of contemporary design. Created in 1927 to celebrate the opening of the Tokyo Metro Ginza Line — the first subway in Asia — this poster is regarded as a cornerstone of Japanese modernist design. Expressing the changes occurring across Japanese society, Sugiura draws those at the distant end of the platform in traditional garments, while the families at the front of the scene appear in distinctly modern clothing. [caption id="attachment_763304" align="alignnone" width="1920"] Koike Iwao, Tokyo Mitsukoshi clothing store 1927, colour lithograph, National Gallery of Victoria, Melbourne. Purchased NGV Foundation, 2018[/caption] TOKYO MITSUKOSHI CLOTHING STORE (1927) BY KOIKE IWAO The Tokyo Mitsukoshi Clothing Store is the oldest-surviving department store in Japan, with its origins as a kimono maker dating all the way back to the 17th century. Having opened as a modern-day department store in 1904, it was partially destroyed by the Great Japan Earthquake of 1923. However, it relaunched in 1926 with modernist architecture and a host of retailers that sold products that appealed to the new Japan. The above poster, by graphic designer Koike Iwao, announces the store's reopening and features Mitsukoshi's famed entrance lions. Iwao was also part of Sugiura's influential Shichinin-sha artist collective, which produced a vibrant magazine that signalled a new direction for Japanese artistry. Japanese Modernism is on display at the National Gallery of Victoria, Melbourne until October 4, 2020. It's free to attend. Find more exhibition details at the NGV website. Top images: Installation views of Japanese Modernism at National Gallery of Victoria. Photos by Tom Ross
UPDATE Thursday, January 27: The Big Bounce has rescheduled dates for its Melbourne appearance, now hitting Flemington Racecourse from April 15–18 and April 21–24. For more info and to buy tickets, head to the website. No longer confined to children's birthday parties, bouncy castles, inflatable obstacle sources and blow-up labyrinths have become hot property for adults (and their inner kids, of course). And the next blow-up event to return to Melbourne is big. Really big. Dubbed 'The Big Bounce Australia', it's an inflatable theme park made up of the world's biggest bouncy castle — as certified by the Guinness World Records — plus a 300-metre long obstacle course, a three-part space-themed wonderland and a sports slam arena. You're going to need a lot of red cordial to bounce your way through all of this. Set to take over the Flemington Racecourse between January 28–30 and February 4–6, The Big Bounce is open to both littl'uns and big'uns, but there are a heap of adults-only sessions — so you don't have to worry about dodging toddlers on your way through. Tickets for adults will set you back $59, which gives you a whole three hours in the park. Yes, you'll need it. Inside, you'll encounter the aforementioned bouncy castle — aptly named The World's Biggest Bounce House — covering a whopping 1500 square metres and, in some spots, reaching ten metres off the ground. In this house, you'll encounter a heap of slides, ball pits, climbing towers, basketball hoops and (if you can believe it) a stage with DJs, confetti cannons and beach balls. Then, there's The Giant, with 50 inflatable obstacles, including giant red balls and a monster slide. Before you hit the next, three-part section of the extremely OTT theme park, you may need to pause, down some red frogs and maybe even have a nap. Or not, as you do only have three hours to explore it all. Either way, at Airspace, aliens, spaceships and moon craters collide with a five-lane slide, some more ball pits and an 18-metre-tall maze. After that, you'll certainly need a nap. And, new for 2022, there's also the Sport Slam, which is rather self-explanatory — and will be a must of you're keen to add a competitive spin to all that bouncing. [caption id="attachment_825374" align="aligncenter" width="1920"] Sarasota Experience[/caption]
For most people, waking up to the smell of freshly brewed coffee is one of life's simple pleasures. Soon, waking up in bedding made from coffee grounds might be as well. Forget using caffeinated leftovers in the garden or around the house — Australian outfit Ettitude wants to reuse the parts that don't make it into your cuppa, infusing them into their new sheets range. It seems that they're not the only ones keen on the idea, with their Kickstarter campaign fully funded, and the first sheets due to ship in November. Their range includes the whole bedding kit and caboodle — aka flat and fitted sheets, quilt covers and pillow cases — in double, queen and king sizes, as available in a range of packs of combinations. And while they don't actually smell like everyone's favourite hot beverage, they do supposedly reap plenty of rewards. So, how does it work? The company's bamboo coffee bedding collection uses coffee yarns sourced from S.Cafe, who repurpose coffee grounds from cafes around the world, blend them with a polymer made from recycled plastic drink bottles, and turn the mix into fabric. At Ettitude, the yarns are then woven through their own sustainable bamboo lyocell textiles, ready to bring some coffee goodness to bedrooms everywhere. It's not just the environmentally friendly aspect of their new creation that Ettitude is getting all frothed up about, either; their sheets apparently offer a range of other benefits. It's unsurprising that material made out of something as heavy-scented as coffee grounds can block out other odours, but it can also wick away moisture faster, ensuring that bedding stays fresher for longer. Ettitude also state that hypoallergenic, thermoregulating bamboo-based linen doesn't irritate hair and skin as much as other fabrics, helping you wake up feeling refreshed — before you even roll out of bed and grab a coffee. For more information about Ettitude's bamboo coffee sheets, head to their Kickstarter campaign.
When Toko closed in Prahan, Tokosan took its place — with a focus on cocktails, karaoke and a casual Japanese snack menu. It also brought with it something to make both your stomach and your wallet happy. On Tuesdays it's honing in on sushi with endless supplies for just $20. There's a selection of rolls and temaki — and options for vegetarians too — so gather the gang for a cheap feast. And if you haven't been to the venue before, Tokosan's outdoor lounge courtyard is a pretty good place to make your debut. Doors open at 5pm and, to sweeten the deal, a happy hour with $10 cocktails and $5 beer and wine runs until 7pm.
Following new financial support programs from the Federal Government announced on Thursday, 15 July, as well as the announcement that the Victorian lockdown has been extended until Tuesday, July 27, the Victorian Government has finally unveiled its own financial support packages for individuals and businesses struggling during this time. The packages include assistance for individuals, small businesses and sole traders who have lost income. While the financial support on offer is quite far-reaching, it can feel a little daunting when you're trying to decipher if (and where) you fit into it all. So, here's an easy-to-read overview of all the support on offer across Victoria if you've been financially impacted by the latest lockdown. EMPLOYEES Individuals can apply for COVID-19 Disaster Payments through the Services Australia website from Friday, July 23. The joint plan between the federal and state government means that individuals who have lost between eight and 20 hours of work due to stay-at-home orders can access recurring payments of $375 a week. Those who have lost more than 20 hours can access payments of up to $600. There are a few eligibility rules; for example, you must be an Australian resident or on an eligible work visa, over the age of 17 and not on an income support payment like JobSeeker or Youth Allowance. Head to Services Australia for more information. [caption id="attachment_737834" align="alignnone" width="1920"] Parker Blain[/caption] SMALL BUSINESSES Any businesses that are registered for GST and have experienced a downturn in revenue due to the lockdown are eligible for assistance through either the Licensed Hospitality Venue Fund or the Business Costs Assistance Program. The Licensed Hospitality Venue Fund assists businesses that operate as a "licensed bar, restaurant, pub, club, hotel, cafe or reception centre" with a current liquor and food service license, and you can read the full eligibility criteria online. The Business Costs Assistance Program covers both employer and non-employer businesses that have "incurred direct cost" from the lockdown. Both programs are offering top ups to previous grants provided during the May/June lockdown, or full grants for businesses that didn't apply for support during the previous lockdown. The Victorian Government suggests microbusinesses not registered for GST apply for the aforementioned COVID-19 Disaster Payment of between $375–600 a week. REGIONAL BUISNESSES Regional businesses are eligible to apply for both the Licensed Hospitality Venue Fund and Business Costs Assistance Program; however, there are two specific relief programs that are designed to assist regional businesses. Hospitality, retail, accommodation and experience-based businesses in alpine regions are now eligible for a new Alpine Support Payment which will grant them access to up to $5000 of funding for off-mountain businesses, and up to $15,000 in funding for those in alpine resorts and the Dinner Plain. Similarly, a regional Business Costs Assistance Program Tourism Supplement will provide accommodation, attractions and tourism operators access to up to $4500 in support. THE ARTS INDUSTRY The Victorian Government is topping up both the Impacted Public Events Support Program and the Live Performance Support programs. Eligible public events suppliers will be invited to apply for the Impacted Public Events program, while the Live Performance Support is available to suppliers and presenters of live performances, with grants of up to $500 per live performance available for suppliers and grants of up to $7000 on offer for presenters. Eligibility information for suppliers is available online, as are details for presenters. For artists and crew workers who have lost work due to the lockdown, not-for-profit Support Act is also offering a helping hand. Support Act is offering one-off grants of $2000, or $2700 to families with dependant children, to musicians and crew members that have been financially impacted by the lockdown in order to help soften the blow of lost gigs and shifts. The organisation also offers financial relief to members of the music and arts community that are unable to work due to injury or illness, and a Mental Health First Aid program to assist those struggling with their mental health. If you're still confused, we recommend heading to the Businesses Victoria website — or you can read more in Premier Dan Andrews's funding announcement on the Victorian Government website. Top image: Armelle Habib
When we think of the perfect way to close out the working week, it invariably comes back to a great night out and an alcoholic beverage of sorts — which is why we haven't been able to get enough of the NGV's Friday Nights. Changing up the pace of your usual Friday night out and typical gallery visit, these lively evenings combine a headline exhibition with world-class tunes and some gin drinks brought to you by a Bombay Sapphire pop-up bar. Even though summer has officially left us, there are still a few more weeks left of summer's blockbuster show, Escher x Nendo: Between Two Worlds, before it wraps up on Sunday, April 7. To get you out there, we've picked out a few must-see things to experience before the exhibition is through. Grab a spritzy ginger, mint and gin cocktail from the Bombay Sapphire garden bar, and jumpstart your weekend surrounded by art, music and your fellow culture vultures. BOMBAY SAPPHIRE POP-UP BAR We'd be lying if we said drinking cocktails while museuming wasn't at least a little part of the appeal of NGV Friday Nights. And it's easy to understand why, with Bombay Sapphire partnering with the NGV to transform its garden into an awesome openair bar. The design draws inspiration from Escher and Nendo's hypnotic works inside, offering up a creative and lush area to rest your feet while sipping fresh cocktails. At this garden bar, you can try the full range of Bombay Sapphire Twists, combining fresh citrus and herbs together across spritzy options. Opt for something fruity like the raspberry and basil, spicy like the mint and ginger, something fresh with lemon and thyme or classic like a good ol' gin and tonic, as you discuss the mind-bending works inside. [caption id="attachment_700126" align="alignnone" width="1920"] Sean Fennessy.[/caption] ESCHER X NENDO: BETWEEN TWO WORLDS If you somehow haven't yet heard the buzz, Escher x Nendo: Between Two Worlds is something of a landmark event. Pairing the mesmerising artworks of celebrated Dutch artist MC Escher and Japanese design studio Nendo, the exhibition weaves the duo's creative spirits seamlessly come together in a massive presentation that's taken over the NGV. From captivating installations to warped spaces and paper works, experiencing this show is a must for, well, everyone. The blockbuster exhibition runs till Sunday, April 7, coinciding with the final NGV Friday Nights event. Make sure to plan your weekends accordingly so you can get at least one visit in before it's all over. BACH X REIMAGINED: PRESENTED BY ANON The NGV Friday Nights sessions might be dominated by some of the biggest electronica names in Aussie music, but that doesn't mean we can't also take a moment to appreciate a bit of Bach. Exploring the possibilities of classical music, renowned Melbourne-based collaborative project Anon unites a host of Australian live performers to reconceptualise the legendary compositions of Bach. The project brings forth new baroque, jazz and classical songs and explores Escher's own admiration and enjoyment of the composer — he believed Bach's work had a similar 'infinite appeal' that's also found in Escher's own art. Anon performs three times at each event, plus there's a specially commissioned soundscape that's been designed as part of the Friday Nights sessions. [caption id="attachment_611703" align="alignnone" width="1920"] Wayne Taylor.[/caption] MELBOURNE DESIGN WEEK, MELBOURNE ART BOOK FAIR AND JONTI The NGV's March 15 Friday Nights showcase is a particularly special time to visit. That's because there's even more to check out than usual with the timely launch of Melbourne Design Week 2019 and the Melbourne Art Book Fair — which will also see the Bombay Sapphire bar popping up for the full run of Melbourne Design Week and the opening night of the book fair. This year, the week's theme focuses on 'Design Experiments' seeing more than 200 exhibitions, talks and workshops consider how design will play an important role within our collective futures. Also in attendance will be Australian hip hop and electronic producer Jonti. Emerging from his bedroom studio to collab with an eclectic selection of international artists such as The Avalanches, Warpaint and Badbadnotgood, Jonti is sure to present a soundtrack to this Friday Night you won't want to miss. [caption id="attachment_636238" align="alignnone" width="1920"] Confidence Man at BIGSOUND 2017 by Bec Taylor.[/caption] CONFIDENCE MAN It probably shouldn't come as a surprise, but if there's something Melbourne-based duo Confidence Man has in spades, it's confidence. And in all honesty, it's completely justified. Coming off the release of the 2018 debut album Confident Music for Confident People, the pair has graced pretty much every major venue and festival stage Australia has to offer and has recently turned its attention to the hoards of European and American fans. But before the duo jets off overseas, the dancing duo is bringing energetic tracks to the final NGV Friday Nights session of the season on April 5. Delightfully self-assured, this is bound to be a non-stop dancing send-off. Check out the full lineup of Friday Nights here and make tracks to the NGV to sip some spritzy Bombay Sapphire concoctions as you absorb a whole heap of culture. Tickets for non-members are $35 online or $40 at the door.
The humble meat pie is synonymous with all things Straya, whether you’re at the footy or visiting some middle-of-nowhere country town’s bakery. But your pie experiences do not have to be limited to these scenarios, dear reader. Many of Melbourne’s gastro-pubs, cosy corners and boutique bakeries are serving up a darn good pastry, filled with quality meat and lashings of tomato sauce. Whether you’re a purist beef pie aficionado or you appreciate more adventurous fillings, we’ve managed to find Melbourne’s best pies, served best with a crisp craft brew. THE BUILDERS ARMS For something a little outside your bulk standard beef pie, try the fish pie at The Builders Arms in Fitzroy. The filling is a seafood feast and includes smoked trout, prawns, rockling and sorrel. At $33 a pop, it is perhaps one of the more expensive pies you’re likely to find around the city, but it is one of those meals that every Melburnian should try at least once in their lives. 211 Gertrude Street, Fitzroy CANDIED BAKERY While the name may suggest this Spotswood joint specialises in the sweet stuff (and trust us, they do a darn good job in that department), they are also incredibly gifted when it comes to the savoury goods. You can’t overlook a classic, and the classic beef is just that. The Cherry Tree Organics beef is beautifully cooked, and the secret ingredient doesn’t get any more Australian — it’s Vegemite. Take one of these bad boys home for lunch, crack open a James Squire The Constable copper ale and watch your favourite footy team from the comfort of your own couch. 81A Hudsons Road, Spotswood TIVOLI ROAD Pastry chef Michael James is one seriously well-qualified pie maker, having worked at Sydney’s well-renowned Bourke St Bakery, as well as Baker D Chirico and MoVida Aqui before purchasing Tivoli Road as his own. Their best pie has come down to a tie between their hugely popular beef and mushroom and their slightly more adventurous chicken, pumpkin and sage. They’ve also created a kangaroo pie with native pepperberry pine mushrooms that we’re itching to try, but we’ll take whatever we can get our greedy little mitts on. 3 Tivoli Road, South Yarra BABKA Brunswick Street's supreme bakery hits home runs with their pies every time. Our pick would have to be the lamb and apricot, but other intriguing options include veal goulash, beef with mushroom, and spinach and feta for vegetarians. While you’re certainly welcome to take these gorgeous pastry creations home with you, if you can spare the time, it’s well worth having it in store. The pies are served with a homemade kasoundi which is sensational, and your tomato sauce at home just isn’t going to compare. 358 Brunswick Street, Fitzroy FATTO A MANO The organic, gluten-free and vegan-friendly folk at Fatto a Mano are the best option if you or your friends have dietary requirements but still love a good hot pie. Their organic beef and their mushroom, haloumi and spinach pies are available in traditional and gluten-free options, so everyone can get involved. They also do some excellent pasties, sausage rolls and a heck of a lot of sweet treats to take home if you’re feeling that extra bit indulgent. 228 Gertrude Street, Fitzroy
As many a frustrated portrait painter knows, capturing an entire person in a single image is one of art’s toughest challenges. In response, Spanish designer and illustrator Alex Trochut has developed a new technique. He’s invented a way of including two different pictures on the same surface. One can be seen only when the lights are on; the other is visible in the dark. The fruits of Trochut’s work are on show in his new exhibition, Binary Prints, which explores the dual nature of some of the electronic music industry’s most famous faces. Last month, he told the creators’ project, ‘People are always a multifaceted polygon with many sides . . . Working on the duality and covering the two extremes of any spectrum creates a sequence, a change, a short narrative and hidden side that reveals what is not obvious behind the surface.’ So, we see James Murphy (LCD Soundsystem) illuminated in drowsy mode, yawning and scruffy-haired; then donning reflective glasses, a collar and tie once the lights are out. John Talabot appears concealing his face with his hands, as though seeking to block out the light, but peeking at us from the cover of darkness. Other DJs who sat for portraits include Caribou, Damian Lazarus, Four Tet, Acid Pauli and Lucy. ‘It was like a dream come true to be able to express myself through the artists that have fuelled my imagination countless times,’ Trochut explains. ‘Some connections were made in clubs, just by passing my cell phone to the DJ booth with a text on the screen saying: "Hi, my name is Alex, I'd like to invite you to a personal project, can I get your email?"’ Binary Prints made its debut at Barcelona’s Sonar Music Festival last month and is set to embark on an ongoing international journey to various galleries, art fairs and festivals. [via the creators' project]
When the weather starts to cool down, the urge to devour big bowls of pasta, warm soups and pot pies usually comes with it. Despite all the blankets and fuzzy slippers in the world, sometimes you just need some carbs — and a few boozy concoctions to wash them down with. And, really, there's nothing like curling up with just the thing you're hankering for. When the heart is calling for a cheesy carbonara or a bespoke negroni, you'd best answer it. To help you out when the cravings strike, we've teamed up with Australia Cocktail Month. The inaugural month-long celebration of Aussie-made cocktails takes place throughout May, so it's just the ticket as winter approaches. Alongside everything from yum cha to countryside fire feasts, it's also one of our six recommended ways to indulge when only cocktails and comfort food will do. [caption id="attachment_644421" align="alignnone" width="1920"] Parker Blain[/caption] HIT UP YOUR LOCAL FOR A SUNDAY ROAST Warm up from the inside out with a hearty Sunday pub roast. Based on the traditional British end-of-weekend meal, the Australian take on the pub roast usually features all the fan favourites (yes, including brussels sprouts) to help chase away the cold weather blues. Think succulent roast meats, crunchy potatoes, juicy vegetables, copious pours of gravy, and a nice glass of red or two on the side. Right across the nation — including in Melbourne, Sydney and Brisbane — there are plenty of pubs to hit up. Pick your favourite, then spoil your tastebuds with a filling roast lunch or dinner. Is there anything more comforting? [caption id="attachment_755166" align="alignnone" width="1920"] Death and Taxes[/caption] CURL UP WITH A COCKTAIL AT A TOP BAR If you're in the mood for a cocktail, you're going to love Australian Cocktail Month, a month-long celebration of Australian bars and bartenders that starts on Saturday, May 1. Across the event, 72 bars in Melbourne, Sydney, Brisbane and Adelaide are partnering with local and international alcohol brands to shake and stir up some bespoke cocktails, and to also offer discounts and unique bar experiences. To attend, all you need to do is grab a general admission ticket from the event's website, then head to a participating bar. Show said ticket and you'll be able to sip a $14 cocktail (or a $10 non-alcoholic version) while you're getting comfy. [caption id="attachment_780994" align="alignnone" width="1920"] Cassandra Hannagan[/caption] TUCK INTO A YUM CHA FEAST It's pretty universally known that one does not leave yum cha hungry. After all, the meal involves a steady rotation of small portions of dim sum dishes, including steamed, pan-fried and deep-fried options. Think juicy dumplings, prawn har gow, xiaolongbao (steamed soup dumplings), barbecue pork buns and pork ribs — all washed down with piping hot tea. There are plenty of places in Sydney, Melbourne and Brisbane to get your feast on, too. So, forget the cooking and feed your hankering for Cantonese food by heading to your local yum cha house — and indulging until your heart (and tummy) is content. Just make sure not to eat beforehand. [caption id="attachment_779829" align="aligncenter" width="1920"] Cassandra Hannagan[/caption] HIBERNATE IN A CINEMA WITH POPCORN AND CHOC TOPS Grabbing a snack at a movie theatre isn't always easy to justify. But when you're nestled in your seat, it's hard to be sorry about the big box of popcorn in your hands. A choc top never goes astray, either, and neither does a bag of Maltesers. Accordingly, to feed that comfort food craving in your belly, grab a mate or date and head to your local cinema. There, you can hibernate in a supremely cosy setting and enjoy a flick with some quality movie theatre bites. Some venues even serve cocktails too, such as Golden Age Cinema and Bar in Sydney, Classic Cinemas in Melbourne and Blue Room Cinebar in Brisbane. THROW A POTLUCK DINNER WITH YOUR MATES Why indulge in comfort food and cocktails all on your own when you can do it as a group activity with your nearest and dearest? The easiest way: get on that group chat and arrange a potluck dinner at yours with your friends. Either get everyone to bring a surprise dish, or arrange for someone to take care of entrees, others to look after mains and the best cooks in the gang to whip up desserts. You could even try out a new recipe or two, and wow your pals with a skill they mightn't have realised you have. And the best part? There are usually leftovers for tomorrow's lunch. COOK A FEAST OVER FIRE IN THE COUNTRYSIDE Fill up your car, pack an overnight bag and hit the road. It's time to escape the hustle and bustle of the city for some fresh country air and camping-style food. Get a fire roaring, then try your hand at some damper, classic s'mores, snags or corn on the cob. You could even give campfire nachos or some camping quesadilla a whirl. There are plenty of country towns to stay at just a hop, skip and jump from main cities, too, including near Sydney, Melbourne and Brisbane. It's a two-for-one deal, really, because you'll indulge in the charm of the countryside and fill your belly at the same time. Australian Cocktail Month is taking over top bars across the Australia from May 1–31. To buy your ticket, and for the full list of participating bars, head to the event's website. Top image: The Duke of Clarence, Kitti Gould
The past lingers. At the heart of Scrublands, both in its debut season in 2023 and now in its second — aka Scrublands: Silver — history doesn't just fade as time goes by. Portrayed by Luke Arnold (Last King of the Cross), investigative journalist Martin Scarsden witnessed this truth in action in the town of Riversend the first time that this page-to-streaming series based on Chris Hammer's novels hit the small screen. There, the character was chasing a story about a shocking tragedy impacting the entire community. As he met and became closer to bookstore-slash-cafe proprietor and single mother Mandy Bond, as played by Bella Heathcote (The Moogai), he wasn't just watching on from the outside, either. Streaming on Stan from Thursday, April 17, 2025, season two of Scrublands swaps Mandy's hometown for Martin's. In their new coastal surroundings of Port Silver, she isn't free from the past's persistent grasp despite being a newcomer to the close-knit seaside spot; however, her other half is equally haunted. Martin left town as a teenager to pursue his journalism dreams, but not before sparking a scandal. Until the first episode begins, he hasn't been back since. What's meant to be a fresh beginning for a couple already burdened by recent woes soon gets swept in other directions. The murder of Martin's childhood best friend Jasper (Hamish Michael, Apple Cider Vinegar), Mandy being named as the key suspect and Martin using his reporter instincts to try to get to the bottom of another mystery affecting the woman he loves will do that. So will Scarsden's own history bubbling back up. Looking back to the start of their Scrublands journey with Arnold and Heathcote, the pair are both clear that one season was all that they were focusing on when they initially stepped into Martin and Mandy's shoes — even though Hammer's novels about their characters had already notched up three entries thanks to 2018's Scrublands, 2019's Silver and 2020's Trust. That approach was partly pragmatic. "I think having been in this game for a while, you very much try to practice not getting ahead of yourself. And I think we were all in that mode, going 'okay, this would be great. We know the books are there. And so if we do a good job, we might be asked to come back and do some more'," Arnold tells Concrete Playground. "But at first you're just going 'hey, let's try to get through this thing and not screw it up, and then let's see what people think'." "It is always tough when there is this existing property there that people really love — sometimes that can go well, sometimes it can go the opposite way, and you find 'ohh no, you didn't', and it wasn't what the fans wanted or something went awry. So I think first season, we were just trying to do the best we could with that. And then I think the response to the show was so great and kind of beyond what we could have hoped for, so once that happened, things quickly started moving towards coming back for season two." Heathcote was instantly drawn to Mandy when the project crossed her path via Wolf Creek, Rogue and Jungle director Greg McLean, who she worked with on fellow Aussie series Bloom, but the pitch was for a one-and-done project. "Bizarrely, not at the time," she advises when asked about whether season two was ever on her mind to begin with. "I've now drunk the Kool-Aid and now I've read all the books, but in the first season I didn't — because it was pegged as a miniseries, and I thought 'okay, great'. But now I think we're all hooked, on the books and each other. I just want to work with everyone again." "There was something so comforting about coming back to this role, and being back with Luke, and Sarah Roberts [Runt], Toby Truslove [La Brea], taking the band on tour to WA. It feels sort of like coming home." Both Arnold and Heathcote have enjoyed a coming-home journey themselves, as Australian actors who enjoy overseas success tend to. (See also: Jacob Elordi and Odessa Young with The Narrow Road to the Deep North, Ashley Zukerman with In Vitro, and Radha Mitchell and Jesse Spencer with Last Days of the Space Age, to name just a few recent examples). Scrublands' two leads each have the almost-requisite Aussie soaps on their resumes, Home and Away for Arnold and Neighbours for Heathcote — and, for Arnold, four seasons on seafaring American series Black Sails, around gigs in everything from Rush Hour and MacGyver to Lethal Weapon; for Heathcote, a main part in Dark Shadows led to the eclectic likes of Not Fade Away, Pride and Prejudice and Zombies, The Neon Demon, Fifty Shades Darker, Professor Marston and the Wonder Women and The Man in the High Castle. Neither have been absent from Australian fare lately, though, via the likes of Glitch, The End, Preppers, True Colours and Arnold's Home and Away stint, plus Relic, C*A*U*G*H*T and others for Heathcote. With Scrublands, they're both hooked, including as viewers. Indeed, both binged Silver's four parts, texting each other, when they were able to see the finished product. And yet, Arnold wouldn't be bringing Scarsden to the screen at all if he had followed the advice given to him back on his first taste in the business, as assistant sword fight choreographer on 2003's Australian-made Peter Pan more than a decade before playing Michael Hutchence in Never Tear Us Apart changed the course of his career. The person offering those ignored words of wisdom: The White Lotus season three's Jason Isaacs. Heathcote's early experiences also resonate with her now, specifically when it comes to being part of a great cast on Scrublands (The Artful Dodger's Luke Carroll, Good Cop/Bad Cop's Debra Lawrance, Spit's David Roberts, The Twelve's Tasma Walton and Transfusion's Damian De Montemas are among Silver's ensemble). "Oh man, it's everything. I remember early on in my career, just being really terrified of working with some big-name actor — but you're also as good as the actors around you. It's pretty hard to act in a vacuum if the people around you aren't good," she notes. From the process of stepping back into Martin and Mandy's shoes for the second time, navigating complicated emotional journeys and pondering how the past keeps haunting, through to why this Aussie noir hit resonates and whether either of its leads initially dreamed of where acting would take them, we also chatted to Arnold and Heathcote about plenty more. On What Excited Arnold and Heathcote When Scrublands First Came Their Ways Luke: "I hadn't read the books yet. It came through a lovely casting director, Lou Mitchell here in Melbourne — who, back in the day, I used to read for her at auditions for other people. And so when it came through her and I had a look, and because I have in the last few years also been writing — and writing mystery novels, fantasy, mystery stories — being able to play a writer in a mystery show just felt like the perfect fit. There's sometimes a little battle in my head between the writer and the actor, and I was like 'oh, I get to bring both sides of my creative self to this job'. And so from when I put the first tape down, I put it down with my now-fiancée, and out of all the jobs I've ever done, it was the one, she was reading opposite me, she thought it was a done deal from the beginning — and ended up being right. So I think Martin and I were a good fit from the beginning, and it is a very comfortable place for me to be when I get to step into it." Bella: "It did get me excited. It's so funny, because it came about in a really surprising way. Greg McLean and I had a project that we were doing together that fell apart, and I emailed him just checking in about something and he said 'you know what, I'm doing this show, and I feel like you might be right for this role in it'. And it was Mandy. And he's like 'read the scripts and tell me what you think' — the thing that we all say to each other, where it's like 'oh, don't worry if you don't like it'. And I read it and I just ripped through them. And then I was just like 'where do I sign?'. Because I thought she was great, and I loved how spunky she was. And I loved how much — there's something that I do that tat I really share with Mandy, where if she likes someone, she hangs shit on them. If she doesn't like someone, she also hangs shit on them. But if she really likes someone, then she just hangs even more shit on them. And I just loved that interaction that she had with both Martin and Byron [Territory's Jay Ryan in season one], and how quickly it cut through and established these relationships. Particularly the Byron storyline, I was just so impressed at how you could really feel the intimacy between them in such a short period of time. You know that expression 'show don't tell'? I just thought it did that so well, but with the thrill of the crime drama. And yeah, I just thought it was so well done and I loved it." On How the Job and Your Performance Evolves When You're Stepping Back Into a Character's Shoes for a Second Season Bella: "I guess it does evolve, because you're just layering up, aren't you? I get terrified before every job. I maybe erroneously thought that — no, I just know that I get terrified before every job. But this one felt like I put more pressure on myself or I was scared because I loved Mandy in season one, and I didn't want to do her a disservice in season two. So god, I hope I didn't. I guess the circumstances evolve, and you just put that suit back on and hope that you show up and do it justice." Luke: "It's interesting, because it's both much more comfortable and it's nice knowing 'okay, I know to a degree where this guy sits'. I also think sometimes the trap is to get too comfortable in that, and to make sure you're really looking at what the arc of this season is, what the story is. In a lot of ways, there's a lot of things that are completely different between these two seasons. The first season, Martin is the outsider. He is not emotionally or personally connected to this mystery in any way. He's got his own personal journey going on, but he is the somewhat-dispassionate journalist coming in just to tell this story, and everyone else in town has been traumatised and connected to it. This is the opposite. When we when we jump into Silver, it's Martin's old best friend who's been murdered — in a town where a lot of terrible things happened to Martin, but also he did some things that we'll find out he has some regrets, some shame over, potentially. The person who is accused of the murder is his now-partner. So he could not be more personally connected to every aspect of it. So in that way, he's going to approach it completely differently to how he did the mystery in season one. So it's somewhat comfortable, but also a completely new character in some ways." On Whether One of the Challenges of Returning to a Role Is Conveying How a Character Has Grown and Changed Between Seasons Luke: "I think so, mainly in context to Martin and Mandy. The potential relationship is only just blooming by the end of season one. So the whole year has happened for those two. So I think that's the hardest bit of catch-up to do, is to work out 'all right, how close are these two? How established is the relationship? How much trust has been built?'. Because very quickly, going back to Port Silver and the events that happened there, both of them realise that maybe they have to question how much this other person is opening up to them, how much they trust them, how truthful they're being. [caption id="attachment_929182" align="alignnone" width="1920"] Sarah Enticknap[/caption] So I think that is the first thing that we had to consider — what this relationship between Martin and Mandy is, how that year has been between, how established are things, how much do they trust each other? And because it is an ongoing series — but each of these is its own standalone mystery. So in some ways, you want to get that established really quickly so you can get into the real meat of what this season's about." On How Heathcote Approached Mandy's Complicated Emotional Journey in Scrublands: Silver Bella: "I really just went off what was on the page and in the book. Although, you know what comes to mind — and this is a book that has really spoken to me, a book that I've told everyone I know to read and rabbited on about for so long. I don't know if you've ever read it? Any Ordinary Day by Leigh Sales. Oh my god, so just this idea that Mandy — everything that's happening to her is so in the present, but given everything that's happened in season one, it's just like she just has to keep going on, even given everything happened with Byron and with her dad. But she has this son and she has to raise him. And there's all this stuff happening and it's just a trauma that she doesn't have time to process right now because she just has to do the next indicated thing, and she's just so focused on Liam. It's almost like Martin has to try to think of things around the crime and what's going on, because all she can think about is like 'where's my son? I have to go get him. Is he okay? Who is he with right now?. And in some ways, I guess that sort of protects her, insulates her. I feel like if you looked at Mandy five weeks later, she'd be grappling with something different than just what she's dealing with in the shock of the moment." On Navigating the Conflicts Within Both Martin and Mandy — One So Astute in His Work and Yet Awkward in His Personal Life, the Other Fiercely Protective of Who She Loves But Struggling with Trust in Their Relationship Luke: "I think it's the great thing about having the whole story from the beginning — this feeling that 'all right, we've got all these four episodes', and so even before starting, you get to chart some evolution about what can change for him over the course of the story and why. And I think it is knowing that this guy has mostly been on his own, single, bouncing around the world, caring about one thing — which is the story — and believing that is important above all things. That would even mean that in a lot of these situations, while he would be making friends, building relationships, if some of those people are implicit in the story, if they're part of it, that he'd know professionally it's his job to put that aside in the service of the truth. So I think once you know that that is a core part of who Martin is, then it becomes a little easier to play those moments where he could maybe act in ways that are disappointing or upsetting to the people around him. And I do think that's the fun of the season. Every time you do any part, it's always fun to look at 'all right, what are you hoping they learn through the course of this story? So how do we take them a few steps back from that at the beginning?'. And I think it's sometimes the most fun stuff to see when characters are oblivious, when they put a foot wrong — when you hopefully still enjoy watching them, but you can also be frustrated by them as well." Bella: "I think she just loses patience pretty quickly with Martin and his jealousy, Martin and his inability to deal with his past and his family. I think she calls him out on it quite a few times because she just hasn't, doesn't, they don't have time to luxuriate in whatever six months of couples' therapy they need in order to deal with this. It's just like 'get over yourself. Go deal with your family. I'm going to do this thing that's right in front of me. I'm going to deal with the next crisis. I don't have time for whatever nonsense you're bringing to this'." On the Series' Exploration of the Fact That the Past Can Haunt You — Whether You've Tried to Leave It Behind in a New Setting or You're Returning Home Bella: "I don't think you need to dig deep into it because it's true. I mean, it's true for me. I think we're all shaped by our past and whatever traumas we've experienced or whatever loss we've experienced, so I think it's just something that we all carry. We carry the scars of it, hopefully to a lesser extent — or hopefully we are able to do the work so that it doesn't impact our daily life in a way that becomes unmanageable. But I guess I just agree with what Mandy says, because that's been my experience." Luke: "I think what was really great is there were extensive flashbacks in the book, and I think Felicity [Packard, Pine Gap], our writer/producer, and Ben Young [Hounds of Love], our director this season, and everyone else did a really good job of going 'okay, how do we crystallise the ideas, the themes, the character moments in those very broad flashbacks down to something that fits our format?'. And I think they did a fantastic job of that. I think it's really about tying the tragedies of Martin's history here to his own actions, and to the man he is now. And knowing that, yes, some of those blocks he might have emotionally and relationship-wise all have to do with those walls he put up at a very young age, and those decisions he made to go 'no, this is important, what I'm doing is important, so I'm going to go down that road'. So I think it's a theme that pops up with a lot of characters there, but what's fun is I think all those themes, those character moments and the mystery all end up overlapping each other really nicely." On Why the World of Scrublands Resonates with Audiences, Both on the Page and as a TV Series Luke: "This Aussie-noir thing is obviously captivating people here and around the world. It taps into that feeling of Australia I think we all have — I feel like each of these stories so far take place in an Australian small town where some dark things happened, where you've got this tight-knit community. And there is something interesting here, I think, compared to Riversend. Riversend was a place where an awful thing happened that I think really affected the whole community in terrible ways. There's a bit of a different thing going on here with Port Silver, where the change is different — there's some stuff here that happened in the past that compromised everyone and there is still some pain of that, but there's also this gentrification and other shift happening in the town. But I think overall it's that mix of a really good mystery, first and foremost. I think sometimes we can put those darker themes front and centre, and the mystery is somewhat there to support a story that's more interested in theme, in pain, in trauma — and sometimes those stories can be fantastic. But I think this story, for us, especially when we lift it to the screen, we're really trying to tell the mystery first and making sure that we fill it in with all that beautiful texture, but that from scene to scene, we're keeping you on the hook, trying to find out what happened, why and who committed the crime." Bella: "I talk to my dad about this a lot because he loves crime fiction, and it's sort of the only genre he reads. And it tracks because he was a lawyer. I can see why that would be fun for him. But I also I ripped through these books so quickly, and I don't typically read crime fiction. I read them all in two days each — less, maybe. Just couldn't put them down. And I don't know, why is that? They're just delicious and moreish. And you can't, you just want to know what happens. I want to know what happens. I wanted to know what happened watching the show. I was trying to prep this job I'm doing now, and I just thought 'I'll just watch one episode' — and then cut to it's midnight and I'm supposed to be working the next day, and I'm like 'shit, okay, stop watching them'. And I was texting with Luke, and he was still up in Australia because he and his partner had stayed up to watch them. Yeah, they're just moreish." On Scrublands: Silver Taking Aussie Noir to a New Setting in Coastal WA and Helping Expand the Vision of Australia On-Screen Luke: "I think it is the kind of secret weapon of the season, that we could not get over when we were there. This is not a side of Australia people have seen a lot of. Augusta, the town that we shot in, is like the most-southwesterly point of Australia. It's got its own little microclimate. There are humpback whales that you're seeing every day. And funnily enough, there was just this amazing silver sheen over the whole place. Very different to season one, and very different to most things that we've seen in Australia. And I think it is really great. And that just because we're making so much more stuff — and I think we're making so much interesting stuff these days, and enough of it, that we don't feel like what it would have been in the old days, where if you were trying to make a show in Australia that you wanted to export to the world, there's almost an Australian brand. And so you go 'no, don't try and' — like a show like this, you might go 'no, no, no, you buy a show that looks like this from somewhere in Europe. Let's do another McLeod's Daughters or something like that'. Where, because we're exporting so much great stuff these days, we do get to step outside that. We do get to shoot in all corners of the country, and I think it's really exciting for so many reasons. We get to really start showing the world that this isn't just a bunch of beer-drinking — even though, look, we drink a bit of beer in this as well — but it's it's not quite that one image of Australia that we were showing for a very long time." Bella: "My god, I love it — and I love the fact that they let us do it, because I think for most people, Australia, its selling point is the sun-bleached country or the beaches and sunshine and barbecues or something. So to be given — permission is the wrong word, but to be given carte blanche to shoot in winter in WA. And it's so beautiful, it's so breathtakingly beautiful that coast in winter, and the whales and that lighthouse. I just thought it was so idyllic and just really set a certain tone and mood, and I think it's incredible. I'd never been to WA before shooting there, so I'm grateful that we shot there. Because Australia, everywhere you go just feels like it could be its own little universe. They're so different, season one to season two, those settings are so vastly different — and both are so, so special and so beautiful." On What You Learn From Playing Parts Like Martin and Mandy for Two Seasons Bella: "The thing that comes to mind is that you can be tough and sensitive. That you can be tough and vulnerable, and that those things aren't mutually exclusive. I think through so much of my twenties, I thought you were either one or the other, and I feel like Mandy is all of those things all at once." Luke: "I think there's a great window, in both seasons, there's a real window into journalism that I didn't quite know before that's really interesting, and that I had to get my head around then to start playing Martin. Being in the arts, I do think we're often going to the human element first, and are empathy-forward in our ways of how we think about any story. And so just ticking over into not only the mindset of a journalist, I guess, where it's like 'it's about the truth, it's about the facts, that's what's important' — the human element is part of it, but your job as a journalist is to go in and get the truth first, and that's what matters. And I think that's so fun to play. I don't think is a spoiler to say that Toby Truslove as Doug Monkton is back, and so is Sarah Roberts as Beth, so when you get these scenes between the journos, I think that's really, really fun. And that's something that also feels different. We've seen a lot of shows of cops talking and lawyers talking and that kind of thing. I think that the camaraderie and competition between journalists is really fun to play, a whole new window. So I think extending my understanding of that world and getting to play with that is one of my most favourite elements." On Whether Arnold and Heathcote Ever Dreamed of Where Their Careers Have Taken Them Both at Home and Overseas When They Were First Starting Out — Behind the Scenes on Peter Pan and in Australian Film Acolytes, Respectively Luke: "No, of course not. It's funny on that job, being assistant to the swordmaster from Peter Pan. I'm just like everyone watching The White Lotus season three at the moment. And so I was still at high school, really, doing that job — and Jason Isaacs from White Lotus was playing Hook. And on my last day, I went in and had a chat with him, and he was like 'so what are you going to do now?' And I was like 'ohh, I'm going to go to film school, or do a writing course or go to acting school'. And there in his full Hook regalia, he was like 'well, just so you know, writers and directors often have much happier lives than actors'. And I was like 'all right' — and I ended up not taking his advice and went to drama school. And during that time, you're just hoping — like you really get it in your head that 'hey, if I can be a jobbing actor, if I can get to a point where I make most of my money from being an actor, that'll be great'. And that is a kind of dream, and it is tough. It's really hard to do. So then you spend, for a while there, doing a bunch of jobs that are really rewarding but without any — you'd go and do an acting job and then you go back to one of the countless terrible casual jobs that I've done in between. And that felt like 'well, this might be my life'. And then going through those couple of years where I got to do Never Tear Us Apart and Black Sails, obviously that really changed things. Since then, I've just been able to solely work in the creative industries, and I am eternally grateful for it. And there's always a sense that it could change at any moment. But on that, I think as well, that also led me — not to go on a whole big thing, but from that as well, that led to a bit of time where I was spending a lot of time overseas. And I then also had that moment where I was like 'oh, I don't — this isn't the life I want'. It's very easy to get drawn into this feeling of trying to go bigger and further away. And while I'm always open to working overseas, there was a shift even before 2020, when I really, I think, felt really appreciative of the industry we have here in Australia, the great things we do and being able to have this quality of life — working with these people on projects like this was really appealing. So what I'm really most grateful for is that I was able to come back to Australia and really cement myself here, and the work I've been doing the last few years has been some of the most fun and rewarding I've done." Bella: "I suppose that's what you want when you start as an actor, but also I had no concept of really where it could go — because I didn't have anyone in my family who was in this industry. It seemed sort of improbable. But I just didn't want to do anything else, so it's just like 'well, this is what I have to do'. I mean, it's a dream. I still think about that now, like the fact that I've just been able to earn a living doing this thing for the last, jeez, 18 years or whatever it's been now, feels like a small miracle." On What Heathcote Looks for in a New Homegrown Project When Adding to Her Recent Run of Scrublands, Bloom, The Moogai and More Bella: "I guess it's the same thing I'd look for overseas — just a role that speaks to me and creatives that I'm excited by. I mean, The Moogai, for example, I just thought that was a really important story and I'm always fascinated by horror films that are sort of an allegory for something bigger than just horror, genre. And Bloom, I remember just being excited to work with Phoebe [Tonkin, Boy Swallows Universe], and I was in Australia — and I met with Greg and Glen [Dolman, I Met a Girl], the writer, and just thought this would just be a laugh. I also love the comedic element of it, or the situation just felt so ludicrous, to play this old woman, this very uptight old woman, but in a young woman's body. It's giving Freaky Friday. And then Scrublands, I just love Mandy. I just thought she had such spunk. A friend of mine said something once: 'you need two out of three'. And it was pay, creative, location. Sometimes, if you're lucky, you get all three. And I suppose that's how I make most of my decisions." On What Gets Arnold Excited About a New Role in General Luke: "It can go both ways. I think what excites me sometimes is if there's some crazy challenge — where the script is so good and there's some amazing challenge in there that I haven't done yet. And you go 'all right'. And it's going to push me in ways where I can't rely on the things I think I know and the things I've done before, and just launch into something with faith in the people I'm working with and in the process, and get to just stretch myself in new and exciting ways. That's both really exciting — and also what's really exciting sometimes is when I feel like 'oh, I think I'm the right guy for this job'. It's a really rewarding, exciting thing, because there's so much self-doubt here. And every job you do, you always go 'well, everyone's going to think I suck in that'. And every audition you do, you go 'of course, I'm not going to get this'. But occasionally these things come forward where you're like 'I think this is my skill set. I think I know how to do this. And I think I can maybe bring something to this that not every actor could'. And I think, from a kind of craft sense — and just, as we said, how long I've been in this industry — it's a really nice thing when I feel 'oh, I think I could be helpful to this thing'. And that's why there was maybe a sense with Martin that I felt like 'oh, I think my writer's mind will be really useful in this role'. Because when you are in the position where your character is, you are with the audience as you're putting the pieces together, you are part of shaping the story and putting the pieces of that mystery together, I did feel like 'oh, I think I might be the right actor to make this character work'. So I think that is sometimes a great thing, when I can enter into something with a little less self-doubt and a little more excitement to bring all of me to a role." Scrublands: Silver streams via Stan from Thursday, April 17, 2025. Read our review of season one. Images: David Dare Parker / Sarah Enticknap.
Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part Apple TV+ series — which begins streaming from Friday, May 5 — she's soon playing detective. Leaping to the screen from Hugh Howey's novels, Silo might share a few basic parts with other shows and movies — Metropolis, Blade Runner and The Platform also echo, as do the corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — but this series isn't simply scouring its genre for useful parts. In a year that's made a hit out of the TV version of The Last of Us, it too ponders humanity's survivalist instincts, as well as how we shape our societies when the worst occurs. And, as fellow Apple TV+ sci-fi mystery Severance did so grippingly in 2022, it also contemplates what people are willing to accept to get through their days. Ferguson's Juliette is particularly adept at tinkering; however, the show she's in is always a complete piece in and of itself, and never just cobbled together from other sources. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. So is when it'll be safe to venture out again and whether everything the stratified community has been told, as documented in a book of decrees called The Pact, is 100-percent accurate. Along with giving wanting to leave such finality, other rules span how people can use remnants from the before times (called relics, and covering Pez dispensers, watches hard drives and more) and the lottery that allows couples to procreate (with women otherwise implanted with birth control). Here, breaking the indoors-only mandate, being too curious and challenging the status quo all have serious consequences, as Holston, Allison and Juliette learn. Brought to streaming by Justified creator, Speed writer, and The Americans and Slow Horses executive producer Graham Yost, Silo has twists in store for all three — but Juliette earns the bulk of its attention. In the "down deep", as the lower levels are dubbed, she's an engineer overseeing the generator that keeps things whirring. She's also sparked to do more than mechanics by her lover George (Ferdinand Kingsley, Mank), who has a fascination with relics and an obsession with exposing the truth about silo life. Sims isn't fond of her snooping, or of her rise from the bottom ranks in general, while she isn't impressed when she's paired with The Pact-worshipping Paul (Chinaza Uche, Dickinson). If the premise wasn't absorbing enough, with its setting, questions, arbitrary regulations, and conflict between those who've grasped power and everyone forced to live under their authority — and it is absorbing — Silo is a feat of world-building from its first moments. With kudos to the show's production designer Gavin Bocquet (The Dark Crystal: Age of Resistance), entire art department and special effects team, it's visually entrancing in its location alone. As this confined existence spreads up and down around a striking central spiral staircase — because there's nothing as advanced as an elevator to scale and plunge through the silo's floors — it does so with Soviet-era hues and a steampunk vibe to the show's retro technology. Discovering new spaces, be it the engine room where the intense ticking-clock third episode is set, or the floors devoted to crops and cattle, or the medical bay, is constantly a thrill, albeit never more so than the dramas playing out within each place. Within Apple TV+'s stable, both Severance and Hello Tomorrow! also benefited from blast-from-the-past looks while getting viewers puzzling. They each knew, too, that aesthetics and enigmas can't do all the heavy lifting. As they both proved, Silo is dedicated to its characters first and foremost — so much so that when some slip away earlier than their casting has audiences expecting, it feels like a genuine loss. That's not a criticism of the always-excellent Ferguson, who anchors the show with flinty determination, but praise for how well minor figures are fleshed out. She's magnetic, thoroughly deserving of her lead role and riveting in it, and she has stellar support, with Iain Glen (The Rig) and Harriet Walter (Succession) also welcome inclusions. Rich concept, stacked cast, immersive visuals, dripping intrigue: given how well Silo's first season pans out, it's no surprise that a second is already in the works. This strange new world doesn't come close to resolving every question it poses in this debut go-around, instead continually inspiring more, yet never feeling like it doesn't have an endgame or it's stretching out its story to prolong getting there. Cliffhangers are part of its storytelling process, but skilfully. The big reveal that ends the season is catnip for more to follow. Silo is just as involving when it's exploring its underground city, diving into its main players' histories, solving mysteries and inciting more — and worth digging deep into. Check out the trailer for Silo below: Silo streams via Apple TV+ from Friday, May 5.
Love the great outdoors but not the sleeping in a tent bit? Parks Victoria hears you, so it's piloting a new accommodation option across the state's most iconic parks. Introducing Canopy eco sleeper pods. Despite the name, the structures look much more like tiny houses than like the Japanese-style capsule hotels the name evokes. The 'eco' part is spot on, though — each pod has been designed with sustainability in mind, using eco-friendly, low impact materials with a focus on energy efficiency and minimal impact on the surrounding landscape. The pilot program will run from April through July, starting off in Point Nepean National Park. Four pods will be tested during the pilot, two from JAWS Architects and Pod Matrix and two from Oscar Building and Troppo Architects. Of course, this means the pods will come in a variety of styles — with and without kitchen and bathroom facilities, along with 'off-grid' models which are fully self-sufficient with electricity and running water. While still in pilot phase, people are encouraged to stop by to view and provide feedback on the pods, specifically on aspects of design, amenity, accessibility, visual impact and visitor experience. You are also able to register interest for an overnight test stay in one of the Point Nepean pods. If the pilot is successful, you can expect Canopy to pop-up in national parks across the state. For more information on the project or to provide feedback, visit the website here.
Trump. Inequality. Charlottesville. North Korea. Taylor Swift's 'Look What You Made Me Do'. It's been a, er, testing year thus far. And if it weren't for our ability to talk about it — whether it's desperately debating asylum seeker policy in a pub corner, scrolling through Twitter for solidarity or listening to a critical analysis of covfefe on the way to work — we would probably all be hiding under makeshift bomb shelters in our kitchens by now. But when do we stop talking (and talking) about the state of the world and actually start doing something? That's what the Sydney Opera House set out to address this weekend at ANTIDOTE, a new festival that has replaced the Festival of Dangerous Ideas on their program with the intention of inspiring action. The inaugural ANTIDOTE, which ran over two days, featured a range of speakers, artists and activists whose subject matter moved, for the most part, past the visceral into the practical. They showed us that action isn't always seen through protest — that it can come through satire, by lifting yourself up with 20,000 balloons or just moaning really loudly until someone listens. While it's hard to say if the audiences at ANTIDOTE will put any of their newfound learnings into practice — except perhaps those who are bound by contract from immersive theatre game The Money — here's five things we took away from the festival. It's up to you to crawl out from your bunker and put them into action. [caption id="attachment_635687" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] IT'S ACTUALLY DIFFICULT TO SATIRISE DONALD TRUMP — THE ONION America's finest news source has been satirising US politics, everyday life and the power ranking of Mary-Kate and Ashley Olsen since 1988. They've found ways to cover presidents like George W. Bush ('Our Long National Nightmare Of Peace And Prosperity Is Finally Over') and Barack Obama ('Black Guy Asks Nation for Change') — and so, with the election of Trump last year, you'd think it would have made The Onion's job a total cakewalk. Not so. According to managing editor Marnie Shure, video director Katy Yeiser, and senior writer Dan McGraw, who appeared in conversation with The Chaser's Craig Reucassel, Trump's absurd behaviour is inherently hard to satirise because readers often can't tell the difference between satire and reality. Unlike other government figures who usually say one thing but mean another, Trump just says what he means — and there's very little you can do with that. Although they seem to have managed just fine. [caption id="attachment_635686" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] PEOPLE WANT TO HELP THE HOMELESS BUT DON'T KNOW HOW — THE MONEY This was no more apparent than at Kaleider's performance of The Money. Held in the Utzon Room — with its views that dissolve into the harbour water — the concept is this: a select number of 'players' sit around the table and decide what to do with a wad of cash. They can put it towards anything legal they can unanimously agree on, but they can't donate it to charity or split it with each other. A group of 'silent witnesses' also present; they don't have a say unless they slap some money on the table, in which case they are then embedded into the decision-making process. At a session on Sunday, discussion quickly turned to acts of non-direct charity. With only $500 on the table — unlike the jackpotted $6000 that went to the YES campaign the night before — the participants wanted to find a way to use the money that would actually make a difference in someone's life. Homelessness — unlike organisations in which members had a vested interest in — was a neutral cause that no one could find a suitable opposition to. But the main question was how. Without giving directly to a charity that would help people without a home, the players decided (after much discussion and disagreement) to put the money on a gift card, that would then be donated to a non-profit to, hopefully, provide food and goods to those who need it. [caption id="attachment_635684" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] SOMETIMES YOU HAVE TO SAY THE WORDS TO REALISE PEOPLE WERE WAITING TO SAY THE SAME THING — EVE ENSLER When Eve Ensler started first performed The Vagina Monologues in a Greenwich Village cafe in 1996, the word 'vagina' was rarely spoken out loud. Nowadays it's much less taboo. And while the playwright and activist thought her play would be redundant by now (if only), the ongoing response and shift of how society views women and their bodies is still a prime example of how art has the power to transform thinking and urge people to act. Ensler took to the stage in what can only be described as a fierce powerful takedown of the "predator-in-chief", the Australian Government's policy on asylum seekers and violence against women and girls. She urged the audience to speak out, refuse to be silenced, stop looking away and say the words that everyone's thinking — because that's how they get introduced into the conversation. She then proceeded to perform a monologue that ended in all-in audience moaning. [caption id="attachment_635721" align="alignnone" width="1920"] Letícia Almeida[/caption] TURNS OUT, HELIUM BALLOONS CAN LIFT A HUMAN — CHEROPHOBIA If you've ever watched Up, then the elation of artist Noëmi Lakmaier taking flight by way of helium balloons would not have been lost on you. Especially after the uncertainty and shared suspense of the coming-and-going audience members that visited over the nine-hour work. While her actual lift-off wasn't as dramatic as Carl and Russell's, it did offer a source of contemplation on happiness and fear for those who'd stuck around. Plus, the Concert Hall filled with 20,000 balloons was a pretty lovely sight to see. [caption id="attachment_635685" align="alignnone" width="1920"] Prudence Upton / Sydney Opera House[/caption] WE NEED TO DISMANTLE DOMINANT IDEOLOGIES — RENI EDDO-LODGE Reni Eddo-Lodge refuses to explain race to white people — which is fair enough, really. But after a blog post titled 'Why I'm No Longer Talking to White People About Race' blew up in 2014, Eddo-Lodge has become a prominent journalist and blogger on the topic of, well, just that, having recently released a book of the same name. In her conversation with Benjamin Law she spoke about whiteness as an implicit but ever-present power structure that upholds the dominant ideologies that suit white people. So how do we break the cycle of dominance? Question them. Read up on indigenous history, campaign to change the date of Australia Day — don't accept the structural systems of society just because that's the way they are. Also, read her book. Top image: Letícia Almeida.
Among the many great filmmaker-actor pairings that cinema has gifted the world, Ryan Coogler and Michael B Jordan have spent more than a decade cementing their spot on the list. It was back in 2013 that the two first joined forces, one for his feature directorial debut and the other for his first lead film role, on Fruitvale Station. Each time that a new Coogler movie has arrived since, including 2015's Creed, then 2018's Black Panther and its 2022 sequel Black Panther: Wakanda Forever, Jordan (Creed III) has been a key part — and after playing Oscar Grant, Adonis Johnson and Killmonger for his go-to helmer, Jordan is at the heart of 2025's Sinners, too. Five pictures into their collaboration now, how does Coogler manage to double down on working with Jordan? Literally, actually. This time, in the director's first horror film, he has cast his favourite actor in two roles. Sinners focuses on brothers — twins, in fact, called Elijah and Elias — who find more than familiar faces awaiting when they try to start afresh upon returning to their home town. They also find much greater troubles than have been haunting them in their lives elsewhere. This is a movie set in America's south in the Jim Crow-era, as well as a film where being able to enjoy blues music at their local bar is a welcome escape for Sinners' Black characters. But as the just-released second trailer for the feature makes clear, there's more than a touch of the supernatural to Coogler's new flick. Yes, things get bloody. Cast-wise, the movie also gets stacked, with Hailee Steinfeld (The Marvels), Wunmi Mosaku (Loki), Delroy Lindo (Unprisoned), Jack O'Connell (Back to Black), Jayme Lawson (The Penguin) and Omar Benson Miller (True Lies) co-starring. Sinners marks the first time that Coogler hasn't either explored a true story, jumped into an existing franchise or brought an already-known character to the screen — and alongside him working with an original tale, he's also telling a personal one. Inspiration came from members of his family, including for the film's setting and pivotal use of music. But Coogler also considers every feature that he's made to be personal. Asked at a press Q&A about the movie and its new trailer if this tops the list in that regard, he advises that "it's interesting because at each point in my life, that statement has been correct — but never like this one". [caption id="attachment_988567" align="alignnone" width="1920"] Gage Skidmore via Wikimedia Commons[/caption] "I don't want to give all of this away, but each time I make something — and none of the films that I worked on have had the horror or the thriller element like this one has — but each time I'm conquering a fear, a personal fear of mine, and this one is no different," Coogler also shared. For Sinners, Jordan isn't the writer/director's only returning collaborator. For a picture that's partly shot on IMAX — "I got to get some advice from Chris and Emma, who are masters of the form," Coogler offered, speaking about Christopher Nolan and his producer and wife Emma Thomas — he also reteamed with pivotal talents behind the lens. Cinematographer Autumn Durald Arkapaw (The Last Showgirl), production designer Hannah Beachler (Renaissance: A Film by Beyoncé), editor Michael P Shawver (Abigail), composer Ludwig Göransson (Oppenheimer) and costume designer Ruth E Carter (Coming 2 America) each return from either Black Panther, Black Panther: Wakanda Forever or both — some, such as Göransson and Carter, with Oscars for their past efforts working with Coogler. The filmmaker also chatted about his clearly rewarding creative partnership with Jordan, Sinners' origins, its mix of genres and supernatural elements, and his aim with using large-format visuals — plus how Stephen King's Salem's Lot proved pivotal, the eeriness of twins, why making movies is a form of catharsis for him and more. On Making Five Films Now with Michael B Jordan — and How Their Collaboration Pushes Coogler Creatively "It's incredible. With Mike, he was a working actor when I met him. He had been on some incredible television shows, basically been a professional actor since he was a school-aged kid, but he hadn't had a feature-length role where he was the lead just yet. So when we worked together on Fruitvale, that was his first time in a lead role in a movie, and it was my first time making a movie — so in many ways, we've grown up together in the industry, in these situations. I've definitely found a kindred spirit in him. He's somebody who's incredibly gifted. In some ways, it's god-given: his charisma, his ability to channel empathy without even trying. But the other facets are the things under his control: his work ethic, his dedication to the craft. And the other thing is his constant desire to want to push himself, to increase his capacity, to continue to stretch. Having both those things rolled up into one, and being somebody who's around the same age, we became work friends and eventually have become like family since. It's an incredible gift to have somebody like that, who you can call up and say 'hey, I've got a new one for you, what do you think?'. And I know he is always trying to look for new challenges constantly. He doesn't want to rest on his on his laurels. And I thought that this role would be something where we could challenge each other." On Injecting Personal Elements Into Coogler's First Horror Film "Each time I've made a film, it's become more and more personal. With this one, I was really digging into two relationships. One with my maternal grandfather, who I never met, he died about a year before I was born — but he was from Merrill, Mississippi, and eventually moved to Oakland, married my grandmother, and actually built the house that our whole family was based out of in Oakland. And I had an uncle named Uncle James who I came up with my whole life, he actually passed away while I was in post-production on Creed, and he was from another town in Mississippi — and he wouldn't really talk about Mississippi unless he was listening to the blues, unless he had a little sip of old Italian whisky, then he would reminisce. And I miss him profoundly. With this film, I got a chance to dig into my own ancestral history here in the States — not dissimilar to what I was doing with the Panther films, like that generational ancestral history, this is right there for me. And I had a chance to really go to the south and scout and think. And the film is about the music that was so special to my to my uncle — and I couldn't be happier with the film that we'll be able to show you guys in a few months." On the Movie's Supernatural Aspects "The film is very genre-fluid. It switches in and out of a lot of different genres. Yes, vampires are an element of the movie. But that's not the only element. It's not the only supernatural element. The film is about more than just that, and I think it's going to surprise folks in a good way. My favourite films in the in the genre, you could take the supernatural element out and the films would still work — but the supernatural element actually helps to heighten it, helps to elevate it. So I was aspiring to make something in that in that tradition. And the film has elements of all of the things that I that I love. It's really a personal love letter for me to cinema, to the art form, specifically the theatrical experience. It's interesting working in a post-COVID time, when everybody was sequestered — and I know I found myself missing that experience of experiencing things in a room with folks I didn't know, but still reacting in the same way, or maybe reacting in different ways and getting to enjoy that. The film is meant to be seen in that capacity." On Using Large-Format Visuals, Such as Shooting in IMAX, to Draw Audiences In "The whole effort was for the experience to be immersive. We wanted to let folks experience this world. And for me, it's the world that my grandparents were a part of. It's the world that they came up in. And it's a time that's often overlooked in American history, specifically for Black folks, because it was a time associated with a lot of things that maybe we're ashamed to talk about — but I got to talk to my have conversation with my grandmother, who's nearly 100 years old, and do some really heavy research, and it was exciting. To bring that time period to life with the celluloid format that was around then, but with the technological advancements that IMAX can provide, it's really exciting — really exciting." On How a Stephen King-Penned Vampire Novel Proved an Influence "A big inspiration for the film is a novel called Salem's Lot, and in the novel — it's been adapted quite a few times and in some really cool ways, but what's great about that novel is when Stephen King talks about it, for him it was Peyton Place, which is another novel, meets Dracula. What happens when a town that's got a lot of its own issues, a lot of interesting characters, meets up with a mythological force of nature and it starts to influence the town? So that idea for me was a great way to explore some of the real things in this place that my grandparents and uncles who influenced my life came from — but also that a lot of American pop culture came from, right there. One of the things we explore in the film is blues music and blues culture, and that became so many other things that affect what we do today. So it was great to be able to explore that. And that music has a has a very close relationship with the macabre, so to speak, with the supernatural. You hear stories about Tommy Johnson and Robert Johnson selling that souls to be able to play the guitar the way they do — the deals being struck. It was called the devil's music — and the dichotomy of these incredible singers, even still to this day, they learned how to make music in the church, but yet they chose to make music that maybe was frowned upon." On the Catharsis of Making Movies for Coogler "I'm blessed to have been able to have found this medium. I found it out by accident. But where I can work out deep, philosophical, existential questions that I may be struggling with, I get to work them out while contributing to an artform that that means so much to me and my family. Watching movies for us was a pastime, and it was a way to connect, it was how we travelled. So I feel like the luckiest person on the planet — but yeah, it is a form of therapy. Each film brings me closer to understanding myself and the world around me, I think." On Jordan Portraying Twins — and Why Twins Feel Supernatural "These are guys who there's nothing supernatural about them outside of them being identical twins. Now, when you dig into the research on twins, it is pretty strange. We still don't totally understand how we have specific identical twins, because it's not something that can be inherited. It's an anomaly. What we did on this was I hired a couple friends of mine who are filmmakers, Noah and Logan Miller — we hired them as twin consultants. They're about the same age as me and Mike, and they were able to talk to Mike and myself while we were working on the script, and he was working on prepping the characters, on what it is like to have an identical twin. Some of that work was just fascinating — like this idea of ever since you achieved consciousness, there was another version of you, right there, right there in front of you, sharing space. And how they see the world — how they see the world as 'us versus everybody else'. The other aspect of it is the fact that they're not totally different. They're actually are quite alike. They're different in subtle ways that Mike found. But it's an absolutely brilliant performance — both performances. I can't wait for folks to see him. It's Mike unlike I've ever seen him before, and I know him pretty well." On Why the Time Was Right for Coogler to Tell an Original Story "I think in terms of timing — and timing is everything, it can really make or break a project, now more than ever. But for me, in being a writer/director, the timing first has to start with me. And it felt like I was at a point in my life where I did want to try to do something original. And I realised I had been working on things that were based on pre-existing things, maybe a real-life situation, maybe a pre-existing franchise and cinema, a pre-existing comic-book franchise, and so I felt the itch to want to try. I could kind of feel like the kids are growing up, I'm getting older, I can feel time on my on my backside. So it turned out to be the perfect timing for me, personally. And at terms of looking around at the world and where we are, those two things seem to be lining up. But at the same time, you don't have any control over that one. You've got to kind of start with yourself. Even then, I did want to still play with archetypes. I guess it's original, but I'm dealing with a lot of archetypes — not just a vampire, but the supernaturally gifted musician, the twins. When I was coming up, every neighbourhood would have those twins who were well-known, sometimes notorious, just had a reputation as local celebrities. That idea is something that we're exploring in this, and a lot of other ideas. So I'm still digging into pre-existing things and culture as best I can, but synthesising them through my own personal lens." Sinners releases in cinemas Down Under on Thursday, April 17, 2025.
As a nation girt by sea, as our anthem tells us, Australia boasts plenty of water. We're surrounded by it thanks to our scenic shorelines, picturesque harbours and cosy coastal inlets. And courtesy of the gobsmackingly gorgeous pools, curvy rivers and splash-tacular waterfalls found inland as well. Indeed, it's particularly easy to take a dip if you're in Melbourne, whether you're roaming around close to home or roving further afield when the weather's warm. Sea spray, refreshing swimming holes and even crystal-clear public pools are usually only a stone's throw away. Here's where you'll find them — and cool down.
Northcote's Tinker is yet another notch in the belt of the crew behind Convoy, Hi Fi and Terror Twilight. These Melbourne cafes are slinging some of the best brekkie in Melbourne, and Tinker is absolutely no exception. Come weekends, the few outdoor tables lining High Street are filled with dog owners catching up over coffee, while the large, light-filled indoor space is always buzzing. Head into the courtyard out back, and you'll find even more pups, plus plenty of boozy brunch lovers hitting the bloody marys and Aperol spritzes. This is all fab, but there are two key things every Melbourne cafe needs to succeed — great coffee and eats. And Tinker's nailing each of these. Beans come from Inglewood Coffee Roasters, pulled into gorgeous espresso shots at the concrete bar. Baristas are latte-arting the shit out of their milky coffees while also serving up cold brews, cold drips and bottomless batch brews for $6. Then you have the stars of the show, Tinker's breakfast and brunch dishes. Like any good local neighbourhood cafe, you can opt for classic eggs your own way, porridge and acai bowls. These are for the regular midweek cafe lovers who dine out on the regular. But it's the more creative dishes that set Tinker apart from other local spots. The eggs benny comes on cornbread waffles instead of your basic crumpets, served with an apple and fennel slaw and sweet potato crisps. Its zucchini and haloumi fritters are made more interesting with the addition of cucumber and mint yoghurt, mango chilli relish and crispy curry leaves. It's a fresh and light take on the somewhat overdone brekkie staple. And your usual chill scramble is elevated by the addition of pickled shitake mushrooms, Vietnamese mint, fried shallots and a sprinkling of parmesan. It's also huge. In fact, most of the portions here are very generous. No need to order extra toast just to fill up on carbs. The team running Tinker has managed to create yet another standout cafe in Melbourne, adding to the ever-improving lineup of great places to eat and drink on this stretch of High Street.
In the space of a mere six months across the end of 2023 and beginning of 2024, Godzilla fans have enjoyed not one, not two, but three opportunities to see the now 70-year-old kaiju trample across the screen. Talk about a new empire. Not all of those projects are officially connected. Not all of them unleashed their giant creature upon cinemas. But just like standing at the foot of the lizard-like behemoth, there's been no avoiding the prehistoric reptile's footprint — in Japan's Godzilla Minus One, the film that finally won the Godzilla franchise an Oscar; in American streaming series Monarch: Legacy of Monsters, as led by Kurt and Wyatt Russell playing the same character; and now in Godzilla x Kong: The New Empire, the latest Monsterverse flick, which its TV predecessor also ties in with. Thinking about anything Godzilla-related seven decades into its life brings up a numbers game, then. The Gold Coast-shot Godzilla x Kong: The New Empire is the fifth Monsterverse movie and the seventh entry in the US-made saga that started with 2014's Godzilla. It's the 38th Godzilla film overall. Because King Kong is part of the equation, it's the 13th feature in that franchise, too. In other words, Godzilla x Kong: The New Empire is a flick with a massive history. Director Adam Wingard, who helmed 2021's Godzilla vs Kong first, knows the weight that such a hefty past brings to his second entry in all of the above sagas. That said, the filmmaker behind A Horrible Way to Die, You're Next and The Guest also knows the possibilities that can spring. One such opportunity: having its two titans join forces, rather than do battle. Godzilla vs Kong wasn't the debut picture to pit Japan's scaly icon and the world's most-famous towering simian against each other — that idea dates back to 1962's King Kong vs Godzilla — and Godzilla x Kong: The New Empire isn't the first feature to see how Godzilla can benefit from having friends to fight beside. But Wingard's sophomore Monsterverse film values its titular pairing, which arises to try to save the world from new threats. It also enjoys putting its characters in an action-adventure escapade in Hollow Earth, the titans' home world, as much as being a monster movie. And, it appreciates its human cast, such as the returning Rebecca Hall (Resurrection), Brian Tyree Henry (Atlanta) and Kaylee Hottle (Magnum PI), plus Wingard's The Guest lead Dan Stevens (Welcome to Chippendales) joining as a veterinarian equipped to do dentistry on Kong. Each of Godzilla x Kong: The New Empire's core quintet came to the movie via different paths, and with an array of backgrounds with the fictional creatures they're now linked with. "The origins of my memories of Godzilla and Kong go back as far as I can remember. I think the Godzilla films and the King Kong movies, specifically the original and the 76 one, they've always existed in my reality as far back as I can remember," Wingard tells Concrete Playground. "Specifically, I think that they were playing on daytime television all the time. That's how I would see movies in general, and that's how I got into them in the first place." In contrast, teenager Hottle, who plays Skull Island orphan Jia, is deaf, and made her acting debut in Godzilla vs Kong, notes that "I had heard of them, but that's about it." She continues: "I didn't know much more about either of them. And once I acted in the movie, I thought it was, of course, strange, but a great experience." [caption id="attachment_948230" align="alignnone" width="1920"] Eric Charbonneau/Getty Images for Warner Bros.[/caption] Hall's leap into the Monsterverse as "the Jane Goodall of Kong", aka Dr Ilene Andrews, slots in on her resume alongside the vastly dissimilar Vicky Cristina Barcelona, The Town, Christine and The Night House — and Tales From the Loop on the small screen — among other work, but also after featuring in Iron Man 3. Henry, who steps into the shoes of conspiracy theorist Bernie Hayes, boasts an Emmy nomination for Atlanta, an Oscar nomination for Causeway and a Tony nomination for Lobby Hero. His recent flicks include Bullet Train and Eternals. And Stevens has period drama Downton Abbey, playing the second half of Beauty and the Beast's title, superhero series Legion and giving German-language dramedy I'm Your Man its humanoid robot on his filmography. Ask them about their time with Godzilla and Kong, as we did, and Hall mentions always wanting to be in "big, iconic kind of movies", Henry says it's a "a place to have fun" and Stevens advises that having the part of Trapper written for him was "a huge honour". With Godzilla x Kong: The New Empire releasing in cinemas Down Under on Thursday, March 28, we also chatted with Wingard, Hottle, Hall, Henry and Stevens about the sense of responsibility behind any Godzilla or Kong entry, and the kind of preparation required for a Monsterverse team-up flick — plus ensuring that the movie was grounded in its human characters, subverting stereotypes, working together, the film's buddy scenario between its eponymous critters and more. On Swinging Into Godzilla and Kong's Huge On-Screen History Wingard is no stranger to entering well-traversed realms. Before hopping behind the camera with the Monsterverse, he directed 2016's Blair Witch, the third flick in the big-screen horror series that began with the low-budget sensation of 1999. Then, in 2017, he gave Japanese manga Death Note an American live-action adaptation. Still, there's no denying that making a Godzilla and Kong movie, and therefore working with characters that date back seven and nine decades, involves a feeling of duty. "It absolutely does," says the director. "And it's such an honour to be able to carry on their legacy, because they've been around since the beginning of special effects in cinema, to a certain degree. The original Kong was so groundbreaking in terms of its approach to stop-motion at the time." "So I don't take that lightly. And what's cool about Godzilla and Kong, those characters, is that there's been so many iterations over the years, and so many tonal takes and stylisations. Even Godzilla as a character, he's existed as a good guy, a bad guy, a metaphor, a character, all these kind of things and everything in-between, and sometimes multiple things at once. So there's a lot to take in, but there's still somehow so many new possibilities of how you can explore them," Wingard continues. "That's why it was so exciting for me to take on this film. Even though I've even made a Godzilla vs Kong movie myself, I still felt like there was still plenty of untapped potential and ways to utilise these characters to innovate the way movies are made. And to be able to lean into a film that has so many long sequences of nonverbal visual storytelling is something you really couldn't do in any other subgenre than this." On Becoming the Heart of a Coming-of-Age Story Within the Monsterverse In Godzilla vs Kong, Hottle's Jia was in as unique a situation as anyone can be in the Monsterverse: as the last surviving member of the Iwi, the tribe that resided on Skull Island, the adopted daughter of Dr Andrews had a bond with Kong like no one else. Godzilla x Kong: The New Empire continues that thread as Jia endeavours to fit in in her new life, and also when she's drawn into Hollow Earth to assist with the ultimate animal pal. "I think that her journey is very tough, but it's a great journey for her," Hottle reflects about Jia's coming-of-age narrative in the new movie. "She grows up, she's older, and she's figuring out how to belong somewhere that she wants to belong — and she's going to get there in the end of her journey." As for what she hopes comes next for Jia, "I think I can see her helping others," Hottle explains. Preparing for her role simply requires "trying to understand the storyline of who Jia is, and what she wants to be as well. So I try to think of that when I'm portraying her character," Hottle also notes. But it's equally crucial that the film is grounded in its humans, especially Jia. "If you watch the whole monster movie, of course that's what we want. But the additive of the human factor, making those connections, and Jia's experience in her journey, that adds more to the movie. It's a great connection to show in this kind of movie," Hottle advises. Ask Hottle what gets her excited about being part of the Monsterverse — and such a pivotal part, too — and she's clear: "my character just being portrayed in a movie — and figuring out who I get to act as, and what I get to act as, as well". On Challenging Damsel-in-Distress Stereotypes in Monster Movies — and Having Fun If you're wondering why Hall initially took on the role of Dr Andrews, "the first time, it was unlike anything I'd done. Also, Adam Wingard pitched it to me as 'the Jane Goodall of Kong', which I thought was such an interesting pitch," she shares. Henry jokes that "he pitched it to me that way too, to get me to come back here" — which is exactly the banter you'd expect about a movie that its three biggest on-screen names, Stevens among them, all describe as plenty of fun. "I wouldn't say that I wasn't a kid that dreamed of being in a Kong or Godzilla movie, but I was a kid that dreamed of being in movie movies — like real popcorn, like entertaining, like big, iconic kind of movies. And this is that opportunity," Hall furthers. "There is so much fun to be had in that." "I am a cinephile sort of snob in many ways, but my snobbery includes good popcorn movies. There are some good, good movies. A good movie is a good movie, is what I'm saying." "So it's everything to me. Plus, there's a history of women in Kong movies that puts them in the damsel-in-distress place, and they're very rarely in positions of authority or capability, or able to call the shots or have any autonomy on some level. And I think that that has been changing over the last few years in this iteration of the Monsterverse. And I think Andrews is a really big step in that direction. In this movie especially, she's really the boss, and that was fun." On Being Able to Further Flesh Out Characters the Second Time Around Henry doesn't just jest about why he joined the Monsterverse. He starts digging into how he prepared for playing Bernie by answering that "channeling my inner neuroses was really fun — to have an outlet to just let it all out, to be able to scream as often as possible, to cry. Oh, were you talking about this movie?". Bernie might be one of Godzilla x Kong: The New Empire's sources of comic relief, but he's still a character that's taken seriously, including by Henry. "I signed on to champion Bernie because I really love Bernie. I love everything about him. I love that he was looked at as a crackpot. I love that he has always been right about his theories. I also love that he found a team," he advises. "He was kind of out there on his own. No one really received him in any kind of way. And Rebecca's character, Dr Andrews, really coming to me and being like 'hey, you are valuable; hey, we actually could use you' was really exciting. And really getting a chance to go in and show all of who Bernie can be: that he had dreams of being a documentarian, that he had these wishes to see Hollow Earth. And then watching him immediately regret it the minute that he gets down there. To me it was like 'aaaah, I get this guy very much'." "So, he was a place to have fun. I got to wear leather. Like, that was truly all I really wanted. I was like 'can we put Bernie in leather?'. And Adam was willing to go along with my ride as well," Henry says. Pointing to Hall and Stevens, he also notes that "to be able to play with them" was among the appeal of returning to the character. "To be completely honest, to be able to play with them, to see that Bernie found a tribe and to find a family — it was a no-brainer to come back." On Leaping From Indie Thrillers to Monster Movies with the Same Director When Stevens starred in The Guest for Wingard in 2014, he'd already amassed a decade of on-screen credits. Downton Abbey had come calling by then as well. But the indie thriller was a breakout performance. At the time, reteaming with his director on a movie about Godzilla and Kong wasn't something he could've conceived would arrive ten years later, however. "I could definitely see Adam going on to direct big movies like this. He's steeped in fandom. He's a guy who worked in the video store throughout his adolescence and watched every single movie in that store. He just knows this world so well and is able to transmit that to fans, transmit that enthusiasm through the screen," Stevens says. "I never dreamed that I would be teaming up with him on this. I loved the job he did on the last movie with these two [Hall and Henry], and I just enjoyed that as a fan. So I was giddy when he asked me to join it, really." "And the fact that they wrote Trapper with me in mind was a huge honour — it made it very, very attractive. But also Trapper is a great character to join this world with. And it really embodies the spirit of fun, I think, that Adam brings to these kind of movies, and enables us to just go on a really wild ride with this one." On Letting Godzilla and King Kong Team Up, Rather Than Battle Each Other Hottle, Hall, Henry and Stevens' on-screen alter egos are Godzilla x Kong: The New Empire's human heroes. Their monster equivalents: both Godzilla and Kong. Neither were born into pop culture as villains. Watching them fight it out, including in Godzilla vs Kong, has always felt manufactured. Here, thankfully, they have other foes to deal with — primarily the Skar King, the orangutan-esque enemy that's been throwing his weight around Hollow Earth — in their roles of protectors of humanity and the natural world. Not just because he helmed Godzilla vs Kong, Wingard understands the appeal of having Godzilla and Kong face off. "I can remember as far back as being in maybe first or second grade and having arguments on the playground about who would win a fight, Godzilla or King Kong. That's just how iconic they are, that kids all know and love them," he notes. But with Godzilla x Kong: The New Empire, he also appreciates that getting Godzilla and King Kong teaming up is a dream scenario. "As a filmmaker, it's just the ultimate stomping ground of being able to play with toys on a creative level. And we're always finding new, interesting ways to explore their realities. These are 300-foot-tall characters, and so it's always fun to try to find things that you can juxtapose onto them that are relatable," he shares. "So, for instance, we have one scene in this film where Kong has some dental work done, and that was something that I was really pushing for right out the gate — because I've also had a lot of dental work done over the years, and had some pretty traumatic experiences. So in a way, I had to work in my own catharsis through Kong's experience of dental work in this movie. But that's just an example of how you're always trying to find relatable ways to re-experience the monsters." Godzilla x Kong: The New Empire opened in cinemas Down Under on Thursday, March 28, 2024. Read our review. Images: courtesy of Warner Bros. Pictures.
Game of Thrones fans might be waiting at least another year before the hit HBO show returns for its eighth and final season, but here's something that should help fill the void: an actual GoT-themed hotel, made almost entirely from ice and snow. Lapland Hotels SnowVillage is an annual pop-up hotel that opens in Kittilä, Finland each December, crafted by professional ice sculptors using around 20 million kilos of snow and 350,000 kilos of natural ice. Covering about 20,000 square metres, it's impressive at the best of times, though as Condé Nast Traveler reports, the owners have this year teamed up with HBO Nordic to give the hotel an extra memorable twist. A wintery homage to Game of Thrones, SnowVillage's latest iteration features its own 'Hall of Faces', a dragon-shaped ice slide, an Ice Mountain-guarded Ice Throne and ten impressive hotel suites with their own unique sculptures carved into the walls. In stark contrast to our current Aussie summer temperatures, the hotel's interiors only reach about minus-five degrees celsius, though you'll get a cosy sleeping bag to help see you comfortably through the night. Of course, if you're not quite sold on the idea of such a chilly sleepover, SnowVillage also has plenty to tempt day-trippers. You can chow down on a feed of local delicacies (reindeer included) in the ice restaurant, warm up with some themed drinks at onsite drinking spot Ice Bar, take in some scenery on a husky safari, or unleash some creativity of your own at one of the ice sculpture workshops. If you're heading to Finland in the next few months, entry to the SnowVillage costs €15 ($23 AUD), with rooms starting at €165 ($253 AUD). It's open daily until April 8, 2018. Via Condé Nast Traveler.
The Royal Melbourne Show might be over 175 years old, but there's still plenty of reason to discover the fun. Everyone has their go-to attraction — petting the farm animals, taking to the skies on carny rides or catching the high-flying stunt shows — but one experience we all love is delving into the sprawling Showbag Pavilion. With that in mind, this massive event has just revealed its showbag lineup for 2025, with over 400 options ensuring there's something special for every age, interest and budget. As one of the Royal Melbourne Show's oldest traditions, dating back to the early 1900s, this beloved pastime combines nostalgia and novelty in equal measure. At this year's event, 70 showbags are priced at $10 or less, with confectionery icons like Bertie Beetle and Wizz Fizz available at the most budget-friendly end of the spectrum at $5 each. Then you've got cherished Cadbury chocolate showbags, from Crunchie and Caramello Koala to Curly Wurly and Chupa Chupas for a dollar more. Of course, shopping the showbags is about more than just a sweet bite. At higher price tiers, you'll find options jam-packed with merch for cherished TV characters, video games and sports teams. Think Spider-Man, The Simpsons, Minecraft, and the Los Angeles Lakers, meaning there's a stellar showbag for just about every child (or adult, for that matter). "Wandering through the largest Showbag Pavilion in the southern hemisphere is great fun and brings much joy, whether you are very young or young at heart. There's showbags for all tastes, budgets and ages with more than 400 different varieties from traditional confectionery and snack food favourites to the newest and most sought-after novelty and lifestyle bags," says Melbourne Royal CEO Brad Jenkins. Beyond stocking up on showbags, the Royal Melbourne Show is ready to debut several new attractions. The LEGO Playland Farm to City experience is the most attention-grabbing of all, with kids and grown-ups discovering four free encounters stacked with building block fun. Meanwhile, the Little Farmers Field invites little ones to get immersed in an agricultural activation, digging for veggies and riding ride-on mowers. The Royal Melbourne Show is happening from Thursday, September 25–Sunday, October 5 at the Melbourne Showgrounds. Head to the website for more information.
Life is so busy these days, one can't help but wish some things would just sort themselves out. We have technological advancements and perhaps Google to thank for such laissez-faire attitudes. PumpTire's prototype for a self-inflating tyre appeals to the whinger in us but also proves to be an eco-friendly invention saving time, money and extraneous resources needed to pump a flat bicycle tyre. Components of the PumpTire includes a tyre, a detachable valve and inner tube. It can be used in conjunction with existing rim models and works as the cyclist rides their bike. According to founder of PumpTire Benjamin Krempel, it works "by using the rolling motion of the tyre to draw in air from the atmosphere". A hollow tube attached to the edge of the tire pushes air into the tyre. The tyre is even capable of sensing when the ideal air pressure is reached. PumpTire is currently promoting its invention on Kickstarter to raise funds for further engineering design, testing and purchasing tools and materials. https://youtube.com/watch?v=rMmZnzG9QqI [via PSFK]
If you've binged your way through The Afterparty already this year, and watched Death on the Nile as well, then you might be in the market for a new murder-mystery fix. Here's one puzzle that's easy to sleuth, because the answer is set to arrive via Disney+ — thanks to the return of instant 2021 favourite Only Murders in the Building. One of last year's surprises and delights — one of last year's best new shows, in fact — this gem weaves true-crime podcasting into the mix, too, all via a very funny murder-mystery comedy. And, thanks to the latest sneak peek at its second season, following other teasers and trailers back in March and May, Only Murders in the Building looks set to continue as it left off. We're never too far away from a new murder-mystery in some shape or form, of course, and Only Murders in the Building's new batch of episodes knows it, tasking its central trio of NYC neighbours-turned-sleuths (and true-crime podcasters) with investigating a second killing. This time, though, the three key residents of the fictional Arconia in New York are suspects, as well as subjects of a competing podcast. Only Murders in the Building focuses three New Yorkers: actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die). They're all addicted to a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva), and find themselves unexpectedly bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. That's how the first season panned out. Now, in season two, Charles-Haden, Oliver and Mabel are weathering the fallout. Complicating their efforts are a trio of factors: their public implication in the death in question; that new podcast about them and this murder; and the suspicions of their neighbours, who think they're guilty. Exactly how that'll play out won't be unveiled until Tuesday, June 28, when Only Murders in the Building returns — but you don't need to be an amateur detective to know that it's bound to be both amusing and twisty. Whatever happens, both Cara Delevingne and Amy Schumer are involved, with the pair joining the cast as guest stars. And, as the new sneak peek shows, Fey is back as well. Check out the latest trailer for Only Murders in the Building season two below: Only Murders in the Building's second season will start streaming Down Under via Star on Disney+ on Tuesday, June 28. Read our full review of the show's first season. Images: Craig Blankenhorn/Hulu.
Whether you're currently in lockdown or not, a lot of the world's most exciting and wondrous attractions are off limits right now. Thankfully — in these self-isolating, social distancing, closed borders times — many of the globe's top museums, galleries and landmarks offer virtual tours. Want to ogle the National Gallery of Victoria's collections? See the Smithsonian's dinosaur fossils? Check out the Sistine Chapel? That's all as easy clicking a few buttons. Whether you're eager to experience Japan's luminous digital art museum or peer at cute critters in a zoo, you can spend a night — or day — at a museum, gallery or other culturally significant spot from the comfort of your couch. Here are ten highlights to get you started — and if you're keen on others, Google Arts and Culture will point you in the direction of even more. THE LOUVRE Nothing really compares to visiting The Louvre and standing in front of the Mona Lisa yourself, your eyes roving across the Leonardo da Vinci-painted artwork's enigmatic smile. Now, for the first time, the Parisian venue is allowing you to experience it virtually with a Mona Lisa VR experience. If you are equipped with a next-level VR setup, you can explore a bunch of the gallery's exhibitions online. Via its virtual options, wander through exhibitions exploring the relationship between art and political power, Renaissance artworks and myths told through art. https://www.youtube.com/watch?v=SRDEmb5Eo_Y&t=7s VAN GOGH MUSEUM If you missed out on Van Gogh Alive's first run of Australian shows, Amsterdam's Van Gogh Museum is home to the largest collection of the artist's work in the world, including more than 200 paintings, 500 drawings and 750 letters. That's a hefty array, which you can peer at yourself via Google Arts & Culture's virtual tour. Yes, Sunflowers is one of them, although there's plenty of inimitable artistry also on display in his other still life pieces, landscapes and other painted scenes. Rove around at your own pace, then zoom in to see the detail and read the accompanying descriptive plaques. And if you're eager for an overview first, you can check out the museum's YouTube tour as well. https://www.youtube.com/watch?v=lmVeh4fS2HQ&t=14s TEAMLAB BORDERLESS DIGITAL ART MUSEUM The word 'immersive' gets thrown around much too often these days, but if anywhere deserves the term, it's TeamLab's Borderless Digital Art Museum. Sprawled across a Tokyo warehouse, this eye-catching venue fills every available surface with moving, changing and interactive artworks — so you can watch flowers bloom across the floor, wall and ceiling; then sit and stare at the ocean's waves crashing through a room; then roam through lit-up lily pads. Or, thanks to its hefty array of YouTube videos, you can get a taste of its vibrant installations from home. TeamLab's online archive also includes materials from its many other exhibitions beyond its Tokyo base's borders and, while they're each only a minute or two long, there's plenty to choose from. Make sure you have your sound on, too. THE SMITHSONIAN As you live through a historic global event, why not spend some time exploring the planet's natural history? That's what The Smithsonian is all about, with more than 145 million specimens and artifacts in its collections. And while you can't see them all in its online tour, you can virtually mosey through its current, previous and permanent displays. That means dinosaurs, of course. Peering at a stegosaurus' spikes or a tyrannosaurus rex's face is still just as impressive when you're doing it via your phone or computer. It also means everything from butterflies and bones to gems and humanity's origins — and, if it isn't too grim for you at present, there's also an exhibition dedicated to outbreaks, epidemics and the spread of diseases. NATIONAL GALLERY OF VICTORIA Maybe you're a Melburnian who has been keen to visit the National Gallery of Victoria's current big exhibitions. Perhaps you live elsewhere, but had a trip to the Victorian capital in your future — including to the NGV. With the gallery currently closed, that's obviously off the cards; however you can still take a gander at last year's blockbuster Triennial, the Tiwi Islands off the coast of Darwin and Japanese Modernism. Just head to the new NGV Channel, where curator-led tours are being added to the online library on an ongoing basis. A whopping 75,000 pieces from the NGV Collection are also available as well, so you'll really feel like you're actually there. [caption id="attachment_765593" align="aligncenter" width="1920"] Sturm via Wikimedia Commons[/caption] MUSEU DE ARTE DE SAO PAULO Think you know what all museums and art galleries look like in broad, general, overall terms? Think again. Museu de Arte de São Paulo, or MASP, doesn't simply put its many artworks on its walls. Instead, it places them on crystal sheets anchored by concrete blocks, in a design that's meant to emulate an artist's easel — and then spreads them through large, cavernous rooms. That makes looking at the site's paintings, sculptures, photographs and other objects a completely different experience, even when you're doing so online. If you take the tour via the Google Arts and Culture app for iOS or Android, you can also explore a virtual reality component to really make you feel like you're there. [caption id="attachment_765594" align="aligncenter" width="1920"] Jean-Christophe Benoist via Wikimedia Commons[/caption] THE SISTINE CHAPEL The Sistine Chapel boasts as much stunning artwork as any other gallery or museum. More than some, in fact. And, via the Vatican's online tour, you can scope it for as long as you like — and take in the immense detail on Michelangelo's wall-to-wall frescoes, of course — without crowds or time limits. These pieces have glistened for more than five centuries and, as absolutely everyone knows, they comprise quite the sight. After you're done perusing, scrolling around and zooming in, you can also explore other museums, wings and chapels in the Vatican thanks to the rest of its virtual offerings. If you're keen not just on art and sculpture, but on architecture, prepare to be in your element. https://www.youtube.com/watch?v=_hunddVoMjo SYDNEY OPERA HOUSE When it comes to visiting the Sydney Opera House without physically visiting it, you have multiple online viewing options. Take the 360-degree tour, and you can jump around Australia's most iconic landmark at your own pace — and check out a number of online exhibits, too. You can watch the YouTube video tour accompanied by a the soundtrack that usually echoes through the opera houses' halls, or steam a range of gigs and talks on its new streaming service. No matter how you explore, you'll see the venue as you've never seen it before, which is one of the joys of going virtual. You mightn't peer into every nook and cranny while you're actually there but, via remote means, who's going to stop you? BLARNEY CASTLE Who doesn't wish they were holed up in a castle right about now? Dating back to 1210 originally and 1446 in its current form, Ireland's Blarney Castle is up there with the best of them — and, as its name gives away, it's home to a very famous attraction. Located at the top of its tower, the Blarney Stone is supposed to bestow anyone who kisses it with the gift of eloquence. You can't lock lips with it virtually, of course, but perhaps staring at the site in general will do the same thing? On the castle's online tour, you'll also explore its stony interiors and sprawling gardens (and likely feel like you've stumbled into an episode of Game of Thrones). SAN DIEGO ZOO Sometimes, you just need to watch adorable animals go about their business. Actually, as the internet's never-ending stream of cat and dog videos firmly shows, there's never a bad time to lock your peepers on a cute critter. Absolutely everyone feels this way, because of course they do — which is where San Diego Zoo's live webcams, which peer into several animal enclosures all day long, come in. Check out majestic elephants as they swing their trunks, watch African penguins scamper around and see polar bears snoozing happily. You can also catch apes and baboons for your monkey fix, see condors fly about, and get a dose of big cats in the tiger enclosure. Oh, and if you want to spend some time staring at an Australian animal, there's also a koala cam as well.
The Australian Centre for the Moving Image might be all about celebrating screen art — peering at films and TV shows, stepping into virtual reality and showcasing the talents that've made such a huge impact, for instance — but that doesn't mean that the Melbourne-based venue doesn't appreciate nature. The world around us can look stunning projected as large as a cinema can allow. David Attenborough has turned his documentaries about the planet into their own spectacular genre, too. And the natural realm can provide experimental artists with quite the playground to ponder, as Marshmallow Laser Feast: Works of Nature is exploring. This world-premiere exhibition sees art collective Marshmallow Laser Feast unveil a showcase of works that muse on trees, black holes, cells, breathing, space, science and more. Hitting ACMI from Thursday November 23, 2023–Sunday, April 14, 2024, Works of Nature spans five major pieces that aim to deeply contemplate and appreciate humanity's role in nature, and just nature overall. And, these aren't tiny pieces — these large digital works aim to inspire awe in both their size and content. This is the London-based MLF's first major showcase in Australia, adding a stint Down Under to appearances at the Sundance and Tribeca film festivals, the Istanbul Design Biennial, Lisbon Triennial and the V&A and Design Museum in their hometown. [caption id="attachment_917014" align="alignnone" width="1920"] Marshmallow Laser Feast, 'Distortions in Spacetime', 2018, courtesy of the artists[/caption] That impressive history is matched by a significant lineup of names involved with MLF's immersive Works of Nature pieces. Cate Blanchett (The New Boy) lends her narration, director Terrence Malick (A Hidden Life) executive produces, while Radiohead's Jonny Greenwood (Licorice Pizza) and fellow acclaimed composer Jóhann Jóhannsson (Last and First Men) are among the talents providing music — the latter's work continuing to entrance after his passing in 2018. Daisy Lafarge provides poetry, while Jon Hopkins, Meredith Monk and Howard Skempton also contribute tunes. Whether you're a Melburnian or have a trip to the Victoria capital in your future, you'll be able to see the meditative Evolver, which uses Blanchett's voice to journey through the human body, breath, the origins of cells and the cosmos — and Distortions in Spacetime, which heads to a black hole's edge. Or, there's the large-scale Sanctuary of the Unseen Forest, a video installation about the Amazon's kapok trees. Thanks to The Tides Within Us, oxygen is in focus again via six static pictures. And with We Live in an Ocean of Air, MLF examine how that last word in the piece's moniker connects life on earth. [caption id="attachment_917018" align="alignnone" width="1920"] Marshmallow Laser Feast, 'We Live in an Ocean of Air', courtesy of the artists.[/caption] Marshmallow Laser Feast: Works of Nature is running at the Australian Centre of the Moving Image until Sunday, April 14. For more information or to book tickets, visit the website. Top image: Marshmallow Laser Feast, 'Distortions in Spacetime', 2018, courtesy of the artists.
UPDATE: APRIL 3, 2020 — The Chapel Street spot has launched Gnocchi on the Blocky: a drive-thru and delivery service for its gnocchi, of course, and selected menu items. From 4–9pm Tuesday–Saturday, you can get lamb ragu gnocchi ($25), pretzels with smoked cheddar ($8), peanut butter brownies ($16) and cocktails ($22) delivered to your door. Order via the website. The airy space at the end of Chapel Street — formerly home to a health food cafe — has crossed over to the dark side. Its once light and bright fit-out has been replaced by a dark and ambient decor combining recycled timbers, giant drapes of fabric hanging from the ceilings and a melange of antiques mounted on the walls. What was once Uncommon is now a restaurant and cocktail bar called Lover. The food at this Windsor restaurant bar doesn't have a specific cultural identity, but rather draws influences from around the globe. But it does have an overarching theme: nostalgia. The restaurant best evokes this through its food. Old classics you may have eaten as a child come out to play in modern forms. And this is done successfully by head chef Paul Turner — who hails from Cutler & Co. Let's start with the hot hot pork crackers ($8), a rendition of prawn crackers that use pork flavours instead of traditional prawn. They are paired with a herb cream and saltbush and make for a perfectly satisfying starter — meeting diners with a crackle initially then softly disintegrating seconds after. The prawn toast ($7) may take you back to the days of family yum cha, only at Lover it's paired with chorizo, echoing the Spanish pairing of seafood and sausage. If you eat cured meat and you're only going to get one starter, let it be the pretzel ($8). It may sound ridiculous that we're recommending you order a pretzel at a restaurant, we know. But it's a freshly baked pretzel stuffed with wagyu, pickles, cheddar and mustard — so, it's is a must. To break things up, there is also a series of salads and vegetable dishes on offer. Take it easy with a cos lettuce salad with fresh herbs and ranch dressing ($8) or live on the wilder side by ordering a grilled pumpkin dish topped with curried pepitas, burnt butter miso, and pear ($16). One dish that is a touch lacklustre is the kingfish crudo ($18). Though artistically presented, its cucumber, yuzu and charred avocado counterparts are not enough to make for a memorable dish. On the other end of the spectrum, there is the gnocchi ($26) — which is absurdly generous in flavour. Simply paired with three main ingredients, zucchini, basil and cheese, the pan-fried nubs of potato are a delight to delve into. If you head in on a Wednesday, you'll be able to sample a generous bowl of gnocchi (which changes weekly) and a glass of wine for a neat $25. When it comes to drinks, cocktails are the word at Lover — all prettily picturesque and met with generous flavour. Visitors will find a blueberry and sage sour made with infused gin ($18), as well as a coconut and elderflower margarita ($18). Lover also sports a collection of white, red and sparkling wines from across the globe to match its diverse food offerings, too.
Last time James Blake jetted our way, in 2013, he won our hearts — and eyes and ears. Two Sydney Opera House shows sold out before you could say Overgrown and the folks at Tone Deaf got so excited, they awarded him best International Tour of the Year, over Bruce Springsteen. Now, he's back with a third, full-length album, The Colour In Anything, released unexpectedly (to fans, at least) on May 6. Lasting 76 minutes, it sees Blake go more collaborative than ever before, with Frank Ocean and Justin Vernon making frequent appearances, and Rick Rubin taking care of production. "I wanted to open up and be more outgoing," he told The Guardian. "The record became a commentary on my life rather than me becoming part of the rest of the world." There's more Splendour sideshow action where this came from. Check out our list of sideshows with tickets still available.
Huge news, food lovers — especially if you've ever had a steak at Rockpool Bar & Grill, a pink blossom cocktail at Saké, some meat and bread at the Burger Project, a parma pizza at Fratelli Fresh or a stein at Munich Brauhaus. Until this week, some of those eateries were owned by Urban Purveyor Group, and some by Rockpool Group. Now, they've joined forces, pulled them all under one umbrella, and created the epic hospitality venture that is Rockpool Dining Group. Yep, all of your favourite restaurants are now part of the same company, including Spice Temple, The Cut Steakhouse, Rosetta, Bavarian Bier Cafe, El Camino Cantina, Fratelli Famous, Café Ananas and Saké Jr as well. The group's portfolio spans 47 places and 15 restaurant brands across Sydney, Melbourne, Brisbane, the Gold Coast and Perth, and features Tex-Mex and Asian-fusion venues, plus everything in between. Sounds pretty epic — and if you're a fan of Rockpool's Neil Perry, don't worry' he's the head of culinary for the combined outfit. His most recent venture, the more casual Eleven Bridge in Sydney, isn't part of the merger. Creating a tasty Frankenstein's monster of the culinary and dining world comes with added resources, obviously, which all us hungry folks will enjoy in the form of new must-eat destinations. Rockpool Dining Group expects their portfolio to grow to more than 80 eateries over the next 12 months. And, if that's not enough, they plan to expand to more than 200 over the next few years. We already knew that Brisbane is going to get on the Munich Brauhaus train; however other new projects such as a second Rosetta at Grosvenor Place in Sydney, a smaller-format Spice Temple and a Rockpool Bar Series are also slated. And they're looking abroad as well, with the group in early discussions to open first venues in both London and Los Angeles.
Your money will go a little bit further at Marios Cafe this Thursday, as the iconic Fitzroy eatery turns back the clock. April 28 marks three decades to the day since Mario Maccarone and Mario De Pasquale opened their doors on Brunswick Street. To mark the special occasion, they're serving up a menu where everything costs the same as it did in 1986. Okay, so not quite everything. Booze prices will be staying on this side of Y2K, but everything else is going down, down, down. We're talking lasagne for $4.50, rib eye for $8.50 and coffee for $1. A buck. For coffee. In Melbourne. Can we stay in 1986 forever, please? Marios will be open on their birthday from 7am to 10.30pm. Based on the amount of attention their time travelling stunt has gotten, we're expecting quite the queue. Oh, and bonus points from us to anyone who dresses up in leg warmers.
Winter has come to Scotland — and with it, the perfect place for Game of Thrones fans to have a pint or two. Here, pretending that you're wetting your whistle in a boozy establishment in the Seven Kingdoms is easy as heading to Edinburgh's latest popup. Taking inspiration from the pages of George R.R. Martin's epic 'A Song of Ice and Fire' as well as the accompanying TV adaptation that no one can stop watching, Blood & Wine is the latest venture from events team The Pop Up Geeks. Every Wednesday and Thursday evening throughout January and February, they'll serve up GoT-inspired wines, ales, spirits and infusions. When you're sipping on Myrish fire wine and eating Frey pies (yep, they went there), you'll forget that new episodes of everyone's must-watch program aren't slated to return until June. https://www.instagram.com/p/BPKpLalDCok/?taken-by=thepopupgeeks Drinks wise, you'll also find the likes of Dornish Sour Red, The Imp's Delight and The Old Bear's Hot Spiced Wine on the menu, as well as a flight of seven tipples that lets you sample everything that Westeros and its fellow realms has to offer. Or, if you still have a Lannister-like thirst, opt for a Goslings Hot Mead or a glass of Icelandic Mountain Vodka. If the picture on the back of the bottle doesn't tip you off, the latter is made by a company co-owned by Hafþór Júlíus "Thor" Björnsson, the actor who plays Ser Gregor "The Mountain" Clegane on the show. To add the requisite finishing touches, the whole candlelit space is decked out with the appropriate bits and pieces; think shields, swords, posters, props and medieval-like flourishes. If that's not enough to send you scurrying over land and sea like a lost Stark child, then keep an eye on The Pop Up Geeks next venture, Perilous Potions, where they'll delve into the wizarding world of — yep, you guessed it — Harry Potter. Via Uproxx. Image: The Pop Up Geeks.
A visit to New Zealand's South Island is filled with breathtaking views, invigorating treks and some seriously fine drops of wine. What to do is the easy part. But, with so many accommodation options out there, deciding where to stay can become a bit tricky. While camping within the country's incredible national parks is an excellent choice, camping may not be your thing — even if it is glamping. But, there are still tons of out-of-the-ordinary stays available. On your next trip to the South Island, do things a little differently when it comes to your accommodation — whether that's by staying in tiny homes, converted railway wagons, two-storey silos or on a floating catamaran. Here, you'll find five alternative places to book on a South Island journey. SILOSTAY, LITTLE RIVER Little River's multi-award-winning SiloStay "goes against the grain" and puts up visitors (instead of farm grain and feed) in two-storey cylindrical silos. Inside the one-bedroom metal structures, the ground floor is fitted with a custom-built kitchenette, living room, small toilet and balcony. Take the winding steel staircase to the upper floor bedroom, and you'll find the bedroom and a balcony. While the silos may have a rustic feel (originally being grain-holders and all), each comes with a flat-screen TV, DVD player, a mounted stereo unit in the headboard and free wifi, as well as bike and kayak racks. Plus, the silos are eco-friendly, using a sustainable pellet boiler system, a planet-friendly waste-water system and natural wool insulation. SiloStay also offers one-level accessible silos with the same features. Prices range between $200–$230 depending on the season, with discounts available for bookings of two nights or more. AQUAPACKERS, ABEL TASMAN NATIONAL PARK Comforting, soothing — there's just something about being rocked to sleep. Those babies really have it good. Enter Aquapackers. This converted catamaran offers floating accommodation set in Anchorage Bay in the centre of the Abel Tasman National Park where you can be rocked to sleep by the gentle ripples of the bay. And when you're not enjoying that rock-a-bye sleep, you can relax with some sun on the upper deck or a trek around the peaceful national park. After something a bit more energetic? Sign up for a coastal trek or water sports like sailing and kayaking — Aquapackers specifically offers guided kayaking and coastline walking tours. Rooms range from shared backpacker dorms ($110 per person) to private cabins ($245 per cabin) and each night's stay includes breakfast and a barbecue dinner, plus complimentary tea and coffee throughout the day. GOLDEN BAY HIDEAWAY HOUSE TRUCK, WAINUI BAY Though Wainui Bay's Golden Bay Hideaway offers five secluded, solar-powered and energy-efficient eco-home options, our favourite is the House Truck. Set in a remote bush location and overlooking the sea, this restored 1950s Commer truck has been transformed into a two-storey tiny house. The home features a woodfire stove, fully equipped kitchen, outdoor picnic table, two queen beds and, the best part, an outdoor bath looking out over the bay towards the mountains. The isolated setting means guests can comfortably enjoy a long bath under the stars with a glass of the region's finest wine in hand. All of Golden Bay Hideaway's homes are also solar-powered and energy efficient so you won't be Prices range depending on the season, with discounts for longer bookings — which can get you down to $110 per night if you book four or more nights. WAIPARA SLEEPERS, WAIPARA Set in the heart of New Zealand's wine country, 45 minutes from Christchurch, the team at Waipara Sleepers has converted a group of 1940s railway cars into stationary accommodation. The owners have maintained the original features of each upcycled wagon, securing each to a piece of train track in their country garden. Cars range from traditional four-berth bunk rooms ($25 per person) to more homey fit-outs with brass double beds, refrigerators and televisions ($50–$70 per room). All wagons have internal heating, a balcony and a separate seating area. Accommodation ranges from $25 per person in the shared bunk rooms to $50–$70 a night in private accommodation. For a cheaper, private space, there's also the Railway Hut ($40–$60 per night) — a tiny cabin that once housed railway workers. ST BATHANS POLICE CAMP, OTAGO If you've ever been even the teensiest bit intrigued by what it's like to spend the night in gaol, St Bathans Police Camp is happy to give you a little (but certainly more luxe) taste. The owners have repurposed the tiny town's historic 1864 gaol into a self-contained apartment. Plan a trip to the historic St Bathans, founded during the goldfields mining era (and now only home to six permanent residents), to wander the reserve formed by the gold mining processes and to check out some of the town's historic architecture. The gaol cell accommodation is located near the old constable's cottage — a much bigger three-bedroom option you can also rent — and looks out over the pristine Blue Lake. The old cell is now fitted with a queen bed, and the former lobby and office are now the kitchen, with an ensuite bathroom and veranda also installed. It's an old-fashioned fit-out, complete with rocking chair, timber walls and jail-house door. St Bathans Jail (Gaol) is available for $145 per night, including a continental breakfast. Start planning your trip to New Zealand's south with our guide to the South Island journeys to take here.
When Renee Bennett (Amy Schumer) glances in the mirror, her own loathing stares back. She hates what she sees. She hates how she's viewed by the world. Painstakingly trying to follow YouTube hair and makeup tutorials, she yearns to meet society's beauty standards. "I've always wondered what it's like to be undeniably pretty," Renee tells a model friend (Emily Ratajkowski) at the gym. When her dream receptionist job is advertised — at the Fifth Avenue head office of her cosmetics brand employer, a step up from her current Chinatown workplace — she's certain she won't get it due to her appearance. Wishing for a permanent makeover, Renee even throws a penny into a fountain during a storm in desperation. That doesn't work, but then she hits her head during cycling class and suddenly loves her reflection. In I Feel Pretty, the twist is right there in the title — Renee's appearance doesn't change, just her perception. Now certain that she's the total package, she oozes confidence, takes risks and enjoys the life-altering changes that come with her boosted self-esteem. She not only gets the job, but gets to work with her idol, company CEO Avery LeClaire (Michelle Williams). She assumes that the kindly Ethan (Rory Scovel) is hitting on her at the dry cleaners, asks him out and they start dating. Charting Renee's transformation, seasoned rom-com writers-turned-directors Abby Kohn and Marc Silverstein (He's Just Not That Into You, The Vow, How to be Single) craft a typical "make a wish" flick, but set their sights on body image. The film even includes a glimpse of Big, in case the Tom Hanks-starring '80s hit didn't instantly spring to mind. Helming their first feature, Kohn and Silverstein have a very specific aim: discarding society's narrow concept of hotness, showing that a little self-belief goes a long way, and fashioning an empowering comedy as a result. An important goal, it's one that Schumer has spent her stand-up and on-screen careers championing. It's there in her comic routine, in countless Inside Amy Schumer sketches and in Trainwreck as well, but I Feel Pretty doesn't belong in the same company. Here, there's an enormous gap between the film's intentions and its execution. Specifically, the view the movie celebrates doesn't quite match its contents. Trying to have its body-positive cake and eat it too, I Feel Pretty says it's what's on the inside that counts while demonstrating the opposite. The film presents a character who's only successful and happy when she thinks she's attractive, and when she thinks that the world agrees — and while viewers can see that Renee still looks the same, it invites them to laugh when she acts like she's a supermodel. You could argue that the movie chuckles with rather than at her, but she's rightly glowing with pride instead of giggling. You could also suggest that the film is making fun of Renee's over-the-top behaviour, which involves sidelining her lifelong best buds (Aidy Bryant and Busy Philipps) and generally acting like a diva. However, the number of times that another character reacts like Renee isn't physically all that paints a very different picture. Take one particularly problematic scene as an example. On her first date with Ethan, Renee decides to enter a seedy bar's bikini contest. Ethan suggests that she doesn't really fit the part, doing so with subtlety. But the MC doesn't share his tact, appearing shocked when Renee takes to the stage, and later describing her as "the kind of woman who could handle herself in a knife fight". The way the scene is staged and shot reinforces his view, encouraging the audience to guffaw heartily at the premise (because a woman who doesn't look like a conventional swimsuit model baring some flesh is apparently funny?) while also offering up plenty of incredulous reactions from the on-screen audience. Sure, everyone eventually appreciates Renee's gusto, complete with cheers and applause. But if what's on the outside doesn't matter in the film's opinion, why milk the situation for easy laughs first? That's I Feel Pretty's whole approach. Served up in bright and shiny packaging, and layered over a formulaic story, the movie's mixed messages don't end there, although it's never mean or ugly — just muddled. The idea that Schumer isn't desirable is ridiculous, but the comedian is actually at her best when she's earnestly engaging with Renee's feelings of inadequacy. It's a side she doesn't often show on-screen, and it suits her. Williams' rare foray into comic territory is similarly impressive, with the acclaimed actress playing the more exaggerated part, illustrating that everyone has insecurities and stealing every scene she's in. Indeed, as proved the case with Tilda Swinton in Trainwreck, Schumer is upstaged by her co-star. Well, that and the film's superficial nature. A flick about peering beneath the surface, I Feel Pretty ultimately ignores its own advice. https://www.youtube.com/watch?v=A-FMymitzf8
Great news, movie buffs: when the Melbourne International Film Festival rolls around each year, it doesn't just let Melburnians who can dedicate their spare hours to the full fest experience join in the fun. MIFF Play, the event's digital offshoot, broadens the event's audience nationally — and, to the delight of cinephiles who can't hop between the Victoria capital's cinemas across August, the digital leg is returning for another spin in 2023. For the fourth year running, that's fabulous news both for Melburnians who still have normal life to attend to, and for film buffs interstate — a move sparked by the fact that in 2020, when MIFF first made the leap to streaming the fest in a big way, it enjoyed its biggest audience ever. In 2023, MIFF Play will be available from Friday, August 18–Sunday, August 27, and with a diverse array of titles. Price-wise, you can either pay as you watch or grab a MIFF Play flexipass. Either way, your couch awaits. The lineup includes the animated Blind Willow, Sleeping Woman, which adapts Haruki Murakami's short stories; Keeping Hope, a documentary about Sweet As' Mark Coles Smith confronting an event from his past with a view to helping other young First Nations men in the Kimberley; Autobiography, about a housekeeper with a sinister boss; All the Colours of the World Are Between Black and White, which received the Berlinale's Teddy Award; and 20,000 Species of Bees, another prize-recipient in Germany, this time for lead performance. Or, the highlights also span Frederick Wiseman's A Couple, one of the master documentarian's rare dramatic features, focusing on the Tolstoys; Riddle of Fire, which has been garnering The Goonies and Stand by Me comparisons; witchcraft and revenge in 19th-century Chile in Sorcery; and Béla Tarr's 2000 drama Werckmeister Harmonies, a slow-cinema great, will has just scored a new 4K restoration. Your usual streaming queue can wait for these ten days, obviously.
It's the longtime Abbotsford favourite known for its chilled vibes and live tunes. And this spring, Lulie Tavern returns with its namesake rock 'n' roll street party, Luliepalooza. Bust out your dancing shoes because Saturday, November 5 will see Lulie Street — the home of Lulie's OG bar — energised for a huge day of live tunes, eats and drinks. Oh, and a spot of mechanical bull-riding, too. This time around, there'll be two stages, as the festivities extend to beneath the Victoria Park Grandstand. Treating your ears there'll be no less than 12 bands — including indie rockers Children Collide, Byron Bay punk outfit Mini Skirt, Caitlin Harnett & The Pony Boys, Eaglemont, Spunk and Queenie. Plus, DJ sets from Camp Cope's Georgia Maq and DJ JD. There'll be plenty of food stalls and cold bevs to round out the fun, plus you can have a crack at conquering the mechanical bull in between sets. [caption id="attachment_861658" align="alignnone" width="1920"] Bibby Photo[/caption] Top Images: Bibby Photo
Sydney vino makers and switched on marketers Cake Wines have always been pretty savvy when it comes to marketing activations — from label art comps to pop-up bars at All of the Creative Launches Around Town. But their latest brims with pure love for the little guy - the support band. In a new Australia-wide campaign dubbed 'Support the Support', the Redfern-based crew are rewarding the punters who turn up early and check out the support band instead of wasting the time pre-drinking at a mate's. "By heading to gigs earlier in the night and checking out the support act, no matter what happens...everyone wins," says Cake. "The artist plays to a crowd, you'll be supporting the venues that showcase music, the more people in the venue the better the vibe, and maybe, just maybe, that little support act no one’s heard of yet, could well be the next Radiohead or James Blake or Fugazi or Arcade Fire...and you saw them first." Support the Support runs through May across 35 music venues in Brisbane, Sydney and Melbourne. Early birds turn up to check out the support, post a sweet, sweet filtered pro shot to Instagram with the hashtag #cakewines, show the bartenders and you'll get a free wine. FREE (ACTUALLY GOOD) VINO. Egads. The actual support bands get some love too, gig listed and given a shout out in the Support the Support calendar and given bespoke posters of their band to help bring in more of a crowd than their obligated high school chums. Fashionably late ain't so any more. You can support the support here: SYDNEY Good God Small Club, Oxford Art Factory, The Green Room, 505, Civic Hotel, 616 Foundary, Beach Rd Hotel, Spice Cellar. MELBOURNE Howler, The Toff, Revolver, The Retreat, Bennetts Lane, Wesley Anne, The Post Office Hotel, The Old Bar, The Evelyn, New Guernica BRISBANE Dowse Bar, Black Bear Lodge.
Diane Kruger returns to her German roots with In the Fade, a tense, moving portrait of tragedy and vengeance, and the winner of the 2018 Golden Globe for Best Foreign Language Film. Helmed by German-Turkish director Fatih Akin, the film stars Kruger as Katja, a mother whose son and husband are murdered in a terrorist attack. It's an incredible performance, with the actress slipping into the empty, hollow-eyed space of insurmountable grief. She abuses drugs, alienates her family, and even attempts to take her own life. But she's eventually lifted out of her sorrow by the burning desire for revenge. For lack of a better category, In The Fade is a revenge story, one driven by Katja's personal mission to deliver justice for her family. We soon learn that the crime was committed by a pair of neo-Nazis, who are eventually acquitted after a lengthy, emotionally charged trial. We watch as Katja sits behind the plaintiff's desk, just a few short metres away from the accused, and feel her internal world becoming more and more pressurised. Kruger's performance is more than deserving of the Best Actress award she scooped up at Cannes. She's also stated that the process of making the film wore her out, to the point that she took six months off after filming. It's easy to understand why. Beyond Kruger's performance, what works best about the film is the format Akin employs. The narrative is split into three separate segments, set in three different environments, with three distinctive looks. In "Family" we see Katja cordoned off in her house, drowning in an ocean of grief, even as rain buckets down outside. Then there are the fluorescent lights and straight lines of the court room in "Justice". Finally we get to "The Sea", in which a softer, sunnier aesthetic belies the chapter's actual function – Katja has bid goodbye to her old life and is now bent entirely on vengeance. Perhaps less successful is the minutiae of the film's actual plot, including the fact that the two perpetrators are acquitted despite all the evidence against them. Nor are we given much insight into their twisted psyche. In The Fade provides a thorough study of its protagonist's state of mind, but could have benefited from doing the same for its villains. https://www.youtube.com/watch?v=UyjnzhXJlHU
The Rochester Hotel, much loved provider of live music, trivia and oysters, will transform its upstairs space into a juke joint and furnish it with smooth blues sounds once a month. From September 1 there'll be finger pickin' and wailin' on the first Friday of every month. The inaugural night will be headlined by Rattlin' Bones Blackwood, a one-man band who boasts a kick drum and a guitar. Supports will be Dan Dinnen, Frank Bell and Jess Parker rounding off a night of old-style rollicking blues. The whole shebang will be fuelled by beer from nearby Bodriggy Brewing Co. and whiskey, so you'll be hearing and tasting the south — expect Deep South cocktails and a whale of a time. It kicks off from 7.30pm and entry is only five bucks.
If you've ever said "XOXO" aloud, you've obviously seen Gossip Girl, the glossy, quickly addictive drama about Manhattan teens, their hectic lives and their glam outfits that initially aired between 2007–2012. It's the show that introduced the world to Blake Lively, Chace Crawford, Leighton Meester and Penn Badgley, and made everyone want to sit on the steps of The Met. It also demonstrated that you can never have too many headbands, and had us all wishing that Kristen Bell could narrate our every move, too. Gossip Girl is getting a follow-up series with a brand new cast that's also heading to Binge, because nothing says goodbye forever these days — and because all that drama was never going to subside for too long. But there's still nothing quite like the original, which starts with the return of Serena van der Woodsen (Lively) to the Upper East Side and the fallout within her inner circle, as constantly chronicled by an all-knowing blogger.
Where: Numerous venues around Sydney When: January 8-30, 2012 (tickets on sale November 9) Web: www.sydneyfestival.org.au The reinvigorated Sydney Festival has completely transformed our city in summer (note the flagpoles which every year proclaim just that) and it’s made Sydney a truly amazing place to be in January. The whole city is turned into a summer wonderland, there’s something amazing to do every single night, and people flood The Domain to see sophisticated performances while merrily sipping beer, cider, goon or all three. But mostly what the Sydney Festival does is bring us some truly spectacular performers – Sufjan Stevens, Grizzly Bear, Emmylou Harris, Camera Obscura and this year's headliner, PJ Harvey – whose artistic merit is second only to their ability to entertain. The Sydney Festival now has a total audience of about 1 million, making it the most attended cultural event in Australia. Every year the festival grows and improves, and with the state government recently giving the Festival a heap of cash to extend their program, it makes the prospects for this summer’s partying very exciting indeed. Concrete Playground has compiled a short list of musical, theatrical and artistic must-sees and -dos during Sydney Festival 2012. Click on the images below to read on...
There's a particular texture to Los Angeles after dark that suits stories of crime and self-interest to a tee. A desolate urban badland of freeways and fast food joints, there's this eeriness; this unnaturalness; this inescapable sense of menace; that seems to creep out of the concrete and set your nerves on edge. You can feel it in Michael Mann's Heat, or in Collateral a decade later. You can feel it in sections of Nicholas Winding Refn's Drive. And you can feel it in Nightcrawler, from writer-director Dan Gilroy, as it glides out of the darkness and seizes you by the throat. Always at his best when playing characters gripped by obsession — Jack Twist in Brokeback Mountain, Robert Graysmith in Zodiac, or Detective David Loki in last year's masterful Prisoners — Jake Gyllenhaal is in career-best form as Lou Bloom, Gilroy's unsettled protagonist, and our tour guide through the sordid LA underbelly. Inspired after witnessing a car accident, Lou decides to carve out a career as a 'nightcrawler', videotaping crime scenes and selling them to a local TV station for broadcast on the 6am news. Read our full review here. Nightcrawler is in cinemas November 27. Thanks to Madman Entertainment, we have ten double passes to give away in each city. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
The festive season is well under way: we're hurrying off to end-of-year catch ups every weekend, (hopefully) pouring sensational vinos and merrily sipping away our days. So, if you're like us, the pressure of trying to find the perfect gift can cast a dark shadow on the season. Sure, picking out the perfect gift for a special someone can be fun, but let's face it, it's pretty tricky to nail it year after year. The trick? Ditch the generic gifts and find something straight up your giftee's alley. And it's fair to assume we probably all know someone who is passionate about wine. The fine people at Handpicked Wines certainly are. With vineyards in the Mornington Peninsula, Barossa, Yarra Valley and down in Tassie, the biz makes region-specific drops with a sustainability-focused mindset. Beyond growing, prepping, juicing and fermenting the fruit, Handpicked Wines also have two urban cellar doors — one in Sydney and one in Melbourne. Together with Handpicked Wines, we've put our noses to the ground and found some brownie-point-scoring pressies especially for wine lovers (yourself included). Whether you're shopping for an office Kris Kringle or want to impress the in-laws this silly season, we've got options aplenty. HANDPICKED WINES CURATED WINE PACK, Prices vary Serious wine connoisseurs can be picky about their bottles. But fear not, Handpicked Wines is here to help you impress any sommelier (professional or wannabe) on your Christmas list. As a start, for the eighth year in a row, the winery has received a 5-red-star rating from the Halliday Wine Companion, the bestselling and definitive guide to Australian wine. Where to start? It's hard to go past the Summer Pack ($87), featuring three wines classified as "outstanding" in the 2023 edition of the guide. If you're going all out, plump for the Top Scorer pack ($200), which features six of Handpicked Wines' highest-rated drops from the 2023 Halliday Wine Companion. Whichever you choose, you know you'll be gifting some A-grade wine. For something a little different, gift your loved one the Sam Studd Pack. Along with their vinos, they'll receive three stand-out fromages curated by curd connoisseur Sam Studd — and quince paste and lavosh crackers, too. HANDPICKED WINES CELLAR DOOR EXPERIENCE, $72 If you'd prefer a more experiential gift for your vino-obsessed, opt for a gift voucher to the Handpicked Wines Cellar Door on Collins Street. They'll be table to take a special friend (aka you, the glorious gifter) and immerse themselves in an urban cellar door experience. For $72, the pair of you can each enjoy two delicious glasses from the Handpicked Wines Regional Selections range alongside two exceptional cheeses. It's the perfect gift for city slickers who enjoy a holiday to wine country — from this sleek central location, you'll discover (or taste, more like it) premium drops from the winery's vineyards across the Mornington Peninsula, Yarra Valley, Barossa and Tassie. [caption id="attachment_880772" align="alignnone" width="1920"] Samantha Payne[/caption] FULL GLASSES McLAREN VALE CANDLE, $45 If you're looking to get a little more creative, think wine-adjacent. Maybe your wine-loving friend already has an extensive collection of bottles and has travelled to all the hot spots for a drop? If so, gift them the scent of that special vineyard. Sydney-based sommelier Samantha Payne, of Full Glasses, has created her own line of wine-centric candles focused on her memories and experiences in different wine regions. Her recommendation? The McLaren Vale ($45), which blends fresh figs and eucalyptus trees for a sweet take on the Aussie bush. But there's also Pinot Noir ($65), which marries the scents of grape skins, strawberries, cloves and cinnamon bark, Chardonnay ($65), for a hit of lemon, apple and oak, and more. Each candle is hand-poured and decorated — an extra special gift. CORAVIN TIMELESS THREE SL, $299.95 One for the wine lover with an extensive collection (and sure to put you firmly in the good books): the Coravin Timeless Three SL ($299.95). With this sleek, handy gadget — which is the easy-to-use preservation system working in tandem with Coravin's argon capsules — still wines will stay perfectly primed for weeks (or months or years, even). That friend of yours will be pouring their favourite drops without pulling the cork, so a glass of that extra special drop can be enjoyed without committing to the whole bottle. MAISON BALZAC WINE GLASSES, $129 This is perhaps for the wine-lover in your life that can't help but be persuaded by a beautiful label on their bottle. If they're into natural, fruity drops or can't look past a pet-nat, Maison Balzac's Pom Pom Wine Glasses ($129) are the ideal gift. This handblown pair is adorned with adorable cherry-red "earrings", but there are three other colourways to choose from. It's an extra-special gift for the new-age wine lover that doesn't take themselves too seriously. FESTIVE TABLEWARE, Prices vary Artful, style-heavy and deliciously unique tableware is a gift that will be eagerly received by the wine lovers in your life — chances are, if they like a good vino, they'll like to curate a vibe-heavy setting to sip it in. They'll kick their 2023 entertaining off with a bang with these hyperrealistic Heirloom Tomato Candles ($85) from Nonna's Grocer, sure to spruce up any and every tablescape; and a set of the brightly hued Cecilia Coasters ($29) from Sage and Clare for an aesthetically pleasing place to pop that drink. Or, stick with decor masquerading as food, and pick up this sweeter-than-sweet canelé from Corey Ashford, the candle holder ($125) sure to keep it moody. WANDERING FOLK LOVERS PICNIC BASKET, $195 For a gift that's perhaps a little more romantic, opt for a basket (with dedicated spots for wine) to bring on picnic dates. The picnic experts at Wandering Folk have you covered with the Lovers Picnic Basket ($195). Designed in Australia and woven by women in Vietnam, it's a stand-out gift that's been crafted consciously and creatively. Plus, if you're feeling generous, you can even stock up your gift with a couple of their favourite bottles and some picnic essentials. GIGI & TOM SEA SNAIL ICE BUCKET, $49.95 With a sea snail keeping a celebratory bottle of sparkling cool, this one's for the ocean-loving oenophile in your life. Unique, summery and chic, Gigi & Tom have you sorted with its Resin Sea Snail Centrepiece ($49.95). Practical? Tick. Fun? Tick. Meets the criteria for a winning gift. Watch them swoon. For the wine lover in your life, your best spot to start is with Handpicked Wines. Head to the website to get your gifting sorted.
