This resort is so remote that it is only accessible by four-wheel-drive, speedboat, or a paraglider (although we have no idea where your luggage will fit on the glider). You'll feel totally isolated from the rest of the world — in a good way — when staying in the northern-most region of Oman. The resort is located within the Musandam Peninsula which is so damn beautiful. You've got clear blue waters which are perfect for snorkelling, as well as rocky cliffs and open plains that can be explored by foot, mountain bike or four-wheel drive. You come here to bask in the unique natural landscape. Constructed to resemble a traditional Omani village, these stone-walled villas and suites are the pinnacle of luxury, even if they look rustic from the outside. Staying here might take up a large chunk of your accommodation budget but it will be an unforgettable experience worth the splurge. This starts with the villas themselves. Each has its own private plunge pool, a large terrace with a dining area, a sand 'garden' and a butler who will help you experience all that this magical stay has to offer. Seriously, when staying here, you'll feel like you're in a dream — it's that unique and beautiful. Six Senses Zighy Bay has stacks of options when it comes to dining. Have dinner at the hilltop restaurant overlooking the entire bay which serves local and international cuisine, or experience some authentic Bedouin dining right on the beach. They also have tapas at an al fresco bar and can even send a private chef to your villa. The luxurious digs might be remote but there's still a diverse range of activities available for guests. For one, there is an award-winning spa facility which includes two Arabic-style hammams. Its best known for its locally-inspired treatments that use indigenous ingredients to both pamper and soothe. But you're not just here to sit by a pool and spa (although you certainly can if your heart so desires). Adventure activities abound at Six Senses Zighy Bay. Explore the craggy coastline's clear deep waters on a traditional dhow cruise or a scuba-diving expedition, go waterskiing in adjacent bays, canoe around the bay at your pace, paraglide from the cliffs, join a mountain-biking trek in the Hajar Mountains or hike up some of the goat paths. You can even go a little further out on one of their Dubai day trips and 4x4 excursions to the ancient village and plateau of Sabatyn. Whether you're doing serious unwinding or This has got to be one of the very best resorts in the world. Now you can book your next dream holiday through Concrete Playground Trips, and discover inspiring deals on flights, stays and experiences.
Sometimes, you just need to lose yourself in the strange and the surreal — especially if you've just spent months and months at home during lockdown. Patricia Piccinini's artworks offer that experience, whether they're floating through the sky or filling cavernous rooms with intriguing creatures. So, the return of her latest exhibition to Melbourne really couldn't come sooner. From Monday, November 8, A Miracle Constantly Repeated will again take over the usually closed Flinders Street Station Ballroom. The installation was originally announced as part of this year's brand-new Rising Festival, but the Melbourne arts event was impacted by Victoria's late-May lockdown. Then, Piccinini's latest creation had its season extended back at the end of July; however, we all know that another lockdown kicked in not long afterwards. A Miracle Constantly Repeated will now display until Sunday, January 23, 2022. Expect it to prove popular — when it was able to welcome in punters before July, it attracted close to 20,000 visitors. It's easy to see why folks were flocking along, given that all of Piccinini's signature touches are evident in its rooms of twisted flowers and eccentric bodies — and, whenever you walk through the former, it really does feel like stepping onto another planet. Indeed, if you've ever seen Piccinini's work before, you won't have forgotten it. When Skywhale in full flight, and its recent companion Skywhalepapa, it brings the acclaimed artist's otherworldly creatures — and her fascination with the weird, the wonderful, and the lines between reality and science fiction — into the biggest arena there is. Her indoor exhibitions evoke the same feelings of awe, curiosity and intrigue, too, but in a more intimate setting that lets you get up close to hyper-real yet exaggerated forms that straddle the gap between art and science. A Miracle Constantly Repeated also marks the Melbourne creative's first hometown show in almost two decades, in a venue that hasn't been open to the public in more than 30 years until this exhibition. Both Flinders Street Station Ballroom and nine other surrounding rooms play host to Piccinini's pieces, with the overall exhibition designed to showcase the site. The artist has crafted the installation to respond to the space as an organic environment, in fact so expect to see her critters placed amongst peeling paint and sat next to left-behind filing cabinets. Patricia Piccinini's A Miracle Constantly Repeated will reopen at Flinders Street Station Ballroom, Melbourne, on Monday, November 8 — displaying until Sunday, January 23, 2022. For further information, or to buy tickets, head to the Rising website. Images: Eugene Hyland.
A book described as "a modern story of sex, erotica and passion. How the sexiest sales girl in business earns her huge bonus by being the best at removing her high heels," might not be anything to write home about. But what if the author of said book was someone's dad, and that someone decided it would be hilarious to read a chapter every week to the entire world, with some incredibly funny friends providing commentary? Jamie Morton did just that with his father's (pen name: Rocky Flinstone) erotic 'novels', the Belinda Blinked series. And so the audacious and pants-wettingly hilarious podcast My Dad Wrote a Porno was born. Since its premiere in 2015, the podcast about "the best/worst erotica ever written" has racked up over 150 million downloads. And now, off the back of an HBO Original Series featuring a "lost chapter", Morton and his pals James Cooper and Alice Levine are bringing their hilarious smut back to Australia and New Zealand in 2020. As part of a huge world tour, the live show will treat 'Belinkers' across Sydney, Melbourne, Brisbane, Adelaide, Perth, Auckland, Wellington and Christchurch in January. Team Porno will read unreleased material from the erotic saga while throwing in a few surprises and interactive elements. Now four books deep — with the fifth due to be cracked opened on Monday, September 9, 2019 — the series follows the sexual escapades of Belinda Blumenthal who works in the sales and marketing department of a pots and pans company. There have been leather rooms and nipples as big as Titanic rivets, anti-erotic ridiculousness with sales reps and young-ish men, references to pomegranates and the popping of vaginal lids, and one truly disgusting flaking prosthetic appendage. If you're a fan of the show, the live incarnation should make you very happy. As Belinda says, "When you get what you want, you feel great." https://www.youtube.com/watch?v=7WotAuoFwF0 'MY DAD WROTE A PORNO' WORLD TOUR 2020 Wednesday, January 8, Sydney Opera House, Sydney Saturday, January 11, Crown Theatre, Perth Monday, January 13, Thebarton Theatre, Adelaide Wednesday, January 15, Palais Theatre, Melbourne Friday, January 17, The Tivoli, Brisbane Monday, January 20, Auckland Town Hall, Auckland Tuesday, January 21, Wellington Opera House, Wellington Wednesday, January 22, Issac Theatre Royal, Christchurch Tickets for My Dad Wrote a Porno World Tour go on sale at 1pm on Thursday, July 18, 2019. Stay tuned for further updates.
If it involves design and creativity — whether as graphics and illustration, via filmmaking and animation, in photography and visual data, through writing and publishing, in products and advertising, or as part of spatial and motion design — odds are that you'll find it at Semi Permanent. The southern hemisphere's biggest and longest-running festival dedicated to all of the above, it brings together the brightest minds it can find to unpack its chosen topics. And, in 2023, it'll do just that in Sydney again. This fest has spanned more than 50 events in 13 cities with 800-plus speakers and over 300,000 attendees over its past two decades, and it's back this year as part of Vivid Sydney's lineup. Don't just wander around the Harbour City soaking in the lit-up gardens, gigs and Vivid's first-ever food fest come May and June — hit up Semi Permanent to ponder what goes into making Vivid so stunning, as well as the latest trends and themes in design and creativity overall. Taking place at Sydney's Carriageworks for three days between Wednesday, May 31–Friday, June 2, Semi Permanent 2023 features a stacked lineup of speakers, including Irish writer, academic and disability activist Sinéad Burke, who'll explore accessibility — and filmmaker and architect Liam Young, who focuses on the blurring boundaries between film, fiction, design, and storytelling, especially when it comes to musing on what cities will look like in the future. Plus, journalist, writer, artist and producer Mona Chalabi will dive into how data helps us understand the world, while Iranian American designer FISK founder Bijan Berahim is known for highlighting culture, community and commerce via art and design. Also on the bill: Vogue India's Head of Editorial Content Megha Kapoor, Indigital founder Mikaela Jade, Indigenous artist and poet Jazz Money, and artist, illustrator and animator Chris Yee. Film and TV designer and director Filipe Carvalho joins the international contingent, with the Australian Centre for Moving Image's Seb Chan, Gold Coast artist and screenwriter Samuel Leighton-Dore, motion graphics artist's Mikaela Stafford and photographer and performer Wani Toaishara helping fill out the local crew alongside artist and illustrator Jordy van den Nieuwendijk, designer and artist Evi. O and Semi Permanent 2023's host Namila Benson. That packed roster of talent will examine the theme of 'reformation', a particularly topical subject given the events of the past few years. "We thought the world would seek to build itself back as it was, but it's increasingly clear that our collective future cannot—nor should not—look anything like its past," notes Semi Permanent's Global Creative Director Mitchell Oakley Smith. "We live amidst a once-in-a-generation chance to write past wrongs, reform seemingly immutable practices, and redesign the world in a shape we'd like to see." As always, Semi Permanent will span keynote talks, panels, Q&As and workshops, as well as exhibitions, demonstrations and installations. This year, expect those sessions to touch upon futurism, feminism, First Nations culture and accessibility alongside sustainability, diversity, equity and inclusion, all while examining Web3's borderless promises, how remote work helps employees claim back their time, and the dismantling of industrial hierarchies and traditions. "In its place, something new is beginning to emerge: new creative languages, new ways to communicate, to create, organise, disrupt, rebuild. New ways to speak, hear, interpret, understand, and connect. Less barriers to entry, and more possibility for brilliance. With all the chips seemingly thrown in the air — which of these do we catch, and which do we let go?," says Oakley Smith. Semi Permanent 2023 will run from Wednesday, May 31–Friday, June 2 at Carriageworks, 245 Wilson Street, Eveleigh, Sydney. For more information or to buy tickets, head to the Semi Permanent website.
For more than two years, everyone has been asking the same two questions — everyone that's a fan of Stranger Things, that is. They're obvious queries but, if you've been hooked to the 80s-set Netflix sci-fi series since it first debuted in 2016, they're important. Question one: what happens next? Question two: when will we see what happens next? Indeed, when July 2021 came and went, it marked two years since Stranger Things last graced our streaming queues. So, you've been wondering what's become of all the series' characters — especially Hawkins' beloved police chief Jim Hopper (David Harbour, Black Widow) — for quite some time. You'll be pondering into next year as well, because the streaming platform already announced that the show won't be returning till 2022; however, it does keep dropping sneak peeks. Back in February 2020, Netflix provided an initial clip. Yes, that now seems like a lifetime ago. It also dropped a couple more teasers in May this year, and released another one back in August. Need more? The streamer has just unveiled yet another teaser trailer, this time focusing on a spooky spot called Creel House. First, we see it years ago — and then, we see it being explored in its abandoned, dusty and eerie guise by Steve (Joe Keery, Spree), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Lucas (Caleb McLaughlin, Concrete Cowboy) and Max (Sadie Sink, The Last Castle). When you're hanging out for anything and everything related to the show's fourth season, each trailer and teaser drop is exciting — and they all keep threading together pieces that are bound to prove important when new episodes actually hit. Indeed, we already know what happened after season three's big cliffhanger and Russian-set post-script — when Hopper, the mind flayer, the Russian lab below Starcourt Mall and that pesky gate to the Upside Down all had a run-in. And, we know that Hawkins Laboratory is going to feature again moving forward, thanks to clips focusing on Eleven (Millie Bobby Brown, Godzilla vs Kong) and Dr Martin Brenner (Matthew Modine, Operation Varsity Blues: The College Admissions Scandal). Now, with this latest teaser, we know a little bit more as well. Of course, it's worth remembering that when Netflix announced the show's renewal for a fourth season back in 2019, it did so with the catchphrase "we're not in Hawkins anymore". Naturally, we'll have to wait to see what that really means for its full cast of characters — including Joyce (Winona Ryder, The Plot Against America), Will (Noah Schnapp, Hubie Halloween), Jonathan (Charlie Heaton, The New Mutants) and Nancy (Natalia Dyer, Things Seen & Heard). Check out the new Stranger Things season four sneak peek below: Stranger Things season four will be able to stream via Netflix sometime in 2022 — we'll update you with an exact date when one is announced.
It has won 11 Tony Awards and is one of the Obamas' favourite musical, and now Lin-Manuel Miranda's game-changing musical Hamilton is finally coming to Australia. The critically acclaimed hip hop musical, for which Miranda wrote the music, lyrics and the book, is about the life of Founding Father Alexander Hamilton, as well as inclusion and politics in current-day America. As well as its 11 Tony Awards, which include Best Musical, it has nabbed a Grammy Award and even a Pulitzer Prize. After hitting Broadway in 2015, then West End in 2017, and beginning its third tour of the US earlier this year, Australians can finally catch Hamilton — when it makes its Southern Hemisphere premiere at the Sydney Lyric Theatre in March 2021. While this is not new news, with the musical heading Down Under first announced back in May 2019, the fact that it's still planning to go ahead in seven months despite the global pandemic is. And, Aussies keen to head along will be able to snag tickets in just a few weeks. Those who've signed up to the waitlist — or do so before Sunday, August 23 — can get pre-sale tickets from 10am on Monday, August 24. General public tickets will then go on sale at 9am on Tuesday, September 1. Tickets will set you back $70–250 a pop — but there'll be a limited number going for just $10, available as part of the Hamilton lottery. We'll be sure to let you know more details about that when they're announced. [caption id="attachment_731122" align="alignnone" width="1920"] Joan Marcus[/caption] There's no word yet on whether it'll head to other Aussie cities later on — it's possible, other big musicals, such as The Book of Mormons, have. But, if you don't want to risk it, those located interstate should to start planning a trip ASAP — we think it'll be more than worth it. Of course, if you're hoping to make the journey to NSW from interstate, you'll be keeping your fingers crossed that all the internal borders will finally be open by next March. It's not Miranda's first musical to hit Australia, either, his take on the classic 200s film Bring It On: The Musical hit Melbourne in 2018 and quadruple Tony Award-winning In The Heights just finished a short season at the Sydney Opera House last year. In the meantime, you can watch the filmed version of Hamilton with the original Broadway cast on Disney+ — yes, it's as phenomenal as you've heard. Hamilton will make its Australian premiere at the Sydney Lyric Theatre from Wednesday, March 17–Sunday, August 1, 2021. You can sign-up for pre-sale tickets now before they are released at 10am on Monday, August 24 via Ticketmaster. General public tickets will then go on sale at 9am on Tuesday, September 1. Image: Hamilton, Broadway. Photo by Joan Marcus.
Since premiering on Broadway in 2015, winning 11 Tony Awards and nabbing the Pulitzer Prize for Drama, Hamilton has become a pop culture phenomenon. As a result, it was always going to make the leap to the screen in some shape or form. So, it's no wonder that Disney has jumped at the opportunity, albeit via a filmed version of the stage production rather than a traditional theatre-to-film adaptation. An actual Hamilton movie might still happen — creator, writer and star Lin-Manuel Miranda has talked about it, and apparently the first draft of a script has been written — but that's not the case just yet. Originally, the Mouse House intended to bring this recording of Lin-Manuel Miranda's historical hip hop musical to cinemas in late 2021. Then, as we all know, the COVID-19 pandemic came along. Doing everyone a solid, the company has instead fast-tracked Hamilton to its streaming platform — with this vibrant, whip-smart and immediately dazzling tale of American Founding Father Alexander Hamilton available from today, Friday, July 3, on Disney+. If you haven't been lucky enough to catch the popular all-singing, all-dancing production in New York, as it toured the US or on London's West End, this "live capture" version is here to fill the gap. Now, everyone who missed out on the opportunity to see the musical's initial run live can experience the next best thing. Shot at the Richard Rodgers Theatre on Broadway back in 2016, the recording features the show's original Broadway performers, including Miranda in the eponymous role. Also seen on-screen as part of the production's colour-blind approach to casting (including enlisting actors of colour to play white historical figures): Daveed Diggs (Snowpiercer) as Marquis de Lafayette and Thomas Jefferson, Leslie Odom Jr (Murder on the Orient Express) as Aaron Burr, Christopher Jackson (When They See Us) as George Washington, Jonathan Groff (Mindhunter) as King George III, Renee Elise Goldsberry (The House with a Clock in Its Walls) as Angelica Schuyler and Phillipa Soo (the Broadway version of Amelie) as Eliza Hamilton. The story, for those who aren't intimately acquainted with US revolutionary history, chronicles the Caribbean-born "bastard, orphan, son of a whore and a Scotsman" from his arrival in New York in the early 1770s. As the musical's informative opening number explains, Alexander Hamilton will go on to become "the ten-dollar Founding Father without a father", with the production charting how he "got a lot farther by working a lot harder, by being a lot smarter and by being a self-starter". It's a tale that, unlike those of US Presidents Washington and Jefferson, you mightn't have heard before — which is one of the themes that the musical addresses. Just who is charged with recalling and immortalising the past, and who is remembered in the process, is a significant factor in shaping a nation's vision of itself. Hamilton isn't the first stage show to release a filmed version, of course; however it arrives on streaming after half a decade of buzz, chatter, acclaim, awards and cultural obsessiveness — and instantly demonstrates why it's been the most talked-about production of the past five years. Infectiously exuberant from its first moments, and not only lively but frequently funny, Miranda's rich, dense but always accessible words and songs interrogate US history with passion, intelligence and energy. Via an array of tunes that prove as clever as they are catchy, Hamilton ponders America's battle for independence from the British, the situation the fledgling country finds itself in afterwards, and what it truly means to start a new nation. Along the way, it also casts a light on political wheeling and dealing, the framing of the American Constitution, as well as Hamilton's complicated personal life. When the musical isn't turning discussions about debt into rap battles, for example, it's letting Groff's scene-stealing King George III sing absolute show-stoppers about imperialism, then breaking up the politics with yearning ballads sung by Goldsberry and Soo that also unpack the plight of women at the time. By now, the fact that Hamilton is excellent really isn't news — but, if you haven't already seen it for yourself, prepare to be wowed. Miranda, Groff, and Tony-winners Diggs and Odom Jr couldn't turn in better performances and, as directed for the screen by the stage production's helmer Thomas Kail, this filmed version gets up close to their potent and compelling portrayals. Visually, viewers always know they're watching a recording of a live theatre show, too. Pretending otherwise just wouldn't do the production justice. That said, this on-screen presentation of Hamilton is also engagingly shot and edited, not only cutting between different angles, but successfully capturing the rhythm of the choreography, actors and moving set. Getting swept up by Hamilton's wonders is easy. Recognising its added weight, importance and resonance now, as Black Lives Matter protests continue to take place across the globe and America finds itself at another crossroads, is just as straightforward, too. Once you've watched the small-screen version, Australians can also get excited about seeing the stage production, as it's finally set to arrive Down Under in March 2021. Under present circumstances, though — and with international travel still banned for the foreseeable future — it's possible that this could be delayed. Check out Disney+'s Hamilton trailer below: https://www.youtube.com/watch?v=DSCKfXpAGHc The filmed version of Hamilton is available to stream worldwide from Friday, July 3, via Disney+. Images: Hamilton filmed version courtesy Disney+.
UPDATE, August 3, 2020: Pet Sematary is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube and iTunes. It's true of beloved family pets who've returned from the grave, and it's true of horror novels turned into movies yet again: sometimes dead is better. Stephen King might've penned that sentiment himself, but Hollywood was never going to take the popular author's advice. As the second film adaptation of Pet Sematary shows, perhaps they should've listened. With King's work frequently flickering across screens big and small, exhuming this creepfest must've seemed like an easy win. This is the ninth movie or TV series based on his writing in the past three years alone, with four more due in 2019 as well. There's plenty to claw into in Pet Sematary, including the many shadows that death and grief cast over the living. There's ample room for unsettling tension, spanning both bumps and jumps and existential unease. But Pet Sematary largely feels like the most standard possible take on its supernatural narrative. Given how standard its predecessor felt 30 years ago (and the original film's 1992 sequel, too), the new version basically re-digs the same grave and fills it with slightly updated corpses. Initially, those bodies belong to dearly departed pets in the town of Ludlow. When doctor Louis Creed (Jason Clarke) moves to the quiet Maine spot with his wife Rachel (Amy Seimetz), eight-year-old daughter Ellie (Jeté Laurence) and toddler Gage (Hugo Lavoie and Lucas Lavoie), they quickly discover that their sprawling new house is adjacent to the local animal graveyard. The burial ground's misspelled sign marks it as a place for kids to farewell their furry and feathered friends, but neighbour Jud Crandall (John Lithgow) knows that something else is afoot. After the Creed family cat meets an unfortunate end, Jud initiates Louis into the cemetery's secrets. On the page and in its previous big-screen version, this story always required a leap in logic — not regarding its overall concept, but some of the minutiae. Only realising that your new home borders a graveyard once you've moved in? Letting your kids play by a highway favoured by speeding trucks, especially after your beloved feline is mowed down? If you can buy that, then you can definitely buy the idea of zombified pets scratching away at their owners' nerves. An engaging tale told well could easily breeze past the aforementioned contrivances, and so could a scary tale told with disquieting precision. Alas, as directed by Kevin Kölsch and Dennis Widmyer (Starry Eyes) and scripted by Jeff Buhler (The Midnight Meat Train), that's rarely the case here. Content to plough along the surface of its familiar narrative, Pet Sematary remains as straightforward as its many horror cliches: the spooky woods, the sacred Native American site, the several layers of sad backstories and the reality that raising the dead never, ever turns out well. King might've invented or at least solidified many of these tropes, however here every single one feels routine. So does the film's by-the-numbers execution. It's the latter that grates more than the former — not the obvious, sometimes egregious plot elements, but the squandered potential. If there's anything worse than a flat-out bad movie, it's an average flick that unearths glimmers of something more yet ultimately leaves them buried. Kölsch and Widmyer know how to make individual moments land, even when the overall beats and simple jump-scares are easy to spot. While the film is shot with the usual dread-inducing look, the directing duo also know how to make individual images stand out. And when they give Clarke, Seimetz and Lithgow room to breathe — and push a young talent like Laurence into the spotlight, too — they know how to ensure that their themes and performances run deep. They just can't sustain any of the above. Certainly not for the movie's 101-minute running time, and not long enough to justify Pet Sematary's resurrection. https://www.youtube.com/watch?v=c7Eq9rYsqnM
The 11th of March 2011 will be a date long remembered as one of Japan's darkest, when an 9.0 magnitude earthquake and a 40-metre high tsunami took the lives of over 20,000 people and destroyed the homes, communities and livelihoods of countless others. To add insult to injury, it will also be remembered as the day the Fukushima Nuclear Power Plant was seriously damaged, the disastrous consequences of which may linger for years and years to come. In the weeks and months since the natural disaster, the affected towns and communities have slowly and painstakingly began the task of rebuiling their lives, homes and communities. And whilst it is unlikely that the Fukushima Nuclear Power Plant will ever open again, its workers and engineers have begun tackling the daunting question of how to clean it up, stabilise the reactors and lower dangerously high levels of radiation. In an unauthorised visit, and at great personal risk, Kazuma Obara became the first photojournalist to enter into the nuclear plant in an attempt to draw attention to the daily life and conditions of the people who work there, with no guarantee of their health and safety. So far, the clean up project at the power station has been characterised by secrecy, misinformation and confusion, not only for the general public, but, as Obara's story tells, for the plant's workers also. Obara's images are sobering, mundane and surreal. And have provided the world with its first images of the day to day reality of the aftermath of the world's bigget nuclear disaster since Chernobyl.
New year, new list of huge events to look forward to — but only one will make LGBTQIA+ history. That'd be the first-ever WorldPride held in the Southern Hemisphere, which'll hit Sydney from Friday, February 17–Sunday, March 5. And, although Sydney WorldPride announced its massive 2023 lineup late in 2022, it's still adding big-name additions. Joining the program alongside everyone from Kylie Minogue and Charli XCX to Kelly Rowland and Nicole Scherzinger: German pop star Kim Petras. Fresh from nabbing a Grammy nomination for 'Unholy' with Sam Smith, the 'If Jesus Was a Rockstar', 'Heart to Break', 'Future Starts Now', 'Coconut' and 'Malibu' singer will headline Sydney WorldPride closing gig Rainbow Republic alongside the already-announced MUNA and G Flip. View this post on Instagram A post shared by Sydney Mardi Gras (@sydneymardigras) "I'm so happy to be back in Sydney supporting WorldPride! Headlining Mardi Gras was a really inspiring moment back in 2019 and it was one of my favourite Pride events ever, so I'm really excited to see my Australian fans again and take everything to a whole new level," said Petras, announcing the news. She'll take to the stage in The Domain, where WorldPride is hosting both its opening and closing events, as part of a a seven-hour show filled with live music, DJs and dancing — a queer megamix, if you like. On hosting duties: Keiynan Lonsdale (Love, Simon, The Flash, Eden), who'll also perform. Peach PRC, Alter Boy, BVT and Vetta Borne have also been named on the bill. Sydney WorldPride has been announcing parts of its lineup since June last year, including the return of the Sydney Gay and Lesbian Mardi Gras Parade to Oxford Street after the 2021 and 2022 events were held at the Sydney Cricket Ground due to the pandemic. Among the other highlights: pride villages set up in sections of Crown Street and Riley Street, rainbows all around Greater Sydney, a Bondi beach party that'll turn the iconic sandy stretch into a club for 12,000 people, and a Blak & Deadly First Nations gala concert. RAINBOW REPUBLIC SYDNEY WORLDPRIDE CLOSING CONCERT LINEUP: Kim Petras MUNA G Flip Keiynan Lonsdale Peach PRC Alter Boy BVT Vetta Borne Sydney WorldPride will run from Friday, February 17–Sunday, March 5, 2023, with closing concert Rainbow Republic taking place at The Domain on Sunday, March 5. Tickets for Rainbow Republic are on sale now. For more information about Sydney WorldPride, or for general ticket sales, head to the event's website.
UPDATE, May 12, 2021: Doctor Sleep is available to stream via Netflix, Binge, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. A river of blood cascading from an elevator. Creepy twins eager to play forever. The eerie woman in room 237. Since Stanley Kubrick brought Stephen King's horror novel to cinemas in 1980, these images have become synonymous with The Shining, as has the word 'redrum' and frosty hedge mazes. But, really, this story owes a debt to ice cream. That's not how King's 1977 book starts, or Kubrick's masterpiece; however Dick Hallorann's (Scatman Crothers) telepathic offer of dessert to five-year-old Danny Torrance (Danny Lloyd) is one of the movie's pivotal moments. It's when audiences learn what the film's title means, and discover they'll be spending time in the duo's heads while they communicate without moving their lips. Doctor Sleep — which hit bookshelves in 2013 as a King-penned sequel to The Shining and now reaches theatres under the direction of Mike Flanagan (The Haunting of Hill House) — latches onto that idea. In its predecessor, the Overlook Hotel that Danny and his parents (Jack Nicholson and Shelley Duvall) temporarily called home also had a "shine", turning it into a ghostly battlefield — but in Doctor Sleep, the characters' minds become a combat zone as well. Danny is now Dan (Ewan McGregor), a drifter who finds the straight and narrow in a small New Hampshire town, yet remains haunted by his boyhood experiences. He connects with fellow telepath Abra (Kyliegh Curran), a teenager whose powers eclipse his own. They initially chat without chatting, until Abra glimpses a sinister group of nomadic quasi-immortals who possess the same extrasensory gifts and consume the essence of psychic folks. Led by the malevolent Rose The Hat — who's played with menacing relish by Mission: Impossible – Fallout's Rebecca Ferguson, complete with Babadook-style headwear — this death cult earns Doctor Sleep's considerable attention. Sometimes, they recruit their potential victims. Mostly, they kill them, inhaling their shine or "steam". In Abra's case, the group is ravenous for — and frightened by — her potent power. As a face-off looms, Dan, who is still mentored by the spirit of Hallorann (now played by Carl Lumbly), adopts the same role for Abra. While the film takes its time teasing out Dan and Abra's individual stories, bringing them together and depicting Rose's twisted reign, it's always headed in one direction: to the Colorado hotel that has lingered over cinema history for nearly four decades. In a movie where getting into someone's head is crucial — and thriving on what you extract out of it, too — Doctor Sleep does the filmic equivalent with The Shining. King famously hated Kubrick's adaptation, even scripting his own TV version in the 90s. By writing Doctor Sleep, he attempted to reclaim his own story and put it back on his preferred path. Flanagan, however, has no such qualms about one of the best horror movies ever made. On the screen, Doctor Sleep begins with notes from The Shining's main theme, and the nods and winks only continue. He recreates scenes, mirrors visual motifs, uses snippets of the original, and finds aesthetic, narrative and thematic ways to allude to Kubrick's film. The picture's nostalgia is never as gratuitous and empty as Ready Player One's reference to the movie, thankfully, but it still traces its predecessor's footsteps more closely than it needs to. It can't be easy, making a sequel to an iconic book-to-film adaptation that also adapts the follow-up novel addressing the author's issues with the first movie. It's to Flanagan's credit that Doctor Sleep wholeheartedly tries to juggle these competing aims. An accomplished horror writer/director/editor with fellow King adaptation Gerald's Game to his name, he infuses Doctor Sleep with growing dread and gnawing unease. Never just trying to ape Kubrick, he crafts his own standout images — involving Rose and her cronies at their most frenzied, and literally stepping inside Dan, Abra and Rose's minds. Also boasting top-notch lead performances, a thoughtful exploration of childhood trauma and its impact, and an unnerving score, Doctor Sleep builds its own momentum and intrigue. Inevitably, though, it starts chasing The Shining's tail too blatantly and feverishly. Doctor Sleep was never designed to stand alone, but by remaining so beholden to The Shining, it can feel like a missed opportunity. It doesn't need to prop itself up so forcefully, or to imitate Kubrick so stringently, and proves a much better film when it's doing neither. In rare scenes where the sequel interrogates rather than apes the original movie, Doctor Sleep is far more convincing in linking the two. When Dan admits to an Alcoholics Anonymous meeting that he drank because that's how he connected to the memory of his dad, it's the picture's most powerful moment — and shows why McGregor is perfectly cast to wade through Dan's niggling pain. It's also a way to take viewers both into the character's head, and into The Shining, without being so overt. The film still shines more often that not, but if only the bulk of Doctor Sleep had that same gift. https://www.youtube.com/watch?v=0oCTK2U5lpc
Whether he's co-writing and starring in sketch comedies, directing two of the best horror films of the past few years, producing an Oscar-nominee or reviving a science-fiction classic, Jordan Peele has amassed an impressive resume. So, whenever he adds a new project to the lengthy list, it's worth paying attention. After Key & Peele, Get Out, Us and The Twilight Zone — and producing BlacKkKlansman, too — he's now lending executive producing skills to upcoming Amazon Prime Video series Hunters. It stars Al Pacino, it's about hunting down Nazis in the 70s, and it has just dropped its first impressive teaser trailer. Pacino plays Meyer Offerman, the leader of a group of Nazi hunters who are intent on stopping a Fourth Reich taking hold in America. They've discovered that hundreds of escaped Nazis are not only living in the US, but have genocidal plans — and Offerman and his vigilante pals plan to thwart this conspiracy by any means necessary. Expect violence, tensions, action, thrills, and a fight between good and evil that's inspired by real events. Not just calling out oppression, injustice and hatred, but tackling it through film and television is firmly in Peele's wheelhouse, as his filmography shows. Accordingly, Hunters slots in nicely, with a ten-episode first season due to drop at a yet-to-be-announced date in 2020. Fresh from his excellent turn in The Irishman — his first collaboration with Martin Scorsese, somehow — Pacino is in less theatrical, more nuanced mode here. He's also joined by a well-known roster of co-stars, which includes Logan Lerman (The Perks of Being a Wallflower), Carol Kane (Unbreakable Kimmy Schmidt), Josh Radnor (How I Met Your Mother), Lena Olin (Vinyl) and Australian actress Kate Mulvany (Lambs of God) as a kick-ass nun. Check out the first teaser trailer for Hunters below: https://www.youtube.com/watch?v=hYxTHcoRpNo Hunters will hit Amazon Prime Video in 2020 — we'll update you when an exact release date has been announced.
In the space of a mere two days to close out May, two tales of two puppeteers join the streaming ranks. Eric is pure fiction, but it's impossible not to think about Jim Henson while watching it, regardless of whether you also have a small-screen date with Jim Henson Idea Man. Creator and writer Abi Morgan — who has previously penned the likes of Shame, The Iron Lady, The Invisible Woman, Suffragette, River and The Split — puts a Henson-esque figure with his own hit TV show for kids at the core of her six-part miniseries. Played by Benedict Cumberbatch (The Wonderful Story of Henry Sugar) in a performance that's bound to receive awards attention, the bearded and lanky Vincent Anderson even physically resembles the man behind The Muppets, Sesame Street, Fraggle Rock, The Dark Crystal and Labyrinth. As evident to everyone watching Eric from Thursday, May 30 on Netflix, its protagonist definitely isn't Henson. Firstly, Anderson is an abusive alcoholic. Secondly, his nine-year-old son Edgar (debutant Ivan Morris Howe) goes missing one morning on his walk to school, which he was supposed to accompany him on as his main contribution to fatherhood. And thirdly, the eponymous Eric is a seven-foot-tall monster muppet who his boy scribbled to life on the page and then starts following Vincent as his mental health struggles after Edgar disappears. But binge-viewing your way through Eric — and it is engrossingly bingeable — means being unable to shake the feeling that Morgan pondered "what if?" about Henson in all of the above scenarios. As a series, the 1985-set Eric is as ambitious as it is expertly acted; neither daring in general nor absorbing portrayals are lacking. The exceptional Cumberbatch sits at the crux of both as Eric asks another "what if?": what if someone experiencing the terror of their child going AWOL wasn't at their best before their life is turned upside down, because heartbreak and horror don't solely blight pictures of perfection? There's force behind his work as Vincent by design, with the audience asked to feel every ounce of his agony and the chaos he wreaks. Cumberbatch finds haunting nuance in the part, too, as subtlety simmers in every key portrayal — from Howe, Gaby Hoffmann (C'mon C'mon) as Edgar's mother and McKinley Belcher III (One Piece) as the cop on the case through to Clarke Peters (Whitney Houston: I Wanna Dance with Somebody) as a neighbour, Bamar Kane (Io Capitano) as an unhoused street artist and Adepero Oduye (Five Days at Memorial) as another mum looking for her lost boy. Eric is also instantly involving and deeply layered as it queries how a bright world can turn unkind, cruel and corrupt. It's an ordinary day when Edgar trundles out his New York City door alone, and routine even in the fact that Vincent and Hoffman's Cassie have been fighting. With the series starting with Edgar's parents fronting the media flanked by police, pleading for their son to come home — Vincent speaks directly to him through the camera — viewers know what's in store before the boy doesn't arrive at class. Morgan and director Lucy Forbes (This Is Going to Hurt), who helms the entire miniseries with poise, can't ever be accused of lacing their tale with inevitability, however. Rather, pain and poignancy are Eric's constants. Swiftly, the Anderson family is plunged into crisis. As he frays visibly and publicly, the already-erratic and egotistical Vincent still can't tear himself away from work on Good Day Sunshine. The show, plus conjuring imaginary friends to life with felt, was the primary glue between the Anderson men (Edgar's bedroom overflows with sketches that resemble his dad's). Vincent isn't merely distracting himself by keeping busy or clinging to something that bonded him with his kid; he becomes obsessed with turning Eric into his show's newest character. At home, their marriage disintegrating, Cassie is certain that reward money from her husband's rich parents (The Big Cigar's John Doman and Anatomy of a Scandal's Phoebe Nicholls), who he's estranged from, will help rustle up information on her son's whereabouts. One of the bold choices that Morgan makes is not just to take a setup that could've fuelled the series by itself — abduction thrillers are their own genre — and add a complicated character study complete with a furry pal manifesting as a man's guilt, regret and sorrow; she also ensures that Eric functions as a portrait of 80s New York, with graffiti and garbage a consistent sight, and the city's homeless population a frequent topic of discussion. Here, enter NYPD detective Michael Ledroit (Belcher III), who is investigating while handling his own baggage. He's still trying to find another disappeared boy from 11 months ago, 14-year-old Marlon (Bence Orere, another newcomer), but with far less support because the child is Black. Ledroit is also a closeted gay Black man in a workplace and at a time that's hardly welcoming, and with a partner (Mark Gillis, Hollyoaks) dying of AIDS-related illness. Accordingly, Eric is a snapshot of a crumbling family, and of a man facing his worst nightmare and mental deterioration in tandem; a missing-person procedural about two vanished boys and the dissimilar attitudes to bringing them home; and a wander through the Big Apple in a distinctive period, and through the inequality engrained in everything from race and class to sexuality and power with those bearing its brunt. Its namesake may seem as if he could've strolled out of Monsters, Inc., albeit with a gruff voice and no aversion to swearing — and "be good, be kind, be brave, be different" might be Good Day Sunshine's motto — but this is always a tale of darkness, pain and the reality that sunny days sweeping the clouds away are so rare that they need to be clung to. In a busy year for childhood buddies on-screen, Eric isn't optimistic fantasy IF or dull horror film Imaginary, though. It also isn't 2018's terrible adult puppet flick The Happytime Murders, which had a Henson pedigree: Brian, son of Jim, plus director of both The Muppet Christmas Carol and Muppet Treasure Island, helmed it. When it swings through clubs where sex sells, examines the impact of gentrification, and unpacks the dishonesty and violence that can colour the thin blue line and the institutions behind it to the detriment of a city, The Deuce and The Wire both appear to be influences (Peters and Doman's supporting parts assist). Puppets don't nest one inside the other, but this series with one at its centre repeatedly proves the TV equivalent of a matryoshka doll. Check out the trailer for Eric below: Eric streams via Netflix from Thursday, May 30, 2024.
If you haven't heard of 28 Hongkong Street before now, don't feel too out of the loop. Sure, it's been voted Asia's best bar for three years running and knocks out some seriously amazing cocktails — but it also operates as one of those mysterious, super secretive, word-of-mouth-only venues, hidden away behind an unassuming 1960s shopfront. Plus, it's been hanging out all the way up in Singapore, 6000 kilometres and an eight-hour flight away. Until now. For three nights this month, 28HKS will be hitting our shores as part of Sydney Bar Week. The brief touchdown on Australian turf will see the Singaporean enigma visit Sydney and Melbourne to take over two of our own hidden cocktail bars and give lucky locals a whirlwind taste of all the cocktail magic. They're not cutting any corners, either. The pop-ups — which will grace Darlinghurst's Henrietta Supper Club on September 18, and Fitzroy's The Everleigh from September 21-22 — will offer a bang-on recreation of the 28HKS concept. Expect those award-winning cocktails alongside a selection of the American-leaning share plates, all delivered by five of 28HKS's mixologists, floor staff and chefs. They're even bringing over the soundtrack to round-out the experience. It's not the first time Australia's had a fleeting taste of international cocktail greatness and, given the success of Attaboy's February stints at The Everleigh and Dead Ringer, and last year's Please Don't Tell pop-up at The Black Pearl, it's probably safe to say that this latest cocktail-wielding visitor won't be the last. One thing's for sure, though — at $20, these tickets won't hang around for long. Snap one up here for the Sydney pop-up, or here for the Melbourne one. 28 Hongkong Street will pop up at Henrietta Supper Club, Darlinghurst, on Sunday, September 18, and The Everleigh, Fitzroy, from September 21-22. There will be two sessions available each night, with each session running for 1.5 hours. Tickets are $20, and include a cocktail on arrival.
It's never too cold to party. At least, that's what the guys behind Snowtunes say. And for its third year, this Snowy Mountains music festival is coming back even bigger — twice the size actually. With the addition of a second night of festivities, the party people have also added a second stage so punters can enjoy live music at one and dance it out at the other, dedicated to EDM. Mark your calendars, snag some tickets and find some snow gear, because September 1 and 2 are fast approaching. Who's expected to take to the stage? There'll be plenty of Aussie-born talent to set your weekend's soundtrack after a day on the slopes, including L D R U, Gang of Youths, Nina Las Vegas, Mashd N Kutcher and Tigerlily. New Zealand-born singer-songwriter Mitch James and French DJ Klingande will bring some tunes from abroad into the mix, too. Really, it's a slam dunk of a lineup. And in between sets you'll be able to grab a drink at this year's Bag Jump Adventure Park, a VIP champagne bar, as Lake Jindabyne gets transformed into the ultimate party snow globe. Stay tuned for any updates and announcements on Snowtunes here.
In Stay of the Week, we explore some of the world's best and most unique accommodations, giving you inspiration for your next trip. In this instalment, we set the compass to Tropical North Queensland and take a trip to Cairns for a special stay at Crystalbrook Riley. We love this place so much that we teamed up with the resort to offer an exclusive four-night travel deal — including in-room entertainment, aquarium access and accommodation in an ultra-refined Urban Room. WHAT'S SO SPECIAL? Queenslanders have had a good few reasons to celebrate of late: State of Origin wins. A low-intensity heatwave that makes it feel they're never going to break up with summer. First place in a new survey that asked Aussies to rank their favourite local travel destination. And while anyone who's not a Maroons fan probably doesn't want to hear them gloat about their footballing victories, we can certainly support a destination that grants us access to sunny days and balmy nights right now without the need to renew our passports. Pitching itself for consideration is Crystalbrook Riley, a five-star stay that's strategically situated along Cairns' iconic coastal boardwalk. It has some of the best beaches of the world literally at your doorstep. Luxe location aside, Crystalbrook Riley's outstanding amenities are equally impressive. They include a 1000-square-metre swimming lagoon, a private man-made beach, bustling bars and restaurants and some seriously stylish rooms and suites. THE ROOMS The Crystalbrook Riley team is proud to proclaim that its 311 rooms and suites most certainly do not feel like a home away from home. But before you think that's a typo allow us to explain its rationale. Basically, it's because the team believes that leaving your teeny one-bedroom with views over the main road to spend your time away in the same sort of set-up defeats the purpose. Instead, it delivers all of the good things you love about your own house (big beds, comfy couches, steaming hot showers) and adds some oomph by making the design a little more sophisticated, the furnishings a touch more elegant and the kind of contemporary cool accessories you'd find at a boutique homeware store. FOOD AND DRINK If you're in Cairns, you're probably going dedicate a couple of days to super-early-start excursions like the Daintree National Park or the Great Barrier Reef. On those occasions, when you come home exhausted and don't have the physical energy to untangle your salty hair let alone order an Uber, Crystalbrook Riley's own in-hotel restaurants are on hand. The highest rooftop bar in Cairns, Rocco, is all about generous serves, share-style dining and fresh dishes that take inspiration from the Middle East and the Mediterranean and recreate them with fresh regional produce. Highlights include mezza plates featuring freshly shucked oysters, house-made labneh cheese, Far North Queensland grilled tiger prawns, confit chicken and grilled lamb cutlets. Pair them with a smart selection of sweet and savoury cocktails, like the Moroccan-inspired Message in a Bottle, for an experience that is truly unmissable. On the other hand, if you're all about an Asian epicurean experience, then Paper Crane offers a modern menu that makes the most of Tropical North Queensland's fresh ingredients while highlighting the best of Japanese, Chinese, Korean, Thai, and Vietnamese fare. Signature dishes such as the citrus soy-marinated Tableland rib-eye steak on the bone pair perfectly with Paper Crane's custom cocktails. Just be sure to pace yourself if you have another long day trip planned for the next morning. THE LOCAL AREA Know as the gateway to the Great Barrier Reef, Cairns is the place to base yourself if swimming and snorkelling among world-heritage-listed marine life is on your bucket list. Ditto those seeking easy access to the iconic Daintree Rainforest and its soaring green canopies. But beyond its beaches and bushland, Cairns is also a dream holiday destination for those who like to pack their itinerary with drinking, dining and days spent doing a little retail damage. Our suggestions include the tropical treats at Charley's Chocolate Factory, sunset cocktails at seaside bar Salt House, the small boutiques in Oceania Walk or Galleria for high-end designer stores. THE EXTRAS Did you even go on a holiday if you didn't treat yourself to a fancy facial and meditative massage? Although Crystalbrook Riley's Eleme Spa is temporarily closed, guests can still enjoy access to the equally fabulous Eleme Day Spa Crystalbrook Flynn just down the road, where treatments such as couples therapy and detox packages are all available. Additionally, those who take advantage of this exclusive Concrete Playground Trips promotion can enjoy two complimentary tickets to the famed Cairns Aquarium. It's home to the Southern Hemisphere's only two-storey Deep Reef Tank, the 360-degree Oceanarium and Underwater Viewing Tunnel. Guests can spot rare species of sharks, sting rays, crocodiles and more, as they attempt to find Nemo. 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.
Close out the summer with a wild and wacky bang at Mona's annual festival of boundary-defying culture, music and art. The iconoclastic Hobart gallery, performance space, and purveyor of beer and wine, is known for subverting expectations so you can expect an eccentric and unforgettable few days down south at Mona Foma. Now in its 16th year, the 2024 incarnation of the festival runs from Thursday, February 15 to Sunday, February 25 in nipaluna/Hobart and from Thursday, February 29 to Saturday, March 2 in Launceston. There are morning meditations with cross-cultural musical collaborations and captivating art exhibits for those after a more reflective experience. On the flip side of fun, there are gigs galore and late-night bashes for those keen for a boogie. The program features everything from Taiwanese artist Yahon Chang painting with a human-sized brush and Emeka Ogboh's gin-centred exhibit to musical headliners Queens of the Stone Age, Courtney Barnett, Paul Kelly and cult favourites TISM in a rare live show. Check out our picks of the program below to kick-start your festival planning or get you inspired to book your Tassie getaway. Mona Sessions If you can only make it to one event, the quintessential Mona Foma experience can be found at the Mona Sessions. On the evenings of Friday, February 23 to Sunday, February 25, you can enjoy live music from international artists on the sprawling museum lawns. Suitable for all ages, Mona Sessions features performances by Scottish space-rock stalwarts Mogwai; Kutcha Edwards and The Australian Art Orchestra; Japanese punk-pop band Shonen Knife; Canadian quartet Holy Fuck; French-Korean siblings (both under the age of 15) Isaac et Nora; and Lonnie Holley with Moor Mother and Irreversible Entanglements. [caption id="attachment_939340" align="alignnone" width="1920"] Amniote Editions[/caption] Faux Mo Keep the grooves flowing after the Mona Sessions at Faux Mo. The Granada Tavern opposite Mona will become abuzz with late-night beats and boogies from 10.30pm until 2am on Friday, February 23 and Saturday, February 24, with a more chill afternoon sesh on Sunday, February 25. Catch sets from POOKIE, Soju Gang and m8riarchy, along with melodic beats by Mama Snake from Denmark, Afrobeats by Nigerian-born Emeka Ogboh, and mellow house by Kiwi brothers Chaos in the CBD. [caption id="attachment_939338" align="alignnone" width="1920"] Amber Haines[/caption] Wayfinder Queensland dance collective Dancenorth is known for compelling performances which weave together contemporary dance and powerful storytelling. Wayfinder is no exception. Viewers will be immersed in Dancenorth's spellbinding choreography, set to a score by Grammy award-nominated Hiatus Kaiyote with a stage and costumes designed by visual artist Hiromi Tango. The performance will only run for three nights from Thursday, February 22 to Saturday, February 24, so be sure to book in quick. [caption id="attachment_829589" align="alignnone" width="1920"] MONA and Jesse Hunniford[/caption] Boats (a gin and art experiment) Multifaceted artist Emeka Ogboh will not only be spinning a DJ set at Faux Mo, but has also developed an immersive exhibit. Boats explores themes of migration and belonging through a bespoke gin blended by the Nigerian-born creative. Festival-goers can sample the gin and snacks accompanied by a sound installation at Detached. If that's not enough, Ogboh is collaborating with Mona's executive chef to incorporate the gin and West African flavours at various Mona restaurants during the festival. [caption id="attachment_939336" align="alignnone" width="1920"] Courtesy of Filastine & Nova[/caption] Arka Kinari It wouldn't be Mona Foma without show-stopping, thought-provoking works — and what's a bigger statement than a 70-tonne sailing ship moored at the waterfront to spread awareness about climate change? The boat, named Arka Kinari, is musical duo and married couple Filastine and Nova's home, creative work, transport and travelling stage. The pair are inviting visitors aboard to learn about the ship's sustainable resources — which include water desalination, solar power, wind travel and waste management — and will also be performing their music against a backdrop of cinematic visuals on the deck of the ship. Don't miss it. [caption id="attachment_939339" align="alignnone" width="1920"] Gabriel Comerford[/caption] Dekoor In Launceston, gym and rave bros collide at the adults-only Dekoor. Local Tasmanian artists ROOKE will put on an exciting dance, theatre and circus performance in a working gym, where audience members can wander through the space throughout the show. For some added fun, consent tokens will be available if you're open to being touched, carried or led away by performers. These tokens can of course be removed or passed on if you change your mind during the event. After the show, stick around for a party with DJs and performances across three levels of the gym until 1am. The Shruti Sessions Journey across musical borders at The Shruti Sessions, where musicians from Hindustani and Rajasthani backgrounds collaborate and experiment with Australian instrumentalists. Experience something new at each performance, whether you drop in for a Morning Meditation or catch the action at the Mona Sessions. Performers include notable tabla player Bobby Singh, percussionist Benjamin Walsh, OAM recipient and saxophonist Sandy Evans, sarangi player Asin Khan Langa and renowned slide guitarist Debashish Bhattacharya. [caption id="attachment_831323" align="alignnone" width="1920"] Jason Charles Hill via Tourism Tasmania[/caption] The Gorge How about a lazy day of lounging and swims followed by an evening concert at the spectacular Cataract Gorge? And what's more, this live show — featuring the elusive TISM, Mulga Bore Hard Rock, FFLORA x Grace Chia and Cash Savage and The Last Drinks — is completely free. If you'd like to level up your experience, you can opt for the Peacock Pass which grants you access to the Peacock Bar, a private entrance and a viewing area with seating. Find out more and book your tickets at the Mona Foma website.
When Yellowjackets begins, it's with an instantly intriguing mystery, a killer cast — led by the always-watchable Melanie Lynskey (Mrs America), Juliette Lewis (Breaking News in Yuba County) and Christina Ricci (The Matrix Resurrections) — and a deep valley overflowing with trauma. Streaming via Paramount+ in Australia and Neon in New Zealand, it starts with eerie forests, bright-eyed 90s teens with their whole lives ahead of them, devastating plane crashes and what looks like cannibalism, too, plus the unhappy adult lives endured by the tragedy's survivors 25 years later. In their high-school prime, Shauna (Lynskey, and also The Kid Detective's Sophie Nélisse as a teenager), Natalie (Lewis, plus The Tomorrow Man's Sophie Thatcher) and Taissa (Billions' Tawny Cypress, and also Scream's Jasmin Savoy Brown) were key players on the titular high-achieving New Jersey soccer team, while Misty (Ricci, as well as Shameless' Samantha Hanratty) was the squad's frequently bullied student manager. Then, en route to a big match in Seattle on a private plane in 1996, they entered Lost territory. That accident saw everyone who walked away from the accident stranded in the wilderness — and those who then made it through that ordeal stuck out there for 19 months, living their worst Alive-meets-Lord of the Flies lives. As established in a stellar first episode that's directed with the utmost precision by Destroyer filmmaker Karyn Kusama, Yellowjackets isn't simply interested in inherently disturbing events that'd change anyone forever, however. There's a reason that it flits between two time periods from the outset, rather than laying its dramas out in a linear fashion and teasing out how things end up. From the get-go, creators and showrunners Ashley Lyle and Bart Nickerson (Dispatches From Elsewhere) ensure that all that time in the woods, cabin and all, is tough, rough, savage and creepy, and that its complications and swerves into the supernatural only grow. That said, their immediately addictive series is just as obsessed with the transformation that springs after such an experience. As struggles arise in both the 90s and now — including weird symbols in both, and deaths, plus blackmail plots in the present — Yellowjackets examines how, after falling from the sky, learning to cope in such remote surroundings and plummeting into a horror movie, anyone manages to go on. As set to a top-notch 90s soundtrack, it also faces the fact that for some, normality won't just come calling nicely afterwards. Actually, for everyone, each and every second spent back in civilisation will always be coloured by that time in the wild. A series about misfortune weathered, paths taken, necessities accepted, friendships twisted and grief endured, as well as the reverberations that linger from all of the above, Yellowjackets boasts a searingly smart and savvy concept, which lets tragedy echo as all tragedies do — because facing an ordeal isn't just about the terrifying experience right there in the moment. Back in 1996, when an at-any-cost survivalist mindset begins to fester amid an embrace of woodland spirituality, grappling with the crash, teammates who don't make it, being cut off from normal teen life, and finding food and shelter is all immensely difficult. In 2021, the adult Shauna is an unhappy housewife embarking upon an affair, Natalie has just come out of rehab for the umpteenth time to shattering news, Taissa is running for state senate and having problems with her wife and son, and Misty is a nurse but still nobody's favourite, and little feels easier. It's no wonder that the show became a chilling, perceptive, resonant and potent must-see from its very first episode back in November, and that it only grew bolder and stronger as its ten-episode first season kept going. It quickly proved one of 2021's best new series, and is the absolute standout drama of the past few months as well. If you already watched it week-by-week, it was appointment viewing, aka the kind of show you plan your nights around and couldn't stop theorising about in the week afterwards (and the type that gets its pitch-perfect opening-credits track lodged in your head non-stop, too). If you're new to all things Yellowjackets and you're planning to check it out now, it'll make one helluva binge. And, in news just as exceptional as the series itself, it's returning for a second season. Given that Yellowjackets' first run of episodes kept deepening its mysteries moment by moment, persistently embraced every up and down thrown its complex characters' ways, never took the easy or obvious route, and found the ideal balance between survivalist horror, coming-of-age antics and midlife malaise, its new batch really can't come sooner. Check out Yellowjackets' first-season trailer below: The first season of Yellowjackets is available to stream via Paramount+ in Australia and Neon in New Zealand. Season two doesn't yet have a release date — we'll update you when it does. Images: Kailey Schwerman/Showtime.
Concrete Playground recently caught up with Mexican-Canadian tech artist Rafael Lozano-Hemmer. Lozano-Hemmer is famous for art that lurks in public spaces, galleries and even beaches, amplifying passers-by into new creatures with a city-sized will. He's taking over a slice of the as-yet unfinished Museum of Contemporary Art over summer, with his hands-on exhibition Recorders. Lozano-Hemmer mashes-up tech, art and his audience, with an effortlessness that would leave the mechanism invisible — if he didn't then go on to scrupulously explain, in-situ, how his works work. How would you describe what do you do? I work primarily with the intersection of architecture and performance art. Most of my installations are in the form of either displays or lights, or sounds that react to the presence of the public. And to do that there are things like sensors and tracking systems, and biometric scanners which allow the artworks to detect the presence of people. I like always to reveal the mechanisms by which these works function. So oftentimes in my work you get to see the tracking systems, or you get explanations about what equations are at work to make a project happen. I pretentiously call it a 'Brechtian moment'. You remember how in Brecht, all of a sudden all the actors stop and just look at the public and say "Well, you know, this situation is just make believe. This is just a simulation of reality. We are actors. You're the public." So there's this moment where you all get back, anchored in reality. You've said one of the things you liked about an outdoor work of yours was that you had people outside in public, just hanging around and not shopping. It must be very interesting for you, watching the Occupy movements around the world. When it first started in Spain in May it was just so exciting. I'm from Latin America, so oftentimes protests and so on turn out to be these ideology-based, adversarial kinds of movements. And that's not what I saw with the Occupy movement, when it started in Spain. With the indignados ('indignant ones') it was mostly professionals, architects, dentists, students, professors, whatever. And they were just taking over public space. And that was just such a beautiful statement, and they did so in such a sophisticated way. The indignados started in Madrid, where there's a tradition of young people going out and drinking in the streets. There's a sense of ownership of the street. Real estate was so expensive that everybody lives with their parents. And so you needed to go out in order to see your friends. And that produced very lively street life. But it's also just a sense of being seen. It's almost as if the actual protest is the message all by itself. Just a we're here. Yeah. Just this idea of just occupying space is radical. You know, you're there. You're existing. Just spending time, and connecting, and being present, is in my opinion extremely radical. Especially in Latin countries where people used to just disappear under the dictators, the idea of just being there.. That's a really good way to understand the sense of presence and absence, in terms of the political dialogue. It's like "Yeah, what are you going to do? You cannot wipe us out. We think these things, and therefore we are taking space. These ideas take space." I just came back from Art Basel Miami Beach. Which is this art fair. I mean, I'm not a moralist. And I love money. And I love champagne as much as the next guy, but there is something really absurd about a system that only reserves this sort of superior cultural production to this tiny fraction of the population. And I'm telling you this because there was an Occupy Art Basel Miami. There were all these artists. You know, local artists and so on, and educators, camping out of Art Basel Miami saying "We can't afford the 50 bucks it costs to go in. And, even if we could, we would never be able to afford any of the art that is on display here." Something else you try to bring to people's awareness is the surveillance around them all the time. These technologies come mostly from a desire to control the public, a desire to seek out, search and detect suspicious activity. The surveillance aspect of my work is more about acknowledging this kind of darker, predetorial side of where these things come from. But then creating critical or poetic experiences with these very same technologies. I would love people to come out of Recorders with a sense of inclusion, a sense that these technologies are neither this Orwellian, ominous threat — it's already happened — and also not like an infantile, fun, hands on science experiment thing. In between those two extremes, there's a whole range of different poetry that is possible. Image courtesy and © Rafael Lozano-Hemmer. Photo: Ana Cristina Enriquez
Back in May 2013, we brought news of NASA's US$125,000 3D pizza printer to your cyber-doorstep. Now, we've got something cheaper, sweeter and much more personal for you. At the 2014 CES (Consumer Electronics Show), held January 7-10 in Las Vegas, US company 3D Systems unveiled the world's first kitchen-ready 3D food printers, the Chefjet and the Chefjet Pro. Designed with pastry chefs as the target market, the Willy Wonka-esque contraptions can print sugar in three different flavours (cherry, sour apple and mint), as well as milk chocolate. The Chefjet, which will retail for less than US$5,000, can conjure up single-colour goodies, such as cake decorations and fancy sugar cubes. The Chefjet Pro will carry the heftier price tag of US$10,000 but will offer the creative flexibility of full-colour printing and the ability to handle larger volumes. A digital cookbook will take over the role of the likes of Jamie's 30-Minute Meals and Nigella Express. "The machine uses an ink jet print head that's just like the one you would find in your desktop 2D printer," said Liz von Hasseln of 3D Systems. "It spreads a very fine layer of sugar then paints water onto the surface of the sugar, and that water allows the sugar to recrystalise and harden to form these complex geometries." The Chefjet and the Chefjet Pro will hit the commercial market sometime later this year. Via dezeen magazine.
US singer-songwriter Julie Byrne is returning to Australian shores for a run of east coast dates in 2024. The acclaimed folk musician is currently touring behind the release of her devastating new album The Greater Wings, a record which reckons with the passing of Byrne's longtime creative partner Eric Littmann. You can expect an intimate journey through the songs of The Greater Wings and Byrne's back catalogue at a pair of Victorian shows. Firstly, she'll be hitting Melbourne's Darebin Arts Centre on Wednesday, January 24 with support from Melbourne's own Lee Hannah. Then, on Friday, January 25, Byrne will be travelling out to Castlemaine for an intimate regional show at the Theatre Royal. [caption id="attachment_641500" align="alignnone" width="1920"] Jonathan Bouknight[/caption] If you want to inject some beautifully gentle, intensely personal music into your summer, this is your opportunity. Byrne will be bringing her kaleidoscopic folk to Brisbane for her first trip Down Under since her 2018 tour with Mount Eerie — a must-see for anyone whose Spotify Wrapped was filled with plenty of sad-girl indie. If you want to secure your spot, tickets for the Melbourne show are available via the Arts Centre's website for $30–50, while passes to the Castlemaine show are on sale for $56.65 via Oztix. Top image: Alexander Kellner.
UPDATE: Thursday May 6, 2021 — New COVID-19 restrictions have been announced. We'll keep you updated on this event as the situation changes. For the latest information, visit NSW Health. More than ever, we're looking for opportunities to immerse ourselves in another universe for a few hours. Luckily, that's exactly what you can do this summer when the hit Frozen the Musical premieres in Sydney. The stage production, based on the legendary 2013 Disney animated film, opened on Broadway in 2018 and proceeded to break box office records. After a US tour in 2019, the production is expanding to international markets with Sydney as its first stop this summer. Why was our city the lucky chosen destination? Perhaps the producers took the advice of everyone's favourite snowman Olaf when he sang "the hot and the cold are both so intense. Put 'em together, it just makes sense." If the cultural phenomenon has somehow passed you by until now, Frozen was inspired by the Hans Christian Andersen tale The Snow Queen, and it tells the story of Princesses Anna and Elsa. At the latter's coronation to become Queen, she accidentally reveals her magical powers to control and create ice and snow and inflicts an eternal winter on her kingdom, Arendelle. She flees to the North Mountain and, while singing the iconic ballad 'Let it Go', builds herself an ice castle in which to hide. Anna sets out to find her sister, proving the bonds of sisterhood can overcome all obstacles. The musical adaptation brings the beloved story to life before your eyes with opulent costumes, stunning sets and awe-inspiring special effects. All of your favourite tunes from the film will be performed — including 'For the First Time in Forever' and 'Love Is an Open Door' — plus 12 new songs as the stage production expands upon the film's narrative. The Sydney production has an all-Australian cast, led by Jemma Rix (Wicked) as Elsa, Courtney Monsma (Aladdin, Six) as Anna and Matt Lee (Mary Poppins) as the lovable Olaf. As we live in uncertain times, there are flexible ticket options available, which might suit those planning to travel to Sydney especially for the show. The Capitol Theatre also has a COVID-19 safety plan in place, in accordance with NSW Health. Frozen the Musical is running from Tuesday, December 1, 2020 to Sunday, May 23, 2021. Tickets start at $49.50 and can be purchased via Ticketmaster. Images: Frozen the Musical, Original Broadway Cast, Deen van Meer, courtesy of Destination NSW.
When Victorian Premier Daniel Andrews announced that Victoria's current lockdown wouldn't be lifting this week — as initially expected when it was extended back in mid-August — it was hardly surprising news. That revelation was short on detail; however, the Premier has has just announced today, Wednesday, September 1, that current stay-at-home conditions will now continue in Melbourne until on or around Thursday, September 23. Yes, that means that the city will have spent more than a month and a half in its sixth lockdown by that date. And if you're wondering why that date is just an estimation, that's because the Victorian Government is linking it to vaccination rates — specifically, the date that 70 percent of the state's residents have had their first COVID-19 jab. Also, regional Victoria is also currently under stay-at-home rules as well, and lockdown is continuing there for the time being, too. That said, the Premier advised that it's possible regional parts of the state will be able to loosen some lockdown rules as early as next week — so, the week beginning Monday, September 6 — depending on case numbers. If that proves possible, further details will be announced next week. Announcing the news today — a day that marked Victoria's largest new locally acquired COVID-19 case number tally for a single day this year, with 120 people identified with the coronavirus in the 24 hours to midnight last night — Premier Andrews said "we will not see these case numbers go down. They are going to go up. The question is: by how many and how fast?" He continued: "what we are all doing — the government, the public health team, nurses, doctors, people working in laboratories and testing clinics, people giving jabs, all of us as Victorians following the rules — all of us are trying to manage two peaks: the peak of those who are vaccinated, and the peak of those who get infected with this Delta variant. What we must do is suppress case numbers sufficient to buy us time, to buy us time, to get people vaccinated." On the advice of the Chief Health Officer, Victoria's lockdown will be extended to slow the spread and keep Victorians safe. Due to the level of community transmission and number of unlinked cases, almost all restrictions will remain in place. pic.twitter.com/Gr3IG7N4b5 — Dan Andrews (@DanielAndrewsMP) September 1, 2021 That said, while current lockdown rules will continue in Melbourne for around the next three weeks, the Premier also revealed that some very minor changes will come into effect this week. So, from 11.59pm on Thursday, September 2, playgrounds will be allowed to reopen, but only for children under 12 accompanied by one parent or carer, and with QR codes required for checking in. Any adults at playgrounds with kids also won't be allowed to take off their masks to eat or drink. Also, caring for children at home via babysitters will be expanded to include school-aged children, but only if both parents are authorised workers. Otherwise, the current stay-at-home rules remain in place until that 70-percent first dose mark is reached. So, Victorian residents are still only permitted to leave home for five reasons: shopping for what you need, when you need it; caregiving and compassionate reasons; essential work or permitted eduction that can't be done from home; exercise; and getting vaccinated against COVID-19. Also remaining in place for now: the 9pm–5am curfew, the five-kilometre rule for leaving the house, permits to go out for authorised work, the two-hour and two-person exercise limit, and the ban on both private and public gatherings. While you can't have any visitors enter your home in general, there are single bubbles, and intimate partner visits are allowed. So, if you live alone, you can form a bubble with another person or see your other half. Also, masks are mandatory everywhere outside of your home, and can't be removed outdoors to drink alcohol. Weddings aren't permitted, and most venues, retail stores and businesses must still stay closed — with hospitality venues doing takeaways only, but supermarkets, bottle shops and pharmacies permitted to open. On or around Thursday, September 23, when the 70-percent first-dose vaccination target is reached, a few significant changes will kick in, including expanding the travel radius to ten kilometres, and allowing outdoor exercise for three hours. Victoria first went into this lockdown at the beginning of August — just nine days after the previous lockdown ended — and has seen the stay-at-home rules extended not once but twice before now, and the nighttime curfew implemented as well. In regional Victoria, the rest of the state started this lockdown with Greater Melbourne, then was released early just a few days later, and then re-entered lockdown in the middle of August. As always, Victorians can keep an eye on the local list of exposure sites at the Department of Health website — it keeps being updated as more locations are identified. For those looking to get tested, you can find a list of testing sites including regularly updated waiting times also on the Department of Health website. And, has remained the case throughout the pandemic, Victorians should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste, symptoms-wise. Melbourne will remain under the current lockdown rules until 70 percent of the state has received the first dose of the COVID-19 vaccine, which is expected to be on or around Thursday, September 23. Rules in regional Victoria may ease earlier, however, and may happen as early as sometime in the week beginning Monday, September 6 — with further details to be announced if that proves the case. For more information about the rules in place at the moment, head to the Victorian Department of Health website.
Operating out of St Kilda for over 30 years, Seagulls has been responsible for more than a few glamorous looks around town. Specialising in women's fashion that's just as suitable for the runway as your weekend drinks, the boutique's selection of high-end pieces is curated entirely by owners Chivy Chan and Chloé Holding. Showcasing brands such as Bianca & Bridgett, Eliya The Label and Elliatt, there's also a thoughtful collection of sparkly accessories to round out your springtime outfit. Images: Tracey Ah-Kee.
Not only is Troye Sivan one of Australia's brightest pop stars, he's also a Queer icon with a strong perspective on diversity and inclusion. At Town Hall, he'll be in conversation with Lillian Ahenkan — AKA Flex Mami, the multidisciplinary Sydney-based creative — to discuss "beauty, art and fluidity" as part of Vivid Sydney's Global Storytellers series. Despite being only 26 years old, Sivan has been in the eye of the public since his teens — performing on TV and online from 2006 — and has spoken out about his discomfort around being singled out while also wanting to be a voice for the Queer community. This layered experience forms a unique standpoint, with the creative force sure to have some fascinating insights to share in this intimate event.
For a truly glitzy end to your 2022, you can't beat a luxe sky-high session of champagne, oysters and caviar. And that's exactly what awaits you at the Rooftop at QT, which is wrapping up the year in high style with a NYE party you won't forget in a hurry. Perched up here above the city on Saturday, December 31, guests will start their evening with a glass of Perrier-Jouët, before moving onto free-flowing beer, vino and sparkling wine, pouring right up until midnight. Fine food is also on the agenda, with roaming canapes, a rooftop barbecue spread and oysters shucked fresh to order. There'll even be a station serving caviar and vodka, in case you'd like to jump back on one of 2022's glammest food trends. Of course, the soundtrack will be stellar, with DJs spinning right throughout the night, and the venue's rooftop location will give you a primo vantage point come fireworks o'clock. Nab yourself a ticket for $325.
Across ten extremely amusing initial episodes in 2022, Loot had a message: billionaires shouldn't exist. So declared the show's resident cashed-up character, with Molly Wells (Maya Rudolph, Teenage Mutant Ninja Turtles: Mutant Mayhem) receiving $87 billion in her divorce from tech guru John Novak (Adam Scott, Madame Web), then spending most of the Apple TV+ sitcom's first season working out what to do with it (and also how to handle her newly single life in general). That she had a foundation to her name was virtually news to her. So was much about everything beyond the ultra-rich. And, she was hardly equipped for being on her own. But Loot's debut run came to an entertaining end with the big statement that it was always uttering not so quietly anyway. So what happens next, after one of the richest people in the world decides to give away all of her money? Cue season two of this ace workplace-set comedy from Wednesday, April 3. Created by former Parks and Recreation writers Alan Yang and Matt Hubbard, in their second Rudolph-starring delight — 2018's Forever was the first — Loot splices together three popular on-screen realms as it loosely draws parallels with Amazon founder Jeff Bezos and his philanthropist ex-wife MacKenzie Scott. At her charity, as Molly's staff become the kind of friends that feel like family while doing their jobs, shows such as 30 Rock and Superstore (which Hubbard also has on his resume) score an obvious sibling. As its protagonist endeavours to do good, be better and discover what makes a meaningful life, The Good Place (which Yang also wrote for) and Forever get company. And in enjoying its eat-the-rich mode as well, it sits alongside Succession and The White Lotus, albeit while being far sillier. Nothing was broken about this mix and setup in season one, so there's no fixing required the second time around — just leaning in further and letting Loot's talented cast make the most of it. Co-starring alongside Rudolph: Michaela Jaé Rodriguez (American Horror Story) as foundation head Sofia, Joel Kim Booster (Fire Island) as Molly's assistant Nicholas, Ron Funches (Good Burger 2) as her cousin Howard and Nat Faxon (Our Flag Means Death) as company accountant Arthur, plus Stephanie Styles (Curb Your Enthusiasm) and Meagen Fay (9-1-1) as the cheery Ainsley and hippie-ish Rhonda to round out the office gang. As motley crews dictate, everyone has a personality archetype. Sofia is dedicated and determined. Nicholas chases clout. Howard and Arthur both bring sweetness, the latter as a daggy dad who also becomes Molly's everyman love interest, for instance. Loot has a clear lead, but it also patently adores its ensemble; with this group, there's plenty to love. After Molly's huge announcement, she has downsized mansions in season two, while also grappling with John's rekindled romantic interest and trying to make good on her word — and to get her homelessness-tackling project Space for Everyone off the ground. Loot knows that the path back from such an extravagant existence isn't straightforward, though. Plenty of its humour comes from Molly attempting to do what she thinks is right, but being the type of out-of-touch that money literally buys. Still, she has a caring heart and noble intentions, which Loot always sees. This is a series that's teeming with designer attire, jet-setting, lavish spiritual retreats and opulent dream homes, and watches them gleam, yet is keenly aware that nothing sparkles as brightly as truly being yourself, learning what makes you feel fulfilled, real connection and genuine benevolence, all of which are priceless. It's hard to imagine anyone but Rudolph selling Loot as wholeheartedly, or ensuring that the concept hits its mark. It isn't a simple task, parodying the ridiculously affluent while humanising a lead character who can't remember anything but rolling in dosh — and also showing her well-to-do trappings without undercutting the show's eat-the-rich mantra by making her life, or even just the materialism, freedom and security of a an abundant bank balance, seem aspirational. By now, however, almost three decades since she made her screen debut and nearing a quarter century since her first Saturday Night Live days, it's been proven several times over that Rudolph can do everything. Playing Molly requires that flexibility, as honed so expertly in sketch comedy. It also hinges on Rudolph committing to being the joke again and again, while digging past satirising Molly to unearth the person beneath the billions. Put Loot's lead in any show or movie and it's worth watching (see also: everything from Away We Go, Bridesmaids, The Way Way Back and Sisters to Up All Night and Maya & Marty). That said, also harking back to her SNL stint, she's a spectacular team player even when giving a star turn, which this recognises. Yang and Hubbard have filled Loot's cast perfectly with actors who bounce off of Rudolph flawlessly, including in guest roles in season two. When Ana Gasteyer (American Auto), Rudolph's SNL co-star, pops up as another obscenely well-off ex-wife, audiences can be forgiven for wanting a spinoff that pushes them both to the fore. And when Benjamin Bratt (Poker Face) joins the series briefly, it's a sublime inclusion. For the show's regular ensemble, season two delivers more subplots and supporting-character arcs. Sofia gets a boyfriend (O-T Fagbenle, Secret Invasion), plus more time away from the job that she's devoted to. Nicholas dives into his cultural heritage, adopted upbringing and dating behaviour. Howard follows an opposing route to Molly, endeavouring to free himself from debt rather than giving away money, while also embracing a passion as a side hustle. Chemistry still lingers between Molly and Arnold, but no workplace sitcom lets romance come easily — and no series about a person bettering themselves, and also unearthing themselves in a midlife crisis, allows new love to blossom quickly, either. From Molly doing Vogue's 73 Questions and Taylor Swift obsessions becoming a plot point to runway appearances and weaving in a hilarious nod to a movie masterpiece, Loot isn't short on other reasons to get giggling — or other ways to flesh out Molly and the gang. Another pivotal element that it boasts in abundance: the potential to keep growing, especially as Molly's bank balance dwindles. Skewering levels of wealth that no one should have, and that only the one percent of the one percent can grasp, will never stop proving rich and necessary comic material. Loot has bite, laughs, thematic capital to keep building upon and a roster of talent making it one of Apple TV+'s comedy standouts. It was true in its first season and remains the case in its second: this is a series to invest in. Check out the trailer for Loot season two below: Loot streams via Apple TV+, with season two starting on Wednesday, April 3, 2024.
After four years off the scene, The Espy — St Kilda's legendary waterside music pub — flung open its doors in November 2018. But, rather than giving us everything at once, new owners Sand Hill Road opened it in stages. Which is fair, considering the sprawling establishment has 12 bars, two restaurants and three live music stages spread across six levels. The first eatery to open was the 450-seater Espy Kitchen, which is serving up pub classics and share plates, overseen by Executive Chef Ash Hicks (Circa, Garden State). Next, Cantonese Restaurant Mya Tiger and its accompanying cocktail bar joined the action. Located on The Espy's fifth floor, this warm, welcoming space has dazzling vistas of Port Phillip Bay. The design — a collaboration between Sand Hill Road, Techne Architects and stylist Eleisha Gray — takes inspiration from two sources: St Kilda's 1850s Chinese cook-shops and the airy colonial architecture of Singapore's Raffles Hotel. Think plush gold and green velvet, lots of tassels, dark timbers and old-school fans. Expansive windows make the most of the watery views and, in warm weather, coastal breezes. Hicks put together the menu with Head Chef Sarah Chan (Longrain and Lotus Dining). At its heart is traditional Cantonese cooking, designed for sharing. Start out with sesame prawn toast and ginger chicken dumplings, then move onto roast duck and crispy pork belly, with a generous side of veggies, such as honey caramel eggplant or fried green beans with chilli and cashews. It's also a bit hard to go past the super-fresh seafood, be it XO pipis or typhoon king prawns. On the dessert menu you'll find mango coconut pudding, red bean pancake and an ice cream sandwich. These sweet, salty, sour and spicy flavours are well matched with the wine list, put together by sommelier Matt Skinner. It's big on fragrant whites and light reds, with a particular focus on riesling and pinot noir made by local producers. Following suit is the cocktail list, created by bar manager Kevin Peters in collaboration with Chan. On a summery evening, try the Beijing Peach, a heady concoction of Jasmine-infused vodka, lime and peach. Or, if you're in the mood for a harder hitter, there's the Chinese 5 Spice Highball, infused Havana Especial, Pepsi and citrus. Or help yourself to a craft brew from the self-serve beer fridge. Images: Simon Shiff.
When Barbie and Oppenheimer both released in cinemas on the same July 2023 day, they didn't take attention away from each other. Instead, Barbenheimer had everyone flocking to picture palaces to see both. Among the just-announced 2024 Golden Globe nominations, a similar phenomenon is occurring. Since these gongs split the bulk of the awards into dramas and musicals/comedies, Barbie and Oppenheimer have both scored a heap of love largely without competing. Greta Gerwig's take on the toy doll topped the list among the number of nods given to this year's contenders, nabbing nine overall. Christopher Nolan's latest was only one behind with eight. The two do face off in a few fields: Best Director, Best Screenplay, Best Supporting Actor (with Ryan Gosling and Robert Downey Jr nominated), and the brand-new Cinematic and Box Office Achievement accolade that's clearly designed to give a shiny trophy to a blockbuster (Guardians of the Galaxy Vol. 3, John Wick: Chapter 4, Mission: Impossible — Dead Reckoning Part One, Spider-Man: Across the Spider-Verse, The Super Mario Bros Movie and Taylor Swift: The Eras Tour are also in the running). Now boasting six competitors per category, the Golden Globes will anoint its latest round of winners on Monday, January 8 Australian and New Zealand time, with Killers of the Flower Moon (with seven), Poor Things (also seven) and Past Lives (with five) also joining the movie-loving party. TV earns affection at these awards as well, with Succession garnering nine nominations, followed by The Bear and Only Murders in the Building with five each. Among the other cinema highlights: Celine Song's debut feature doing so well; Greta Gerwig finally being recognised in the Best Director camp after missing out for Lady Bird and Little Women; Lily Gladstone, always; The Boy and the Heron in the Best Animation field; Suzume doing the same; not one, not two, but three Best Song nominations for Barbie, including for earworm 'I'm Just Ken'; Anatomy of a Fall and The Zone of Interest notching up nods beyond the Non-English Language category; and Barry Keoghan's Saltburn and Andrew Scott's All of Us Strangers noms. Also stellar: Emma Stone getting attention for two absolutely stunning performances on screens big and small, aka Poor Things and The Curse. From the TV contenders, The Last of Us, Barry, Beef and Fargo all thoroughly deserve their nominations. So do Elle Fanning for The Great, Natasha Lyonne for Poker Face, Rachel Weisz for Dead Ringers and Christina Ricci for Yellowjackets, even if the shows they're each in sadly didn't get enough attention overall. The television fields also completely ignored Reservation Dogs and The Other Two, two of the best shows of the year, both of which wrapped up after their third seasons. Australian actors picked up three nominations, with Margot Robbie receiving the nod for Barbie, Sarah Snook for Succession and Elizabeth Debicki for The Crown. If you're wondering what else is in the running, here's the full list of nominations: GOLDEN GLOBE NOMINEES: BEST MOTION PICTURE — DRAMA Anatomy of a Fall Killers of the Flower Moon Maestro Oppenheimer Past Lives The Zone of Interest BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE — DRAMA Annette Bening, Nyad Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Greta Lee, Past Lives Carey Mulligan, Maestro Cailee Spaeny, Priscilla BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE — DRAMA Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Colman Domingo, Rustin Barry Keoghan, Saltburn Cillian Murphy, Oppenheimer Andrew Scott, All of Us Strangers BEST MOTION PICTURE — MUSICAL OR COMEDY Air American Fiction Barbie The Holdovers May December Poor Things BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Fantasia Barrino, The Color Purple Jennifer Lawrence, No Hard Feelings Natalie Portman, May December Alma Pöysti, Fallen Leaves Margot Robbie, Barbie Emma Stone, Poor Things BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Jeffrey Wright, American Fiction Joaquin Phoenix, Beau Is Afraid Matt Damon, Air Nicolas Cage, Dream Scenario Paul Giamatti, The Holdovers Timothée Chalamet, Wonka BEST MOTION PICTURE — ANIMATED The Boy and the Heron Elemental Spider-Man: Across the Spider-Verse The Super Mario Bros Movie Suzume Wish BEST MOTION PICTURE — NON-ENGLISH LANGUAGE Anatomy of a Fall Fallen Leaves Io Capitano Past Lives Society of the Snow The Zone of Interest BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Danielle Brooks, The Color Purple Da'Vine Joy Randolph, The Holdovers Emily Blunt, Oppenheimer Jodie Foster, Nyad Julianne Moore, May December Rosamund Pike, Saltburn BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Charles Melton, May December Mark Ruffalo, Poor Things Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Ryan Gosling, Barbie Willem Dafoe, Poor Things BEST DIRECTOR — MOTION PICTURE Bradley Cooper, Maestro Greta Gerwig, Barbie Yorgos Lanthimos, Poor Things Christopher Nolan, Oppenheimer Martin Scorsese, Killers of The Flower Moon Celine Song, Past Lives BEST SCREENPLAY — MOTION PICTURE Anatomy of a Fall Barbie Killers of the Flower Moon Oppenheimer Past Lives Poor Things BEST ORIGINAL SCORE — MOTION PICTURE The Boy and the Heron Killers of the Flower Moon Oppenheimer Poor Things Spider-Man: Across the Spider-Verse The Zone of Interest BEST ORIGINAL SONG — MOTION PICTURE Bruce Springsteen, 'Addicted to Romance', She Came to Me Mark Ronson, Andrew Wyatt, Dua Lipa and Caroline Ailin, 'Dance the Night', Barbie Mark Ronson and Andrew Wyatt, 'I'm Just Ken', Barbie Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond and John Spiker, 'Peaches', The Super Mario Bros Movie Lenny Kravitz, 'Road to Freedom', Rustin Billie Eilish and Finneas O'Connell, 'What Was I Made For?', Barbie CINEMATIC AND BOX OFFICE ACHIEVEMENT Barbie Guardians of the Galaxy Vol. 3 John Wick: Chapter 4 Mission: Impossible — Dead Reckoning Part One Oppenheimer Spider-Man: Across the Spider-Verse The Super Mario Bros. Movie Taylor Swift: The Eras Tour BEST TELEVISION SERIES — DRAMA 1923 The Crown The Diplomat The Last of Us The Morning Show Succession BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES — DRAMA Bella Ramsey, The Last of Us Emma Stone, The Curse Helen Mirren, 1923 Imelda Staunton, The Crown Keri Russell, The Diplomat Sarah Snook, Succession BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES — DRAMA Brian Cox, Succession Kieran Culkin, Succession Gary Oldman, Slow Horses Pedro Pascal, The Last of Us Jeremy Strong, Succession Dominic West, The Crown BEST TELEVISION SERIES — MUSICAL OR COMEDY Ted Lasso Abbott Elementary The Bear Barry Only Murders in the Building Jury Duty BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Rachel Brosnahan, The Marvelous Mrs Maisel Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Elle Fanning, The Great Selena Gomez, Only Murders in the Building Natasha Lyonne, Poker Face BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Bill Hader, Barry Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jason Sudeikis, Ted Lasso Jeremy Allen White, The Bear BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION All the Light We Cannot See Beef Daisy Jones & The Six Fargo Fellow Travellers Lessons in Chemistry BEST PERFORMANCE BY A FEMALE ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Ali Wong, Beef Brie Larson, Lessons in Chemistry Elizabeth Olsen, Love & Death Juno Temple, Fargo Rachel Weisz, Dead Ringers Riley Keough, Daisy Jones & the Six BEST PERFORMANCE BY A MALE ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION David Oyelowo, Lawmen: Bass Reeves Jon Hamm, Fargo Matt Bomer, Fellow Travellers Sam Claflin, Daisy Jones & the Six Steven Yeun, Beef Woody Harrelson, White House Plumbers BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE ON TELEVISION Abby Elliott, The Bear Christina Ricci, Yellowjackets Elizabeth Debicki, The Crown Hannah Waddingham, Ted Lasso J. Smith-Cameron, Succession Meryl Streep, Only Murders in the Building BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE ON TELEVISION Alan Ruck, Succession Alexander Skarsgård, Succession Billy Crudup, The Morning Show Ebon Moss-Bachrach, The Bear James Marsden, Jury Duty Matthew Macfadyen, Succession BEST PERFORMANCE IN STANDUP COMEDY ON TELEVISION Ricky Gervais: Armageddon Trevor Noah: Where Was I Chris Rock: Selective Outrage Amy Schumer: Emergency Contact Sarah Silverman: Someone You Love Wanda Sykes: I'm an Entertainer The 2023 Golden Globes will be announced on Monday, January 8, Australian and New Zealand time, streaming on Stan in Australia. For further details, head to the awards' website.
Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it's also been going hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider have been giving the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek are happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they're equally thrilled for her. But ChaseDreams, their little brother's stage name, has always been a constant reminder that their own ambitions keep being outshone — and in a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around that streams from Thursday, May 4 via Binge, they've never been above getting petty and messy about it. Back in that debut run, Kelly and Schneider made a simple but savvy choice: naming each instalment around whatever Chase was doing, whether he was getting a girlfriend or a nosebleed, turning 14 or dropping his first album. The series may be called The Other Two, but even the episode titles put Cary and Brooke to the side, fitting in an extra running joke about their brother coming first. Season two kept the trend going; however, it split most of its monikers between Chase and Pat as the latter's success eclipsed her son's. So, Pat connected with her fans, became number one in the daytime market and, with Chase, all-round killed it. Then a big realisation dropped, with Brooke's work as an entertainment manager — first to Chase, then to Pat — and Cary's thespian quest becoming just as much of an everyday reality. What's season three to do now that the titular other two aren't just hanging around with stars in their eyes and resentment in their hearts? The better question, as Kelly and Schneider know, is what will Cary and Brooke do? They've spent the past few years constantly comparing themselves to Chase, then to Pat, but now they're successful on their own — and still chaotic, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they're faking it or making it, nothing is ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wonders whether her dream gig is trivial after living through a pandemic, she starts contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he gets envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). Striving, seeming like you're thriving but still diving: that's The Other Two's three-season arc. The series has always been as acerbic about getting to the top as yearning for it — Chase has never been all that fussed with his fame, including now that he's 18 — and it doesn't waver in its latest splash. Outlandish situations, grounded insights and emotions: that's The Other Two's realm, too. Pat is at the owning-her-own-network stage of Oprah-dom, but pines for the easy pleasures of a family dinner at Applebees that can only happen through movie magic. Brooke is so obsessed with doing something worthy that she can't see what her nearest and dearest are truly worth. And Cary is both unhappy in a relationship with a more-famous actor (Fin Argus, Queer as Folk) who never slips out character and desperate to do anything himself to stay relevant. Even more so in season three, The Other Two isn't afraid of getting existential, or dark. It's still as cutting about everything from social-media trends and celebrity fixations to ridiculous filler reality shows, however — and as gleefully absurd and surreal. One episode revolves around the quest to drive a photo of Chase's armpit across America because it's his first snap as an adult and it's that coveted. Another sees Brooke literally disappear at a glitzy party when she decides she's ditching the industry. And when Cary craves attention for his straight-to-streaming flick Night Nurse, which was back in action when season two ended and premiering when this season begins, he spends half a day on public transport to get to an interview with TheBrooklynBuritto.com. This time around, The Other Two also finds room for lengthy satires of Pleasantville, Romeo + Juliet, Love, Victor and Angels in America, all via gags that are as inspired as they are amusing. Wes Anderson's penchant for symmetry gets a delicious jibe, and Teen Wolf's Dylan O'Brien, Chilling Adventures of Sabrina's Kiernan Shipka, The White Lotus' Lukas Gage and Shang-Chi and the Legend of the Ten Rings' Simu Liu make game guest stars. The one-liners keep dropping with 30 Rock-esque speed, while the writing is as piercing and astute as Barry at its best. Reliably, Ken Marino and Wanda Sykes remain in vintage form as Chase's manager Streeter and record-label executive Shuli; thanks to Party Down and Curb Your Enthusiasm, both are veterans at skewering show business. Indeed, with York, Tarver, Shannon, Segarra and Jones as well, The Other Two has one of the best casts on TV. The funniest comedy on television deserves to. The show's stacked roster of talent is just as outstanding when season three gets dramatic, including when calling Cary and Brooke out on their egotism, having the ever-charming and -chill Lance get tired of being pushed aside and seeing Pat glean what all this chasing dreams has cost — always with just as much riotous laughs as feeling, of course. Check out the trailer for The Other Two's third season below: The Other Two streams via Binge from Thursday, May 4.
The human brain has been studied inside and out, and its complexities never cease to amaze us. We can make a fist, take a step or turn the wheel all because our thoughts are connected to our actions, but perhaps the new EPOC Neuroheadset will do away with the need for actions altogether. The neuroheadset is a brain-scanning device that allows you to control your computer with your mind. The headset detects brain signals to determine users' emotions and also contains gyroscope technology that reads your position, body movements and facial expressions to accurately communicate commands. Combined with the EmoLens application, the device can detect the emotions you feel as you browse through photos on Flickr and tag the photos accordingly - you don't even touch your mouse or keyboard. If you're bored of that trick, the headset can also use concentration, number of eye blinks or head shakes to determine how you're feeling. Among other applications that can be purchased include Mind Mouse, which allows the user to perform standard computer commands like clicking or double clicking a mouse or even sending an email, and Master Mind, with which users can play their favourite computer games with their minds. The applications and uses are quite limited at this stage, but along with other superhero-inspired technology coming to market, perhaps it won't be long before we can control things with our minds alone. Like a car.
Has there been a certain furry, four-legged friend missing from your whisky-drinking sessions? Well, not anymore — Melbourne's landed a new neighbourhood bar that's about as dog-friendly as they come. Setting up shop on Port Melbourne's Bay Street, The Tipsy Cow's bringing the goods for humans and pooches alike, boasting both a broad-ranging drinks offering and a dog-friendly courtyard in which to enjoy the spoils. For their first joint venture, owners Anupam Sharma and Paul Tudor were out to create a comfy "den for grown-ups", with all the things they themselves would want to find in a bar: squashy couches, a toasty fireplace, sports on the telly, plenty of great whisky and, most importantly, a whole lotta dogs. The beer lineup's a healthy mix of local craft brews and European favourites, and the cocktail list pays homage to the classics, but it's the whisky selection that's getting people most excited. After all, there aren't too many other beer gardens where you can enjoy a Talisker 18-year-old or a Macallan Sienna in the company of your pup. Don't have furry mate of your own? Grab a drink and head out back anyway — you're guaranteed some wet nose kisses from The Tipsy Cow mascot and resident pooch, Nisha. There'll be a selection of cheese and charcuterie platters on offer once the kitchen's up and running, and the upstairs loft space is set to play host to regular tasting events in the not-too-distant-future.
What do Euphoria, Yellowjackets, Wednesday, Atlanta, Mr & Mrs Smith, Dark Matter, The Umbrella Academy, The Penguin, Overcompensating and Sirens all have in common, other than being TV shows? Next, what do they also share with Beyoncé's online footprint? Music supervisor Jen Malone is the connection between all of the aforementioned television series, with the four-time Emmy-nominee working on each of them. Then, SXSW Sydney 2025 links Malone with Dr Marcus Collins, Beyoncé's former Digital Strategy Director — because the two have just been announced on the event's Music Festival speaker lineup. When April was coming to a close, SXSW Sydney started dropping its first music acts for this year's fest. A month later as May winds down, it has now revealed the initial list of folks who'll be getting chatting as part of the conference side of SXSW Sydney 2025's Music Festival. How do you stack TV and streaming hits — and movies, too — with the exact-right songs? Malone will take to the stage to spill the details. How should you approach marketing strategy in the music business, and what can you learn from doing just that for megastars ? That's where marketing professor, For the Culture: The Power Behind What We Buy, What We Do, and Who We Want to Be author and ex-Beyoncé team member Collins will come in. Both Malone and Collins are on the bill when SXSW Sydney returns for its third year between Monday, October 13–Sunday, October 19, 2025. As it tends to each year, the festival has been unveiling its latest lineup in bits and pieces, after also revealing that there'll be more free programming and an initial look at the overall speaker lineup in recent months. "SXSW Sydney is about big ideas, bold conversations and unexpected connections. It's a chance to hear directly from the people who open doors — the buyers, curators and deal-makers — and to better understand how to cut through, stay independent or scale globally. Whether you're building a team, exploring how AI can support your creative and business goals, or just looking for inspiration from other creative industries, this is where the conversations start," said SXSW Sydney's Head of Music Claire Collins about the first round of Music Festival speakers. "We're proud to bring this talent to Sydney, and to connect them with the broader SXSW Sydney community. It's a week packed with fun, discovery, and opportunities to connect, collaborate and imagine what's next for music in our region and around the world." Malone and Collins will have company from a wide array of other SXSW Sydney Music Festival guests, such as Brian Hobbs, SXSW in Austin's Director of Music Festival Programming; Patrick Daniel from Reeperbahn Festival in Germany; Airing Your Dirty Laundry podcast host Daphne Berry; Alex Berenson, the All Flowers international label group's Senior Director of A&R; and Justin Sweeting, the founder of Hong Kong's Clockenflap Festival. Also among the names on the program so far: Hallie Anderson, who co-founded Rareform marketing team, Ode strategic agency's Jashima Wadehra, Mardi Caught from marketing and artist services outfit The Annex, music networking platform GigLifePro's Priya Dewan and Pal Norte Festival's Macarena González. If you missed it, the roster to date of musicians that'll be showing off their talents spans both international and local acts. In the first camp: Jasmine 4.t, Freak Slug and Ristband + Pivots from the UK; Slowwves from Thailand; Japan's Suichu Spica 水中スピカ; New Zealand's Serebii and Tusekah; and Cardinals from Ireland. Flying the flag for Aussie acts to begin with: Jamaica Moana, JJ4K, RICEWINE, Sacred Hearts, Swapmeet and BADASSMUTHA. In total, this year's fest is due to feature more than 300 music performances. And, that's just the live tunes side of the event. Across its 1600-plus sessions, SXSW Sydney 2025 will also boast over 550 conference and professional development sessions, 90-plus movie screenings and over 150 games. [caption id="attachment_984093" align="alignnone" width="1920"] Nina Franova/Getty Images for SXSW Sydney[/caption] [caption id="attachment_965208" align="alignnone" width="1917"] Jaimi Joy[/caption] [caption id="attachment_953711" align="alignnone" width="1920"] Jaimi Joy[/caption] SXSW Sydney 2025 runs from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details. Top image: Brendon Thorne/Getty Images for SXSW.
Maybe you loved Knives Out, rightfully so. Perhaps you adore Agatha Christie's books, and couldn't watch the latest big-screen versions of Murder on the Orient Express and Death on the Nile fast enough. Or you might've become a true-crime podcasting obsessive thanks to Serial and found yourself instantly hooked. Whichever category fits — and perhaps several of them do — it's likely that you're a murder-mystery fan. We all are. And, it's just as likely that you adore Only Murders in the Building, the true-crime and true-crime podcasting comedy that proved one of 2021's surprises and delights. We're never too far away from a new murder-mystery in some shape or form, of course, and the second season of Only Murders in the Building knows it — because it's tasking its NYC neighbours-turned-sleuths (and true-crime podcasters) with investigating a second killing. This time, though, the trio of residents in the fictional Arconia in New York are suspects, and they're also the subjects of a competing podcast. That's what the just-dropped new trailer for the show's second season teases, following on from an initial sneak peek a couple of months back. If you missed the first season in 2021, Only Murders in the Building takes a great idea and turns it into a breezy murder-mystery gem. If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then this is definitely the series for you. The show focuses three New Yorkers who basically follow that same process. Here, 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) are all addicted to a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva). They 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, Charles-Haden, Oliver and Mabel are weathering the fallout from the last batch of episodes. Complicating their efforts in season two 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. 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.
Both Bret McKenzie and Jemaine Clement will be present when Flight of the Conchords make a long-awaited, eagerly anticipated return to television — as part of a one-off live special filmed during the duo's recent sold-out tour. Announced earlier in 2018, Flight of the Conchords: Live at the London Apollo now not only has a US airdate but also an Australian one. The special will screen on HBO in America on Saturday, October 6, and on The Comedy Channel in Australia on Tuesday, October 9 at 8.30pm. As the name really does makes plain, it was recorded in the UK, where Flight of Conchords took their show on the road in March and then returned in late June and early July, following a forced break after McKenzie broke his hand. Yes, it'll be business time, Bowie will be in space and no one will have hurt feelings. Fans can expect to hear the classic tracks that everyone has had stuck in their heads since the folk parody pair's TV series aired between 2007 and 2009, of course, as well as a few new songs. It's also a case of Conchords almost coming full circle, with nabbing a spot on HBO's One Night Stand in the mid-00s one of their big breaks. Foxtel Now subscribers can stream the special live when it airs, but whether it'll be available on demand afterwards has yet to be revealed. In the interim, check out the trailer, as well as the initial HBO date announcement video featuring McKenzie and Clement: https://www.youtube.com/watch?list=PLZQfnFyelTBOQ15kmHSgEbdjzLMWzZpL7&v=xz_-9PlcouE
"Over the past few weeks I've been hunted, haunted and mimicked millions of times across the internet. It's been pure torture. Thank you." So starts the new Netflix video announcing the return of one of the streaming platform's late 2022 favourites, with Addams Family revamp Wednesday officially renewed for season two. Given how much of a hit season one of the Jenna Ortega (X)-starring show proved, this news is hardly surprising. Also, given how popular all things Addams Family have always been — the Christina Ricci-led 90s films have been beloved for decades for good reason, and the 1960s TV show and 1930s The New Yorker comics before that — it's also far from unexpected. Indeed, if you were channelling your inner Wednesday, as we all should, you wouldn't raise an eyebrow in astonishment. If you devoured Wednesday's first season like its namesake and does with all things creepy, kooky, mysterious and spooky, however, you'll be so thrilled that you feel like her perky lycan roommate Enid (Emma Myers, Girl in the Basement). Announcing the renewal, Wednesday season one co-showrunners Miles Millar and Alfred Gough (Smallville) said that they "can't wait to dive headfirst into another season and explore the kooky, spooky world of Nevermore. We just need to make sure Wednesday hasn't emptied the pool first." Giving Wednesday a second spin comes after the first go-around broke the Netflix record for most hours viewed in a single week, then did so again — notching up 341.23-million hours viewed in its first week, then 411.29-million hours viewed in its second. Netflix hasn't revealed when it'll be getting a witch's shawl on and a broomstick you can crawl on yet again, or any fresh additions to the cast, but season two will pick up from season one's big ending — which left plenty of room for more Nevermore antics to follow. And yes, with Scream and Studio 666 s Ortega in the lead again, it will be spending more time at the school for outsiders that the Addams' eerie teenage daughter was enrolled in to kick off the series, as well as offering up another mystery to solve. In season one, Wednesday's titular figure had been terrorising her way through various educational facilities, hopping through eight of them in five years. That's how she ended up at Nevermore Academy, where her mother (Catherine Zeta-Jones, Prodigal Son) introduced her with an apology: "please excuse Wednesday, she's allergic to colour". Morticia actually met Gomez (Luis Guzmán, Hightown) at the school, and thought that their eldest would love it there as they did, but Wednesday's storyline was never going to be that straightforward. With Tim Burton executive producing, plus sitting in the director's chair for the first four episodes — in the job the Frankenweenie, Beetlejuice and Edward Scissorhands filmmaker was clearly born to have — cue high-school chaos, a monstrous murder spree to stop and a supernatural mystery linked to her parents a quarter-century ago to solve. Oh, and a killer goth wardrobe, naturally. Check out the season two announcement video for Wednesday below: Wednesday streams via Netflix, with season one available now and season two arriving at a yet-to-be-announced date. We'll update you with further details about season two when they're revealed. Read our full review of Wednesday season one. Images: Courtesy of Netflix © 2022.
It's not every festival feels like a country weekend fete that just happens to be headlined by say, Courtney Barnett. Fairgrounds, Australia's country boutique camping festival descends on the small NSW town of Berry each December. Taking over the local Berry Showgrounds, Fairgrounds boasts all the trimmings of a major music festival with the essence of a local fair. And this December, it's back for another two-day round. Running over November 30 and December 1, the two-day festival is making a triumphant return. In a huge coup for the small festival in its third year, they've secured big time festival favourites Courtney Barnett and Vance Joy to headline, alongside local legends Pond, Winston Surfshirt and more. Oh, and British punk poet Billy Bragg, US alternative rock band The Breeders and Zambian hip hop singer Sampa the Great will also join the lineup from across the globe. With a strong focus on the local NSW South Coast area, Fairgrounds isn't just about the tunes. Last year local nosh, market stalls and the local swimming pool played equally starring roles at this multifaceted festival — something we're sure made Berry residents pretty happy. Between dips in Berry's local pool (within the festival grounds), punters feasted on local delights, including fresh rock oysters harvested less than half an hour from the festival site. The festival's super-popular long-table dinners will return, too, which take place overlooking the live music. But we know what you're here for. Here's the full lineup. FAIRGROUNDS 2018 LINEUP: Vance Joy Pond Rolling Blackouts C.F. Saba Body Type Oh Pep! Tia Gostelow Courtney Barnett Billy Bragg Winston Surfshirt The Breeders Sampa the Great The Teskey Brothers Waxahatchee Kevin Morby Maddy Jane Carla Geneve Fairgrounds runs November 30–December 1 at Berry Showgrounds, NSW. Tickets on sale from Moshtix at 10am, Monday, August 13. Festival entry starts at $110, with camping $230. Image: Ian Laidlaw and Gabriel Vallido
How do two filmmaking siblings follow up one of the biggest Australian comedies of the 21st century? With a much bleaker slice of comic action. In the 12 years between Kenny and Brothers' Nest, Shane Jacobson hasn't been far from screens. In fact, he's graced local cinemas in the awful trio of Guardians of the Tomb, The BBQ and That's Not My Dog! just this year alone. But making another film with his brother, actor-director Clayton Jacobson, has taken much, much longer than it'd take Kenny to plumb most of the country's toilets. While Brothers' Nest is as far removed from the Jacobsons' toilet-fixing mockumentary as you can get, it's mostly worth the wait — an attempt to meld grimy psychological thrills with black comedy that doesn't break the mould, but delivers exactly what it promises. Shane and Clayton co-star as a luckless and unhappy duo intent on securing what's rightfully theirs and willing to do whatever it takes to get it, even resorting to planning the perfect murder. Their cancer-stricken mum (Lynette Curran) is dying and, to their dismay, she's just changed her will to leave everything to their stepfather Rodger (Kim Gyngell). With the family home in country Victoria on the line, no-nonsense elder sibling Jeff (Clayton Jacobson) quickly convinces his kindlier younger brother Terry (Shane Jacobson) that homicide is the only option to reclaim their inheritance. It's with a wry smile that Brothers' Nest begins with its titular pair cycling up to their childhood abode, donning orange jumpsuits and hospital booties, and starting to enact Jeff's meticulous plan. Visually, the picture is soaked in fog and grey, befitting a sombre mood — but the moment Jeff and Terry start preparing for their grisly task, humour cracks the grim facade. Indeed, Clayton Jacobson and writers Jaime Browne (The Mule) and Chris Pahlow manage a delicate balancing act for the first two-thirds of the film, milking the business of knocking off a family member, and dealing with deep-seeded woes, for both drama and laughs. Still, there comes a point where brothers' banter can't bring cheer to this tale, with their bickering — often sparked by Jeff's pedantic determination to stick to his detailed to-do list — only going so far as the movie veers into more tragic territory. That said, much of the film's success stems from the Jacobsons' performances, with the pair pretending to be other, more desperate siblings. Fleshing out a fraught picture of brotherly love in the process, it's clearly not a case of art imitating life, but the authentic connection between their characters runs deeper than if the actors weren't related. For Shane, as the unsurprisingly more affable of the two, it's a more interesting and challenging big-screen role than he's had in some time, although his 'loveable larrikin' public persona softens Terry's quiet sadness. For Clayton, taking the sterner, more brittle part — and eventually, the more unhinged as well — it's a welcome reminder that his talents don't just reside behind the camera. Wielding that lens, Clayton's efforts are effective. Viewers never forget that this is a low-budget affair, particularly given that it's confined to one setting, but many rousing thrillers have been. A hefty smattering of inventive shots catch the eye, while the short but definitely not sweet film is well-paced, with Clayton also co-editing. Sadly the supporting cast are all noticeably underused, although Curran, Gyngell and Sarah Snook each make their marks. Of course, you don't go to a dark, murderous comedy called Brothers' Nest for something other than siblings getting kill-happy, and this taut, claustrophobic account of blood, money and double-crossing does what it needs to. https://www.youtube.com/watch?v=Vdo5oiBQOgs
Dystopian thriller Snowpiercer is a difficult film to categorise. Adapted from a French graphic novel by celebrated South Korean director Bong Joon-ho (The Host, Memories of Murder), it exists at a weird intersection between action film, arthouse movie and genre flick, merging violence with scathing social commentary. Released in Australia on just two screens, it's hard to imagine the film scoring big at the box office, despite the presence of Chris Evans, aka Steve Rogers, aka Captain America. But for anyone who likes their blockbuster with brains, Snowpiercer should definitely be sought out. The film takes place 17 years after a botched attempt to halt global warming plunged the planet into a new ice age. The last remnants of humanity live aboard an enormous, fast-moving train, perpetually circling the globe. The wealthy elite live at the front of the train, surrounded by the luxuries and comforts of the old world. The rest live in the rear carriages, in squalor and in fear. Evans plays Curtis, the de facto leader of the tail section, who leads his people in a revolt to try take control of the engine. Each carriage the rebels capture means another new environment, which brings with it new threats and new discoveries. In this way, Bong mirrors the structure of a videogame, allowing him to maintain an arresting sense of momentum. His visuals are expectedly stylish, while the set design is top-notch; the filthy metallic greys of the tail section soon give way to images of increasing extravagance and excess. The train is a microcosm; a reflection of the growing social and economic divide we see in the world today. The allegory is a grim one, and the violence similarly is uncompromising. Nevertheless, Bong and his co-writer Kelly Masterson inject plenty of moments of black humour. Alison Pill plays a fanatical primary school teacher who reminds her students in a sing-song voice that outside "we'd all freeze and die!" Taking even bigger bites out of the scenery is Tilda Swinton as a cruel, bucktoothed bureaucrat who parrots the party line that "everyone has their place". In comparison to some of the more over-the-top supporting players, Evans feels rather on the stilted side. He's got the brooding intensity figured out, but struggles with the more emotional stuff — there's one dramatic monologue in particular, towards the end of the film, that may cause unintentional laughter. Thankfully, he's ably supported by a cast that includes John Hurt, Octavia Spencer and Jamie Bell, as well as a regular Bong collaborator Song Kang-so. The film's ending may throw some people, but then again, that's part of its appeal. A confronting think piece wrapped in a bizarre and bloody thrill ride, the highest praise you can offer Bong's film is that it really is unique. https://youtube.com/watch?v=nX5PwfEMBM0
With a couple of self-proclaimed boneheads at the helm, this indie brewery makes its home within a former mechanics workshop in the heart of Kensington. The laidback, 80-person capacity taproom rocks an industrial aesthetic, with high-top tables, plants hung from the soaring steel rafters and eight shiny stainless steel beer fermenters standing proudly visible in one corner. It's dog-friendly inside and out, and there's a healthy dose of colour from the sprawling wall murals, created by local artists during live painting events. The latest beauty from Lynn Bremner was also replicated as can art for one of Bonehead's recent brew releases. The brewery's signature beer offering champions balance and approachability, with the 12-strong tap list pouring a mix of core drops and seasonal releases — from the Revered red ale and the Mum's pilsner, to a Belgian-style wit bier they've dubbed the Half-Wit Hero. There are fun, inventive new brews dropping regularly, so you can expect to try something different every time you visit. A handful of Victorian wines and a couple of boilermaker curations round out the drinks lineup. The matching food situation is a simple one, with a trio of beer-friendly jaffles featuring fillings like prosciutto and pesto with smoked mozzarella. Though there's also a rotation of food trucks swinging past on the regular, including local legends like Nicolosi Pizzeria and Brother Trucker.
It started back in 1956 as a singing contest between a mere seven nations. Now, more than six decades later, Eurovision is a glitter and spandex-fuelled global musical phenomenon. Forty-one countries not only in Europe but from elsewhere compete — hello Australia — and viewers tune in en masse each May to watch, sing along and add new pop tunes to their playlists. But with COVID-19 continuing to spread, the show won't go on in 2020 in Rotterdam as planned. With this year's event cancelled, that leaves a huge Europop-shaped hole in plenty of music fans' lives. Thankfully, while the live contest isn't happening, SBS is screening an alternative. Between Sunday, May 10–Sunday, May 17, the Aussie broadcaster is hosting a week-long Eurovision festival filled with new specials and repeat airings of the Eurovision grand finals from 2015–2019. It all kicks off with Road to Eurovision 2020 on Sunday, May 10, which is hosted by this year's hosts and was actually filmed in the Netherlands in December — and charts the journey towards this year's now-axed event. Then, between Monday, May 11–Friday, May 15, viewers can check out the contests that featured Australia's entrants so far — Guy Sebastian, Dani Im, Isaiah, Jessica Mauboy and Kate Miller-Heidke — with each grand final screening in full. Next, on Saturday, May 16, SBS is putting together a new special called Eurovision 2020: Big Night In. As well as watching along, Aussie Eurovision aficionados can take part. Viewers are asked to head to the SBS website before Sunday, May 3, check out all the songs and artists that would've competed if this year's contest went ahead, and then vote for your three favourites, with the results revealed on the night. SBS' usual local hosts Myf Warhurst and Joel Creasey will be overseeing the show, and this year's Australian entrant, Montaigne, will perform live as well. https://www.youtube.com/watch?v=gr-wWxu4974&feature=emb_logo Finally, on Sunday, May 17, it's time for Eurovision: Europe Shine A Light. All 41 of this year's songs will get their time to shine in a non-competitive format, with the special made in The Netherlands and hosted by Dutch Eurovision presenters Chantal Janzen, Edsilia Rombley and Jan Smit. SBS' week-long Eurovision festival will air from Sunday, May 10–Sunday, May 17 on SBS and SBS Viceland. For further details — or to vote for your favourite 2020 Eurovision acts for Eurovision 2020: Big Night In before Sunday, May 3 — head to the SBS website.
We cannot even count the number of times the Rose St Artists' Market has come up with the goods when it comes to last-minute present shopping. From mini terrariums to vibrant clay-beaded jewellery to Able and Game cards, they've got what you need. On top of that, you're supporting local artists and designers, so they make for great presents for out-of-towners who want something 'very Melbourne'. The Rose St Artists' Market is open every Saturday and Sunday from 11am to 5pm, so grab a basket/calico tote bag and head to Fitzroy.
McDonald's has been serving up Big Macs and soft serve cones to Australians for 50 years, so to celebrate the big five-oh, the golden arches are running a series of promotions and adding some new items to the menu. The latest celebratory surprise popping up at Macca's around the country is a special Birthday McFlurry. While the fast-food chain is no stranger to limited-edition McFlurry flavours — good (apple pie) and bad (bubblegum) — this new edition really takes things up a notch. The Birthday McFlurry is packed with bite-sized pieces of the fan-favourite custard pie, alongside a drizzle of caramel sauce and sprinkles to give it that birthday feel. As well as the inclusion of the bite-sized custard pie pieces in the McFlurry, the full-sized pie will return to the menu for anyone that's been missing the crispy custard-filled treat. Earlier this month, McDonald's kicked off its birthday celebrations with a day of 50-cent Big Macs across Australia. And the celebrations aren't stopping any time soon, with more fun surprises set to pop up throughout July and August. Australia's first McDonald's opened in Yagoona in 1971 and has grown to over 1000 stores nationwide in the 50 years since. The Birthday McFlurry and custard pie are available exclusively via Uber Eats from tomorrow, Wednesday, June 30 through until Wednesday, July 7, before becoming available in all Macca's nationwide for a limited time from Wednesday, July 7. McDonald's Birthday McFlurry is available via Uber Eats from Wednesday, June 30 and available in-store and on McDelivery from Wednesday, July 7.
With the FIFA World Cup kicking off shortly, Nike Football has released part three of its #riskeverything campaign. The film – "The Last Game" – is a five-minute animated feature starring some of the world's greatest footballers, on a mission to save football from the hands of a villainous mastermind, The Scientist. Let the games begin.
By almost every conceivable metric, 2020 wasn't great. It was downright terrible, in fact. We know that you already know this, but let us share a sliver of good news: it was still a fantastic year for cinema. That's true even with picture palaces across Australia, New Zealand and the rest of the world closing for considerable periods. Indeed, when silver screens reopened again Down Under, and everyone was able to once again sit in darkened rooms and stare at celluloid dreams blown up big just as they're meant to be, we all remembered why the term 'movie magic' exists. And, in those theatres with their popcorn smells and booming sounds, we were able to see truly exceptional films. Every year delivers a treasure trove of movies — so much so that, here at Concrete Playground, we always put together multiple lists of film gems. As part of our end-of-year wrap-ups for 2020, we've already highlighted ten excellent movies that hit cinemas but sadly didn't set the box office alight, as well as 20 other standout titles from this year that really you owe it to yourself to have seen. From everything that flickered through a projector in general release in 2020, we're now down to the pointy end. Each year delivers awful, average and astonishing movies, and we've picked the cream of the crop when it comes to the latter. Some released pre-pandemic, in what seems like another life. Some are yet to hit cinemas, but will before the year is out. From movies that'll have you dancing in the aisles to unsettling head trips, these are the ten absolute best films of 2020 that made their way to the big screen. https://www.youtube.com/watch?v=DSFpK34lfv0&feature=youtu.be NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's the case in Nomadland, which will earn her another Oscar nomination and could even see her win a third shiny statuette just three years after she nabbed her last for Three Billboards Outside Ebbing, Missouri. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot she spent her married life in turns into a ghost town when the local mine is shuttered due to the global financial crisis. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it's also Zhao's best work yet, and 2020's best film as well. Read our full review. https://www.youtube.com/watch?v=OsWV2qTX21k NEVER RARELY SOMETIMES ALWAYS When some movies mention their titles, they do so via a line of clunky dialogue that feels forced, overstressed and makes viewers want to cringe. Never Rarely Sometimes Always isn't one of those films. It does indeed task a character with uttering those exact words, but the scene in which they're voiced is the most devastating and heartbreaking movie scene of the year. Given the premise of writer/director Eliza Hittman's latest feature, that perhaps comes with the territory. It shouldn't, which is one of the points this layered film potently makes, but it does. Upon discovering that she's expecting — and being told by her local women's centre that she should go through with the pregnancy — 17-year-old Autumn (first-timer Sidney Flanigan) has no other choice but to take matters into her own hands. With her cousin Skylar (fellow feature debutant Talia Ryder), she hops on a bus from her Pennsylvania home town to New York to seek assistance from Planned Parenthood. Given that Skylar has stolen the funds for Autumn's abortion out of the cash register at work, and that they don't have enough to cover a place to stay, this isn't a straightforward quest. Hittman's naturalistic style, as previously seen in 2014's It Felt Like Love and 2017's Beach Rats, makes every second of Autumn's ordeal feel intimate, real and unshakeably affecting, as does Flanigan's internalised but still expressive performance as well. Read our full review. https://www.youtube.com/watch?v=97nnV0fNd30 AMERICAN UTOPIA On paper, American Utopia's concept doesn't just sound excellent — it sounds flat-out superb, stunning and spectacular. A new David Byrne concert film, capturing his acclaimed American Utopia Broadway production, as directed by Spike Lee? Sign the world up, and now. In the most welcome news of the year, the execution matches the idea in this instant masterpiece (and wonderful companion piece to 1984's Stop Making Sense). It'd be hard to go wrong with all of the above ingredients, but Lee's second film of 2020 (after Da 5 Bloods) makes viewers feel like they're in the room with Byrne and his band and dancers like all concert movies strive to but few achieve in such engaging a fashion. Every shot here is designed with this one aim in mind and it shows, because giving audiences the full American Utopia experience is something worth striving for. Byrne sings, working through both solo and Talking Heads hits. He waxes lyrical in his charming and accessible way, pondering the eponymous concept with an open and wise perspective. And he has staged, planned and choreographed the entire performance to a painstaking degree — from the inviting grey colour scheme and the open stage surrounded by glimmering chainmail curtains to the entire lack of cords and wires tethering himself and his colleagues down. Read our full review. https://www.youtube.com/watch?v=W-fxRXzfi0U KAJILLIONAIRE Awards bodies don't tend to recognise performances like Evan Rachel Wood's in Kajillionaire, but they should. It's a career-best effort from an actor with an array of terrific work to her name (most recently in Westworld), and it operates so firmly on the same wavelength as the film she's in that it's impossible to imagine how it would work without her. Kajillionaire is filmmaker Miranda July's latest movie, following Me and You and Everyone We Know and The Future, so it was always going to stand out. It was always going to need a knockout portrayal at its centre, too. Wood plays a 26-year-old con artist called Old Dolio Dyne, who has spent her whole life working schemes and scams with her parents Robert (Richard Jenkins, The Shape of Water) and Theresa (Debra Winger, The Lovers) — to the point that it's all that she knows, and it has made her the closed off yet still vulnerable person she is. But when her mother and father take lively optometrist's assistant Melanie (Gina Rodriguez, Annihilation) under their wing, Old Dolio is forced to reassess everything. That might sound standard, but July has never made a movie that's earned that term and she definitely doesn't start now. Kajillionaire is a heist-fuelled crime caper, and an eccentric and idiosyncratic one; however, it's also a rich and unique character study, an astute exploration of family and a love story — and Wood is essential at every turn. Read our full review. https://www.youtube.com/watch?v=kFqCTIdF7rs POSSESSOR The possibility that someone could hijack another person's brain, then use their body as a vessel to carry out corporate-sanctioned murder, is instantly distressing and disturbing. Whatever your mind has just conjured up reading that sentence, it has nothing on Brandon Cronenberg's vision of the same idea — as Possessor, his sophomore feature, illustrates in a brilliant and brutal fashion. As chilly and also as mesmerising as his first film, Antiviral, this horror-thriller spends its time Tasya Vos (Andrea Riseborough, The Grudge). It's her job to leap into other people's heads and carry out assassinations, and she's very good at it. When the movie opens, however, she experiences difficulties on a gig. Then she takes on another, infiltrating Colin's (Christopher Abbott, Vox Lux) brain, and struggles to maintain control over his personality and actions as she attempts to kill his fiancé (Tuppence Middleton, Mank) and her business mogul father (Sean Bean, Snowpiercer). Possessor's writer/director is the son of David Cronenberg, of Shivers, Scanners, Videodrome and The Fly fame, so exploring unnerving body horror has been implanted into his own head in a way, too. He certainly carries on the family name in a daring, determined and expectedly gruesome manner. Also striking and unforgettable here: the concepts that Possessor probes, including present analogues to Possessor's body-jumping technology. Read our full review. https://www.youtube.com/watch?v=PLNXHJB5Mto BABYTEETH Filmmaker Shannon Murphy made her feature debut with Babyteeth, but she shows no signs of merely cutting her chompers on this heartwrenching film. Based on the Rita Kalnejais-penned play of the same name and scripted for the screen by the writer as well, this Australian drama tackles a well-worn premise — that'd be: terminally ill teen falls in love as she endeavours to manage her grim health situation — with such shrewdness, vivacity and understanding that it puts almost every other movie about the same concept to shame. Milla (Eliza Scanlen, Little Women) is the cancer-afflicted high schooler in question. When she meets and clicks with 23-year-old small-time drug dealer Moses (Toby Wallace, Acute Misfortune), it takes her pill-popping mother Anna (Essie Davis, True History of the Kelly Gang) and psychiatrist father Henry (Ben Mendelsohn, The Outsider) time to adjust. Their struggles have nothing on Milla's own, though, because Babyteeth sees its protagonist as a person rather than an illness, and as someone with their own hopes, dreams, troubles and disappointments instead of the reason the folks around her have their lives disrupted. That's such an important move, but's just one of the many that the movie makes. Aided not only by superb (and AACTA Award-winning) performances all round, but also by arresting visuals and clever but realistic dialogue, Babyteeth proves both raw and dynamic from start to finish. Read our full review. https://www.youtube.com/watch?v=VFOrGkAvjAE SOUND OF METAL It's one thing to tell viewers that the character they're watching is losing their hearing. It's another entirely to ensure that they understand exactly how that feels. Sound of Metal adopts two methods to achieve the latter feat — one expected but still extraordinary, the other truly earning the usually overused term that is 'immersive'. Firstly, Riz Ahmed (Venom) gives his all to the role of heavy metal drummer and ex-heroin addict Ruben Stone. Realising that one of his senses isn't just fading but disappearing obviously upends every facet of Ruben's life, which Ahmed conveys in a powerfully physicalised performance (and his second portrayal of a musician coping with health struggles after this year's festival hit Mogul Mowgli, too). Just as crucial, however, is the soundscape created by debut feature director Darius Marder and his team. It mimics what Ruben can and can't hear with precision, and it couldn't be more effective at plunging the audience inside his head. Both choices — lead casting and the film's audio — invest weight and depth into a story that isn't lacking in either anyway. Putting his tour with his bandmate and girlfriend Lou (Olivia Cooke, Ready Player One) on hold, Ruben reluctantly moves to a rural community for addicts who are deaf to learn to live with his new situation, does whatever is necessary to rustle up the cash for a surgically inserted cochlear implant and faces more than few hard truths along the way. Read our full review. https://www.youtube.com/watch?v=7gOs6gKtrb4 THE LIGHTHOUSE It initially hit cinemas pre-pandemic, but The Lighthouse might just be the most relatable movie of 2020. There are no prizes for guessing where it is set, but The Witch filmmaker Robert Eggers has zero time for scenic seaside escapades, turning his attention to two men holed up in the coastal structure, unable to leave and going stir-crazy (to put it mildly) instead. Those lighthouse keepers are played by Willem Dafoe (At Eternity's Gate) and Robert Pattinson (Tenet), who both commit to the narrative with gusto. The former steps into the shoes of cantankerous sea dog Thomas Wake, while the latter endures quite the uncomfortable welcome as eager newcomer Ephraim Winslow — and, as anyone could predict given their talents and respective filmographies, they're gripping to watch. That sensation only increases when a storm sweeps in, with the fact that Winslow frequently fondles himself while holding a mermaid figurine marking just the beginning of The Lighthouse's claustrophobic chaos. Shooting in black and white, and boxing the film in via the 1.19:1 Movietone aspect ratio that's a throwback to a century ago, Eggers dives right into a vivid and entrancing nightmare that simultaneously unpacks masculinity, unfurls a manic head-trip and explores how people react when they're thrust together in a heightened scenario. Read our full review. https://www.youtube.com/watch?v=EU-Z90SEqGQ CORPUS CHRISTI An Oscar nominee this year — losing the Best International Feature Film category to Parasite — Corpus Christi examines faith with blistering and unflinching intensity. This quietly powerful Polish drama doesn't just contemplate what it means to believe, but how the supposedly pious actually enact their convictions (or don't, as the case often proves). Freshly released from reform school, Daniel (Bartosz Bielenia) is drawn to the seminary after connecting with the facility's head priest, Father Tomasz (Lukasz Simlat), during his sentence. Alas, his record instantly excludes him from following that calling, even though he's only 20 years old. Then, through a twist of fate that always feels organic, he's given the opportunity to act as the new spiritual advisor in a rural town after its residents mistake him for a man of the cloth. Given that this is an imposter tale, Corpus Christi proves inherently tense and bristling from the outset; however, just as much of that mood and tone stems from the way that Daniel's new community say one thing but act in a completely different manner involving a recent tragedy. Warsaw 44 and The Hater filmmaker Jan Komasa willingly steps into thorny territory as he tells the young man's tale (with top-notch help from Bielenia), and wonders why it's so easy for so many to cling to centuries-old concepts and stories, but so hard for most to put them in a modern, realistic and everyday context. Read our full review. https://www.youtube.com/watch?v=nzqevBnUUZU THE ASSISTANT Charting an ordinary day in the life of a junior staff member at a film production office, The Assistant is as unsettling as anything else that reached screens in 2020. Jane (Julia Garner, Ozark) has the titular position, working an entry-level job for a demanding head honcho who everyone in the office indulges — although viewers never get to meet him. She arrives at work before daylight, trudges through menial tasks and is treated poorly by her male colleagues. She's expect to anticipate everything that her boss could ever need or want, or face his wrath if she doesn't. And, as the day progresses, she realises just how toxic her workplace's culture is and how deep its inappropriate conduct burrows. Seeing how predatory the man she works for acts on a daily basis, and how his behaviour has a significant impact, she also learns how those who even try to speak out can still be powerless to effect change to stop it. If you've kept abreast of the #MeToo movement over the past few years, you'll know exactly what has inspired The Assistant, of course. However, Australian filmmaker Kitty Green wants her audience to experience this devastating scenario via Jane, rather than merely read about it. She doesn't just succeed; although she's working in fiction here, she directs a film as searing and perceptive as her last project, the excellent documentary Casting JonBenet.
Just hours after its series finale aired, Prime Video has confirmed that The Summer I Turned Pretty will conclude with a feature film. Announced on Thursday, September 18, the adaptation of Jenny Han's bestselling trilogy will wrap up with a movie written and directed by Han herself. "The Summer I Turned Pretty has struck a chord with audiences everywhere, creating moments of joy, nostalgia, and connection that have made it a global sensation," Courtenay Valenti, head of film, streaming and theatrical at Amazon MGM Studios, and Vernon Sanders, Global Head of Television at Prime Video and Amazon MGM Studios, said in a joint statement. "We're proud of the series' extraordinary success and couldn't be more excited to partner again with Jenny Han to bring fans an unforgettable next chapter." Han added: "There is another big milestone left in Belly's journey, and I thought only a movie could give it its proper due. I'm so grateful to Prime Video for continuing to support my vision for this story and for making it possible to share this final chapter with the fans." Since premiering in 2022, The Summer I Turned Pretty has become a global phenomenon. Its second season, released in 2023, more than doubled the first season's viewership within its first three days. Season three debuted in July 2025 and was streamed by 25 million viewers worldwide in its first week, becoming Prime Video's fifth most-watched returning season. The series has also helped launch the careers of stars Lola Tung, Jackie Chung, Christopher Briney, Gavin Casalegno, Rachel Blanchard, Sean Kaufman and Rain Spencer. No release date has yet been set for the film. Images: Erika Doss | Amazon
Sure, going back to the office has its perks — you get to catch up with your work pals and help yourself to the free coffee. But, for some, it can also be a bit of a drag. After all, we've just spent months gussying up our WFH offices, spending more time with our pets and, let's face it, not having to commute was pretty dreamy. And sometimes you just want to be living your best working life in track pants, we get it. To help get you excited about being back in the physical rat race, we've teamed up with Australian Cocktail Month to bring you seven after-work activities that'll get you through the nine to five. From knock-off drinks to cheese-making workshops and letting lose in a dance class, these are sure to beat any back-to-office blues. SIP A-CLASS TIPPLES Enjoy a well-earned drink after work? Then head to the inaugural Australian Cocktail Month to support local bartenders and bars who've had it pretty rough over the past year. Running throughout May, the event is taking over 72 bars across Melbourne, Sydney, Brisbane and Adelaide — you can find out your locals over here. Australian Cocktail Month is partnering with liquor brands to serve up speciality cocktails for $14 a pop, plus non-alcoholic drinks for a tenner. But first you must get yourself a $20 ticket, which unlocks the entire month of offers. Then, head on down to a participating bar and show your ticket. After that? Well, bottoms up and cheers to Australia's hospitality industry. [caption id="attachment_791359" align="alignnone" width="1920"] Omnom[/caption] LIVE OUT YOUR WILDEST CHEESE DREAMS WITH A CHEESE-MAKING CLASS If you're a hardcore cheese lover, no doubt you've tucked in to a wheel of brie or stinky gorgonzola after a hard day's work. Instead of simply buying — and eating — your one true cheesy love, why not book yourself in to a cheese-making workshop? With help from experts, you'll get your hands into the dairy and learn the basics, such as how to prepare and curdle the milk, cut the curd and salt the cheese. In Sydney, Rosebery's Omnom hosts regular classes on making ricotta, haloumi and a standout burrata and bocconcini one. The aptly named Cheesemaking offers intensive workshops around the country and will show you how to make various gourmet dairy delights. And, in Melbourne, CERES runs a heap of workshops throughout the year, including classes where you'll make vegan, cheddar and blue cheese. [caption id="attachment_723106" align="alignnone" width="1920"] MYST Escape[/caption] BOND WITH YOUR COWORKERS IN AN ESCAPE ROOM What could bring coworkers closer together than solving puzzles to escape to your freedom? These interactive experiences will transport you through films, history, space and time — and it's up to your team to make it back to reality. So, we'd say it's a pretty good bonding experience. If you're a Sydneysider, you can check out our top nine picks here or make a beeline to Glebe's MYST Escape, which claims to be 'Australia's largest escape room complex'. In Brisbane, the CBD's Fox in a Box is home to themed rooms like prison cells, war bunkers and zombie labs. Or, you can become a spy, pirate or detective at Escape Hunt Brisbane. For Melburnians, head to TRAPT Bar & Escape Rooms to find your way back to Kansas in a Wizard of Oz game, or enter the school of magic at the Harry Potter-inspired Mystery Rooms, with locations in Fitzroy and Collingwood. [caption id="attachment_689129" align="alignnone" width="1920"] Cork & Chroma[/caption] CHANNEL YOUR INNER ARTIST AT A PAINT AND SIP SESSION Yes, we've seen the trend of painting while sipping wine grow in the past few years — and it looks like it's here to stay. After all, who doesn't want to channel their inner Picasso? Plus, it's a great way to unwind and forget about the day that's been. Cork & Chroma has locations across Sydney, Brisbane and Melbourne and is one of the more popular studios around. Or, attempt your own rendition of Gogh's 'The Starry Night' at Life with Paint, which also has studio spaces across Sydney, Brisbane and Melbourne. [caption id="attachment_785738" align="alignnone" width="1920"] Crossover Dance[/caption] SHAKE OFF THE WORK WOES BY DANCING Make like Taylor Swift and shake off any work stresses by heading to an after-work dance class. Not only will you cut some serious shapes, but you'll also get some sweet endorphins from all that moving and shaking. If you'd rather bust moves in your own home, we recommend 80s-themed online dance workouts from Retrosweat — just be sure to put on your leotard and leg warmers. Sydneysiders are lucky enough to be able to attend Retrosweat's IRL classes, too. Or, you can head over to inner city K-pop studio Crossover Dance. In Brisbane, get your hips moving in a 50-minute class at Rio Rhythmics or give ballet a go at Mad Dance House. Melburnians can get down with a casual jazz or hip hop class at the Dance Factory or try some burlesque at Bottoms Up studio. HAVE A SUNSET PICNIC For those who like the great outdoors, picnics are no doubt a favourite pastime. And, in our opinion, there's no better time to have one than at twilight. So pack the snacks and a few cold ones, grab your mates and head to a picturesque spot to watch the sun go down — just be sure to bring some cosy clothes. There are plenty of good picnic spots no matter what city you live in. In fact, we've rounded up our go-to spots in Sydney, Melbourne and Brisbane, should you need any inspiration. CATCH A LOCAL COMEDY SHOW They say laughter is the best medicine, so why not catch a local comedy show? Whether you're a fan of watching live comedy or dabble in stand-up yourself, it's likely to cure those back-to-office woes. In Sydney, you can check out Underground Comedy Club at queer-friendly pub The Imperial Hotel, or hit up comedy-centric theatre Giant Dwarf at its new Surry Hills digs. In Brisbane, catch regular improv and sketch comedy nights at Big Fork Theatre or head to Sit Down Comedy Club to see some big names in the stand-up game. And Melburnians can catch some late-night laughs at Spleen Bar, stand-up at Lido Comedy or comedic quizzes at Comedy Republic. 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 here. Top image: Double Deuce Lounge, Kimberley Low
