First, the glorious news: since Thursday, August 5, all has been right in Melbourne's cinema scene again. For the first time 2019, the Melbourne International Film Festival has been taking over the city's picture palaces, filling them with the best movies it can find and letting film lovers live their most joyous lives. Yes, it's as wonderful as it sounds. Now, the sad news for Melburnians: come Sunday, August 21, this year's in-person MIFF comes to an end. Thankfully, MIFF Play, the festival's online platform, is sticking around for another week. That's a wonderful development for cinephiles located well beyond Melbourne, too, with the digital program showing nationally. Finding something to stream is never difficult these days, but until Sunday, August 28, your usual queue can wait. It'll still be there when you're doing MIFFing on your couch — after popping your own popcorn, pouring a glass of wine, and politely asking your partner or housemate to turn their phone off, to complete the cinema-at-home experience. But when that date rolls by, MIFF Play's impressive lineup won't still be there at the touch of a button. It's the MIFF you can hit up when you can't be at MIFF, and these are our ten must-see picks. Happy watching. HIT THE ROAD How fitting it is that a film about family — about the ties that bind, and when those links are threatened not by choice but via unwanted circumstances — hails from an impressive lineage itself. How apt it is that Hit the Road explores the extent that ordinary Iranians find themselves going to escape the nation's oppressive authorities, too, given that the filmmaker behind it is Panah Panahi, son of acclaimed auteur Jafar Panahi. The latter's run-ins with the country's regime have been well-documented. The elder Panahi, director of Closed Curtain, Tehran Taxi and more, has been both imprisoned and banned from making movies over the past two decades, and was detained again in July 2022 for enquiring about the legal situation surrounding There Is No Evil helmer Mohammad Rasoulof. None of that directly comes through in Hit the Road's story, not for a moment, but the younger Panahi's directorial debut is firmly made with a clear shadow lingering over it. As penned by the fledgling filmmaker as well, Hit the Road's narrative is simple and also devastatingly layered; in its frames, two starkly different views of life in Iran are apparent. What frames they are, as lensed by Ballad of a White Cow cinematographer Amin Jafari — with every sequence a stunner, but three in particular, late in the piece and involving fraught exchanges, nighttime stories and heartbreaking goodbyes, among the most mesmerising images committed to celluloid in recent years. Those pictures tell of a mother (Pantea Panahiha, Rhino), a father (Mohammad Hassan Madjooni, Pig), their adult son (first-timer Amin Simiar) and their six-year-old boy (scene-stealer Rayan Sarlak, Gol be khodi), all unnamed, who say they're en route to take their eldest to get married. But the journey is a tense one, even as the youngest among them chatters, sings, does ordinary childhood things and finds magic in his cross-country road trip, all with zero knowledge of what eats at the rest of his family. WE WERE ONCE KIDS A wide array of movies first hit silver screens in 1995, as they have every year since the advent of the medium. It was the year of Clueless, Before Sunrise, Billy Madison, Empire Records and Casper — and of Casino, Apollo 13, Babe, Showgirls and Seven, too. But only one is the subject of excellent documentary We Were Once Kids, which sees Australian filmmaker Eddie Martin (All This Mayhem, Have You Seen the Listers?) peer back at perhaps the most controversial movie of the 90s. That's the era's judgement, as archival news clips make plain from the outset. When Larry Clark's Kids reached cinemas, the mainstream press was scandalised at its portrait of New York City, the teens who live in it, and the drugs, sex, parties and violence that's shown to be an everyday part of their lives. Even if any of that was actually shocking, it'd have nothing on the tale around the tale — one about a tight-knit group of friends growing up in poverty, meeting Clark and a then 19-year-old Harmony Korine, finding their existence turned into a movie, and getting little more than some screentime and $1000 to show for it. Hamilton Chango Harris is one such Kids alum, aka a skater who temporarily became a movie star. He and his pals enjoyed Clark and screenwriter Korine's attention, and the break from their routines — with skating and partying already a break from their troubles, including parents struggling with addiction, at home. Harris is We Were Once Kids' key subject, but Martin understandably focuses on Justin Pierce and Harold Hunter, who had the biggest hopes for post-Kids fame but tragically aren't here now to tell their own stories. This is a gripping and damning doco about filmmakers who catapulted to success on the back of exploiting the working class, and about the complete lack of care they had for the lives they co-opted and the fallout. One story, from Harris, Pierce and Hunter's friend Highlyann Krasnow, says oh-so-much. She opted out of featuring in Kids when she saw how Clark and Spring Breakers' Korine had sexualised their group. That didn't change the film at all; instead, Chloë Sevigny (Russian Doll) and Rosario Dawson (DMZ) were cast, and are now household names. YUNI Again and again in Yuni, a heartbreaking clash echoes. Its sounds stem from schoolyard gossip, superstitious tut-tutting, ultra-conservative demands and reminders that its titular character shouldn't steal anything purple that she sees. In the third feature from Indonesian filmmaker Kamila Andini (The Seen and Unseen), Yuni (Arawinda Kirana, Angkringan) is a 16-year-old in a Muslim society where agreeing to an arranged marriage is the only thing truly expected of her. When the movie begins, a proposal from construction worker Iman (Muhammad Khan, Memories of My Body) already lingers. After she declines, her classmates chatter. Then another offer comes from the much-older Mang Dodi (first-timer Toto ST Radik), who is looking for a second wife. Yuni knows the accepted myth that any woman who refuses more than two proposals will never wed, but she's also keen to make her own choices. She has a crush on teacher Mr Damar (Dimas Aditya, Satan's Slaves), and spends time with the younger and infatuated Yoga (Kevin Ardilova, Vengeance Is Mine, All Others Pay Cash). She's also the smartest student at her school, with dreams of attending university. Andini's film is full of specifics, diving into the minutiae of Yuni's life — surveying Indonesian society and its customs, the roles thrust upon women from their teenage years, and enormous gap between the path that she's supposed to follow and the yearnings of her heart. This is a movie where scenes of its protagonist hanging out with her friends, whether kicking back on the grass talking about boys or dressing up with her beautician pal Suci (Asmara Abigail, Satan's Slaves 2: Communion), could be scenes from almost any teenage girl's life. Of course, then the reality sinks in, whether in discussions about husbands, babies and virginity tests, or in the teary worries about horrific power imbalances. The ability of poetry to capture everything that can't be easily uttered otherwise also floats through Andini's deeply moving picture, so it should come as no surprise that Yuni is both naturalistic and lyrical. It's precise and universal, follows an easily foreseeable path and yet proves full of surprises, and is astutely directed as well — and Kirana is a star. MASS Two couples, one church, six years of baggage and two absent children. That's one of the equations at the heart of Mass. Here's another: four phenomenal performances, one smart and affecting script that tackles a difficult subject in a candid and thoughtful way, and one powerful directorial debut by actor-turned-filmmaker Fran Kranz. Best known for on-screen roles in Dollhouse, The Cabin in the Woods, Homecoming and Julia, the latter guides gripping portrayals out of Reed Birney (Home Before Dark), Ann Dowd (The Handmaid's Tale), Jason Isaacs (Operation Mincemeat) and Martha Plimpton (Generation) — and crafts a harrowing yet cathartic drama out of the aftermath of a far-too-familiar tragedy, too. The reason that Richard (Birney), Linda (Dowd), Jay (Isaacs) and Gail (Plimpton) are in the back room at a place of worship, discussing their kids with heartbreak etched across their faces? Richard and Linda's son Hayden was a school shooter, killing Jay and Gail's son Evan in his spree, then turning the gun on himself. What can anyone say in that situation? Kranz, who both writes and directs, keeps his screenplay simple — but as loaded with emotion as the scenario obviously requires. He keeps his filmmaking flourishes just as restrained as well; that's a craft in itself, but the cast rather than the technique is the focus here. At first, they utter loaded lines with weighty awkwardness, aka the kind that fills and silences a room. Then, each in their own way, they unleash the hurt, anger, regret, sorrow, misery and more that's festering inside their characters, and that no amount of talking can ever completely capture. Mass is a musing on that very fact, too: that even the most spirited of dialogues, slinging about both carefully chosen and heatedly spur-of-the-money words, can't fix, explain or do justice to the pain that Richard, Linda, Jay and Gail are going through. The end result would make an exceptional, albeit unshakeably distressing, double with We Need to Talk About Kevin, The Fallout or Vox Lux, or even Elephant or Polytechnique as well. LEONOR WILL NEVER DIE To create is to become immortal. Write something that's hopefully committed to print or pixels forever, or direct a film that'll ideally keep reaching eyeballs in some format year after year, and a part of you — the part you've invested in time, sweat, tears and creativity — lives on eternally. That notion haunts playful and perceptive Filipino genre-bender Leonor Will Never Die, which understands the power that making a movie has both for the talents involved and the audiences watching. The eponymous Leonor Reyes (Sheila Francisco, Gulong) is an action-film director, albeit one whose heyday is behind her. She stopped stepping behind the camera after a tragedy, and her family has suffered in the aftermath. With her husband Valentin (Alan Bautista) gone and her favourite son Ronwaldo (Rocky Salumbides and Anthony Falcon) dead, only her other offspring, the concerned, discontent and constantly critical Rudie (Bong Cabrera), remains at her side. But Leonor still types away her ideas, and fantasises about how they'd turn out — including when she's knocked unconscious in an accident, only to wake up inside one of her scripts. To create something, such as a film, its screenplay or both, is also to become a deity in a way. That concept also lingers over Leonor Will Never Die, too, because we're all gods over our own existences. When first-timer feature writer/director Martika Ramirez Escobar has her protagonist thrust into a space that should only dwell in the character's head and pages, this constantly twisting feature ponders agency, control and the power of our choices — and, often, the lack thereof. It explores escapism and wish fulfilment as well, all while proving an inventive and pulpy action flick itself, a thoughtful family melodrama, a rumination on life and regrets, a musing about grief and, frequently, an absurd comedy. Case in point re the latter: Leonor, the cinema-obsessed filmmaker, is knocked into her coma by a falling TV. Once you've seen the film, you'll realise that that sounds like something she'd dream up herself. THE HUMANS If you're the kind of cinephile who likes to theme their viewing around the relevant time of year — holiday-related, primarily — then you're clearly always spoiled for choice. Christmas movies, horror flicks at Halloween, Easter-relevant films: you can build a binge session out of all of them (several in fact, depending on the occasion). The same applies to Thanksgiving, all courtesy of the US, and The Humans is the latest addition to the November-appropriate list. But while it ticks a few easy boxes, including bringing a family together to celebrate the date, steeping their get-together in awkwardness, and having big revelations spill out over the course of the gathering, this A24-distributed release is far creepier and more haunting than your usual movie about America's turkey-eating time of year. Based on Stephen Karam's Tony-winning play, and adapted and directed for the screen by Karam himself, it's downright unsettling, in fact, and for a few reasons. There's the tension zipping back and forth between everyone in attendance, of course; the bleak, claustrophobic, rundown setting, in a New York apartment close to ground zero; and the strange sounds emanating from other units. As a result, seasonal cheer is few and far between in this corner of Manhattan, where the Blake family congregates in Brigid (Beanie Feldstein, Booksmart) and her boyfriend Richard's (Steven Yeun, Nope) new abode. Also making an appearance: parents Deirdre (Jayne Houdyshell, Only Murders in the Building) and Erik (Richard Jenkins, Nightmare Alley), Brigid's older sister Aimee (Amy Schumer, Life & Beth), and their grandmother Momo (June Squibb, Palmer), who has dementia. No one is happy, and everyone seems to have something that needs airing — but there's always the feeling that, in any other location, this might've truly been a joyful affair. Discussions about dreams and nightmares prove revealing, but The Humans points out the thin line between both, whether we're slumbering or waking, several times over in its talky frames. MILLIE LIES LOW A scene-stealer in 2018's The Breaker Upperers, Ana Scotney now leads the show in Millie Lies Low. She's just as magnetic. The New Zealand actor plays the film's eponymous Wellington university student, who has a panic attack aboard a plane bound for New York — where a prestigious architecture internship awaits — and has to disembark before her flight leaves. A new ticket costs $2000, which she doesn't have. And, trying to rustle up cash from her best friend and classmate (Jillian Nguyen, Hungry Ghosts), mother (Rachel House, Cousins) and even a quick-loan business (run by Cohen Holloway, The Power of the Dog) still leaves her empty-handed. Millie's solution: faking it till she makes it, searching for ways to stump up the funds while hiding out in her hometown, telling everyone she's actually already in the Big Apple and posting faux Instagram snaps MacGyvered out of whatever she can find (big sacks of flour standing in for snow, for instance) to sell the ruse. There's a caper vibe to Millie's efforts skulking around Wellington while endeavouring to finance her ticket to her dreams — and to the picture of her supposedly perfect existence that she's trying to push upon herself as much as her loved ones. Making her feature debut, director and co-writer Michelle Savill has imposter syndrome and the shame spiral it sparks firmly in her sights, and finds much to mine in both an insightful and darkly comedic manner. As she follows her protagonist between episodic efforts to print the legend — or post it one Insta picture at a time — her keenly observed film also treads in Frances Ha's footsteps. Both movies examine the self-destructive life choices of a twentysomething with a clear idea of what she wants everyone to think of her, but far less of a grasp on who she really is and what she genuinely needs. While some framing and music choices make that connection obvious, the astute delight that is Millie Lies Low is never a Wellington-set copy. WE ARE STILL HERE It begins with stunning animation, shimmering with the rich blue hues of the sea. From there, everything from lush greenery to dusty outback appears in its frames. The past returns to the screen, and a vision of the present finds a place as well — and crossing the ditch between Australia and New Zealand, and venturing further into the South Pacific, is baked into the movie's very concept. That film is We Are Still Here, which makes an enormous statement with its title, responding to 250 years of colonialism. Of course, filmmakers in the region have been surveying this history since the birth of the medium, because the topic is inescapable. Combining eight different takes from ten Indigenous filmmakers instantly makes We Are Still Here stand out, however — and this Pacific First Nations collaboration, which opened Sydney Film Festival before coming to MIFF, isn't short on talent, or impact. Australian filmmakers Beck Cole (Here I Am), Danielle MacLean (Carry the Flag), Tracey Rigney (A Chance Affair) and Dena Curtis (Back to Nature) add their parts, as do New Zealand directors Tim Worrall (Head High), Richard Curtis (Nanakia), Renae Maihi (Waru), Miki Magasiva (The Panthers), Chantelle Burgoyn (short Tatau) and Mario Gaoa (Teine Sa). Some of their chapters explore heated discussions about whether to fight back, others find understanding in unlikely places, and another heads into the First World War. The same passion — the same determined survey of what it means to live in countries forever changed by James Cook's landing — beats within each, whether peering at the animated stars, trying to survive in the trenches or pondering what might come is earning attention. Understandably, it makes for not just potent but sincere, weighty and moving viewing. PIGGY Hell is other people in Spanish horror film Piggy, an observation that's been made countless times on-screen. Hell is also today's always-online world, another familiar statement. Still, a movie doesn't need to trade in completely new observations to stand out — which this bullying-revenge film definitely does in a plethora of ways. Sadly, its title stems from the taunt slung in its protagonist's direction much too often. A resident of a small, sleepy Spanish village close to the Portuguese border, Sara (Laura Galán, Unknown Origins) is called other names, too, none of them kind. She's also almost drowned by her tormentors during a trip to the local pool, where they're as cruel as anyone can be about her body. That experience comes with consequences, however, when a kidnapper strikes. Sara is a witness, the three mean girls that've made her life miserable go missing, and the right next step isn't straightforward. Galán is astonishing in Piggy, reteaming with writer/director Carlota Pereda after also starring in her 2018 Goya Award-winning short of the same. This full-length expansion is a vicious marvel, too — and it isn't afraid to get brutal either thematically or physically, or to plaster gory sights across its imagery. Indeed here, seeing a murdered corpse weighted down at the bottom of a public pool isn't a pretty vision, unsurprisingly. That said, it also pales in comparison to the nastiness continually thrust Sara's way, and to everything the film sinks a knife into about being a woman today in the process. Piggy is also astonishingly stylish, using its Academy-ratio frames to ramp up the sense of claustrophobia to an immersive degree. Pereda has enjoyed stints behind the lens since 2008, spanning television, shorts and features, but this immediate must-see deserves to put her on the path to a great genre career. LOVE AND OTHER CATASTROPHES There's no doubting that MIFF loves Melbourne. In the festival's 70th year, it's celebrating that fact in a huge way, too, courtesy of a Melbourne on Film program strand. That's the part of this year's overall festival lineup that surveys the way that the Victorian capital has been seen on the big screen over the years, complete with 25 examples — spanning everything from The Story of the Kelly Gang, aka the world's first full-length film, through to the original Mad Max. One absolute must-see, in general and as part of this MIFF showcase, hails from the 90s. The tale it tells couldn't be more relatable, even if you weren't a uni student navigating all of life's chaos three decades back. Indeed, if you only watch one movie from MIFF's Melbourne love-in, Love and Other Catastrophes is that pick — as well as a stellar 1996 debut by writer/director Emma-Kate Croghan, who was only 23 when she made this micro-budget gem. The focus: two film students, Mia (Frances O'Connor, The End) and Alice (Alice Garner, Jindabyne), who've just moved into a new place. They're in need of another housemate, and — as the title makes plain — they do indeed have love and other catastrophes to weather. For starters, while Mia's girlfriend Danni (Radha Mitchell, Girl at the Window) is keen to join them, that'd take their relationship to another level. Then there's Alice's romantic woes, involving both the resident university ladies' man Ari (Matthew Dyktynski, Offspring) and the quiet, besotted Michael (Matt Day, The Unusual Suspects). Yes, as well as being an astute and amusing rom-com, Love and Other Catastrophes is also a who's who of Aussie talent — and the picture that helped put O'Connor and Mitchell on the road to everything from AI: Artificial Intelligence and The Conjuring 2 to Pitch Black and Man on Fire. MIFF Play, the 2022 Melbourne International Film Festival's digital fest, runs from Thursday, August 11–Sunday, August 29. For further details, visit the MIFF Play website.
In 2011's The Raid, a squad of 20 elite police officers took on a tower block ruled by a crime lord, making their way up the 30 floors through a mixture of gunplay and extreme martial arts. The film was a thrilling surprise, a fun and visceral action ride that we hadn't seen in some time. In the end of that film, our lead, Rama, limps off, after encountering his estranged brother — one of the criminals! — in a tantalising promise of a story that would continue later. That story does not actually continue in The Raid 2. Though it picks up immediately after the events of its predecessor, it tells a whole new story about criminals and corruption. In fact, this film was written before The Raid, and it was only later that writer/director Gareth Evans decided to create a link. It might not have been the wisest idea. Part of the joy of The Raid lies in its almost video game-like simplicity. A bunch of cops making their way up a building, defeating nefarious figures, until they finally reach the big boss. Easily digestible. The appeal of creating a story like Infernal Affairs (or, if you prefer, The Departed) is obvious, and there's certainly nothing wrong with Evans wanting to delve deeper into the world of gangs, corruption, loyalty, double-crosses and general intrigue. The problem is that action films such as these are essentially delivery systems for the action sequences, and so the convolution in this film after the relative simplicity of The Raid is a bit jarring. I'm not one to shy away from a complex plot, but it feels tonally wrong in this film, like someone crowbarred it in, amongst the scenes of actual crowbarring. Whether or not you like The Raid 2: Berandal will depend on which direction you're approaching it from. If you're looking for a crime epic in the vein of Francis Ford Coppola's The Godfather or Kinji Fukasaku's Battles Without Honour or Humanity, you might find it a fairly unoriginal exercise. But if you're after an action film full of the visceral fight scenes that have been lacking in the recent spate of CGI spectacle, you'll get a lot of out this. Some of the sequences are truly awe-inspiring, particularly a martial arts-filled car chase. Some moments of reflective beauty demonstrate that Evans can go quiet when he needs to, and there's certainly no denying his ability to create memorable, distinctive characters. It may be missing the refreshing simplicity of The Raid, but The Raid 2: Berandal is a thrilling film that revives the visceral, tangible hand-on-hand tradition of action cinema. Get past the serpentine plot contortions and you'll have an absolute blast. https://youtube.com/watch?v=MG9uFX3uYq4
Melbourne, we have lift-off. Collingwood brewery Stomping Ground has officially opened the doors to Australia's first working airport brewery, located inside domestic Terminal 3 at the Melbourne Airport. And we'll happily snub the overpriced sushi in favour of some pre-flight beers and pub grub. The new 330-square-metre venue takes its cues from Stomping Ground's OG Gipps Street beer hall, even imagined by the same award-winning designers Studio Y. You'll find a big central bar at its heart, bold murals from local artist Justine McAllister adorning the walls and a six-hectolitre brewery system on show behind glass. Up to 30 beers will be brewed on-site each year, which means even the regular jetsetter should be able to find something new to sip each time they swing by. There are 24 taps devoted to house brews — such as the Hop Stomper West Coast IPA, sour Key Lime Smash, nutty Upside Down brown ale and nitro milk stout Bearbrass — and another six pouring wines, including drops like the Mornington Peninsula's Quealy pinot grigio. Mixed six-beer tasting paddles and takeaway tinnies are also on offer. An all-day food lineup from Stomping Ground Executive Chef Ben Isaacs features breakfast options (available 6am–12pm), alongside contemporary pub-style share plates and mains. Fuel up for that early morning flight with the likes of a passion fruit bircher or go large with the brewer's brekkie — a hearty serve of bacon, mushrooms, roast tomato, andouille sausage, kale and eggs. Later in the day, there are bites like a classic chicken schnitty, a twice-cooked lamb shoulder with tahini dressing, ricotta dumplings and grilled haloumi with figs. The new permanent venture follows Stomping Ground's popular summer pop-up beer garden, which graced a space in between Terminals 3 and 4 in both 2017 and 2018. It's also just one part of a major hospitality overhaul for Melbourne Airport's Terminals 2 and 3. Acclaimed chef Shane Delia will open his new concept Moors by Shane Delia here, Scott Pickett is set to unveil a new outpost of his produce-driven Pickett's Deli & Rotisserie and coffee favourites Cobb Lane, Axil Coffee Roasters and Proud Mary are also set to call the airport home. Over in the international terminal, you'll find a new outpost of St Ali, too. Find Stomping Ground in Terminal 3, Pier E (before Gates 4 and 6) at Melbourne Airport. It's open from 5am–9.30pm daily.
It's with the swirling, piercing tones of a string-filled overture that The Childhood of a Leader begins. Ominous, unsettling and reminiscent of many a horror movie, the distinctive music provides quite the introduction — but then, that's what this film is all about. Actor turned first-time director Brady Corbet (Clouds of Sils Maria, While We're Young) announces his arrival as a filmmaker with a thoroughly ambitious effort about the youth of someone destined to become a fascist force to be reckoned with. After kicking things off in such spectacularly sinister fashion, Scott Walker's stunning score ushers viewers through a series of chapters, or 'tantrums', that comprise the film's narrative. At its centre is a ten-year-old American boy (Tom Sweet) growing up in France in 1919. His father (Liam Cunningham) works for US president Woodrow Wilson in the aftermath of WWI, helping to establish what will become the Treaty of Versailles. His mother (Bérénice Bejo) is distant and stern, so he warms to his French tutor (Stacy Martin) — a little too much, in fact. The time, the place, and the treaty will no doubt make viewers think of a particular historical figure who went on to devastate Europe in the 1930s and 1940s. Watching to see how your suspicions play out is part of the thrill of The Childhood of a Leader, although don't expect Corbet to play with the past exactly as we know it. Real-life parallels remain obvious, but it's the themes and ideas, rather than the specific details, that carry the most significance. Given everything that's happened in global politics since the film was shot in 2015, they're also what proves the most frightening. How does evil take root, be it in one person or an entire society? Does nature triumph over nurture? Does apathy and malaise breed something much more insidious than mere contempt and discontent? Corbet brings all of these questions to the fore – and while he's not particularly subtle about it, his approach works. An early line of dialogue, taken from a famous phrase coined about WWII, couldn't be more telling. "That was the tragedy. Not that one man has the courage to be evil, but that so many have not the courage to be good." That observation is uttered by none other than Robert Pattinson, who plays a friend of the boy's father. His role is a small but pivotal one, and will keep viewers on their toes — scrutinising each lavish frame as they wait to see if and when he reappears. The Childhood of a Leader demands that kind of close attention, and rewards it as well. You have to keep your wits about you when a seemingly ordinary situation slowly but surely turns into a nightmare. https://www.youtube.com/watch?v=CEa9vg_OrSA
When a beloved TV show ends, it doesn't always say goodbye forever. We live in a golden age of revivals, spinoffs, sequels and remakes on both the big and small screens, after all — and when a television series is a big hit, it rarely goes away quietly. Take Game of Thrones, for instance. Before it even came to an end back in 2019, HBO was looking at spending more time in Westeros. According to George RR Martin, however, the US cable network might be scaling down the future of the GoT franchise. In an end-of-year update posted to his blog to farewell 2022, the author who gave the world Game of Thrones to begin with — and who has been working on the sixth novel in the A Song of Fire and Ice series for more than a decade — announced that HBO has currently scrapped some of the floated GoT spinoffs. Mentioning "several of the other successor shows that we're developing with HBO" as part of a list of things he's working on in 2023, Martin said that "some of those are moving faster than others, as is always the case with development. None have been greenlit yet, though we are hoping… maybe soon". He continued: "a couple have been shelved, but I would not agree that they are dead. You can take something off the shelf as easily as you can put it on the shelf. All the changes at HBO Max have impacted us, certainly." That's all very vague, but plenty has been happening at HBO and its US streaming platform HBO Max since parent company WarnerMedia merged with Discovery in 2022. Previously renewed shows have been cancelled, such as Minx. Films already shot and nearing release have been axed, like Batgirl. And, HBO Max's online catalogue has also been getting smaller, even removing HBO series. Martin didn't reveal which potential Game of Thrones spinoffs aren't presently going ahead, although one is clearly safe: House of the Dragon. One of 2022's must-see and most-talked-about shows, it's been renewed for a second season, and that episode order looks likely to stick. Given that chatter about expanding Game of Thrones' on-screen world has been going for more than half a decade, and how many different new shows have been put forward over that time, needing a refresher on what could be in the works anyway with is understandable. That list includes a Jon Snow-focused spinoff with Kit Harington (Eternals) reprising his famous role, novella series Tales of Dunk and Egg and an animated GoT show. Beyond that, it's also been reported that another three prequels have been under consideration. Whichever of the above don't end up coming to fruition, our days of watching fiery fights between famous Westerosi names — and games over who gets tot sit on the Iron Throne — are still far from over. Game of Thrones was that much of a hit, and House of the Dragon has proven the same so far. Until House of the Dragon season two hits, or any other on-screen dances with dragons are confirmed, check out the season one trailer below: House of the Dragon streams Down Under via Foxtel and Binge in Australia, and SoHo, Sky Go and Neon in New Zealand. Images: HBO.
The common wisdom, as taught to us by John Howard, that most progressive of reformers, is that less guns on the street equals less gun violence. Seems like a simple enough equation. It seemed to work in Australia after the 1996 Port Arthur massacre and its been the driving idea behind New York's tighter gun legislation. Yet in 8 unbelievable seconds all of our assumptions about gun control and gun legislation became frighteningly and irrevocably obsolete. Thanks to a little thing called 3D printing, a group of Texan anarchists and libertarians known as Defense Distributed have made printable weapons not only conceivable but 100 percent possible. With nothing more than a few-thousand-dollar printer, a couple chunks of plastic and an online file (which you can download for free right now!), you can make a lethal weapon from the comfort of your own living room. As of March, more than 10,000 people had already downloaded one such gun-making file. Unsurprisingly, this development has got US legislators going into overdrive. Earlier this week, New York became the first state to take decisive action on the issue introducing a bill that would make it illegal for anyone but a licensed gunsmith to create a firearm using a 3D printer. The bill also includes a number of important restrictions such as compulsory police notification, registration of any weapon within 72 hours of creation and limits on bullet production. California is expected to introduce a similar bill in the coming weeks. While such legislative action is understandably important, the New York bill ain't about to put a stopper on the production of homemade weapons. According to New York University's resident gun law expert, James B. Jacobs, the Second Amendment will be the least of legislators' worries. He argues that while printable weapons can be restricted in much the same way as assault weapons have been, banning the files that allow you to print 3D guns is a much more difficult prospect. "The First Amendment will not permit banning posting software that would allow 'printing' such a weapon, just as we can't ban Al Qaeda literature on building pipe bombs,” Jacobs says. Whether this technology will make any discernible difference to America's already gun-enriched culture remains to be seen, but for the moment the thought of 'gun labs' popping up in the garages of wayward youths across the country has me scared shitless. Between this and a few fairly spine-tingling videos, it seems fair to say that the possible repercussions of having printable weapons are only just beginning to emerge.
Fear, dread, tension, apprehension, just being creeped out — they're all strong emotions. They're also exactly the types of reactions that Darkfield and Realscape Productions trade in. The two companies have been teaming up for a couple of years now, with UK creators Darkfield first collaborating with the Melbourne-based Realscape Productions on Seance, Coma and Flight, those eerie shipping container installations that have popped up around the country. Then, when the pandemic hit, the pair pivoted to at-home audio experiences. If you've listed along to Double, Visitors and Eternal as part of the Darkfield Radio series, you'll know that putting people on edge is firmly on the agenda here. With their latest Darkfield Radio project, Darkfield and Realscape aren't messing with their successful formula. So, audiences can expect another unsettling experience designed to be listened to at home. But this duo never serve up the same thing twice, even if their current works all spin nerve-jangling tales and unfurl creepy audio experiences. With Knot, which is currently running each Friday, Saturday and Sunday until Sunday, September 30, you don't just sit in one place, don your headphones and listen attentively, for instance. Initially you need to head to a park bench to listen in — still wearing those headphones, of course — and you'll want to sit in a car after that. For the last section of this three-part experience, you'll then get comfy in a room in your house. To get the full experience, you need to work through all three of Knot's sections in one evening — untangling them in your head, naturally. Darkfield and Realscape always keep the minutiae of their shows close to their chests, so that audiences experience them for themselves while listening, but they have released one clue for Knot: "Here I am, I have come from nothing, created in this moment, as your brain improvises me into existence, improvised into existence... but with no hidden depths." "Season one exposed audiences to the mysterious and supernatural inside their homes, magnified by Darkfield's signature 360 degree binaural sound,", said Realscape Productions Amy Johnson. "We're looking forward to getting audiences outside of their homes for Season two — in COVID-safe settings of course — and pushing them out of their comfort zones even more." Images: Empty Bottles Media.
For a cocktail bar, clocking up ten years of life is no mean feat, especially given the many months of curveballs COVID-19 threw our way. So the fact that acclaimed Fitzroy cocktail haunt the Everleigh is gearing up to turn the big 1-0 is cause for serious celebration — two months of celebrations, in fact. Yep, the Gertrude Street mainstay from Michael and Zara Madrusan (Made in the Shade — Heartbreaker, Connie's, Bar Margaux) is rightly going all out for its 10th birthday, with a slew of festivities planned for the coming weeks. [caption id="attachment_854509" align="alignnone" width="1920"] Zara and Michael Madrusan[/caption] It all kicks off with a bar takeover of somewhat epic proportions — famed New York bar Attaboy will descend on the venue for a one-off night of very fine boozing, on Sunday, May 29, helmed by owners Sam Ross and Michael McIlroy. Not just an excuse to indulge in some world-class sips, the event will also see Madrusan getting back to his roots, with the owner-bartender a proud alum of Milk and Honey, Attaboy's pioneering predecessor. There'll be four ways to enjoy the Attaboy takeover: a front-row seat at the bar with a signature bottled cocktail included in your $150 ticket, a table for two in the main bar ($75pp), a table in the drawing room ($75pp), or, if you've got a crew of 10 to 15, an exclusive group-friendly spot upstairs ($75pp). All tickets include a drink on arrival, two signature Attaboy cocktails and an array of snacks, served with the Everleigh team's usual hospitable flair. And if you miss out — or simply can't get enough — the venues have just dropped two signature bottled Attaboy cocktails, available on the website, one designed by McIlroy and the other by Ross. You'd best hurry though, as there's only 100 of each on offer. [caption id="attachment_854514" align="alignnone" width="1920"] One of the Attaboy x Everleigh cocktails[/caption] The festivities continue on Wednesday, June 29, with the return of the Everleigh's Classic Cocktail Book Club. Madrusan will join a bunch of special guests for an entertaining, cocktail-matched deep-dive into historic tome, The Bar-tender's Guide or How to Mix Drinks, by Jerry Thomas (1862). And on Thursday, July 28, the bar's tenth anniversary gala will deliver an evening of signature sips, live entertainment and surprises, in what's set to be one of the most memorable parties of the year. More on that to come. The Everleigh is among Melbourne's most esteemed cocktail spots and has made many an appearance on the World's 50 Best Bars List during its life. Catch the Attaboy takeover at the Everleigh, 150-156 Gertrude Street, Fitzroy, on May 29. For more info and tickets to all events, see the website. Images: Gareth Sobey, Pete Dillon, Jake Roden.
Modern Vietnamese has found a sprawling new home in Elsternwick, with the opening of the latest edition of Hanoi Hannah. Sitting just up the road from the original restaurant, which has shut its doors for good, the roomier digs mark a big expansion for the well-loved Asian eatery. Double the size and boasting room for 100, Hanoi Hannah Vol. II comes complete with an all-weather al fresco space, a hefty bar dotted with ringside seating and an impressive open kitchen that takes pride of place. Fans can get also excited for a fresh haul of contemporary Vietnamese dishes, across an all-new menu offering. Share-friendly snacks include the likes of grilled chicken ribs with lime salt and pickled chilli, red oil wontons matched with a Szechuan chilli vinegar, and a salmon tartare starring pineapple and betel leaf. Heartier appetites will find plenty to love about creations like the lemongrass-spiked claypot mussels served with crusty banh mi for dipping, a dry-aged roast duck with five spice and crunchy noodles, and the aromatic masterstock-braised crispy chicken. Lively salads and a hefty lineup of rice paper rolls keep things fresh. The fun-loving streak remains and the bar's happy to comply, offering a range of easy-drinking tinnies, a tidy list of wine and punchy cocktails for all occasions. Keep the chill at bay this winter with sips like the Spicy + Stormy, crafted with lime, ginger beer and chilli-infused rum, and a rich Maple Old Fashioned. Hanoi Hannah Vol.II is open now at 306 Glenhuntly Road, Elsternwick. Head in from noon–11pm Sunday through Thursday, and from noon till late Friday and Saturday.
The predictably sole stay available in the Zig-Zag-occupied Republic of Zubrowka, Wes Anderson's mighty Grand Budapest Hotel is quietly killing it over at Trip Advisor. With its own page up for user reviews, photos and generous applause for its cable car access, mountaintop location, satisfying concierge and significant amount of available rooms, the fictional hotel is now rated higher than Paramus, New Jersey's Holiday Inn Express. Seems the marketing team have pulled one humdinger of a stunt, celebrating the UK DVD/Blu-ray release of The Grand Budapest Hotel. If only Trip Advisor had been around for The Shining, they might have pulled a few more winter guests. The official description, as provided by the 200-room 'hotel' reads as follows: Located in the mountainous Republic of Zubrowka and reached by funicular railway The Grand Budapest Hotel has all the advantages of being secluded amongst nature, while having attractions including the Kunst Museum and Mendl’s Patisserie close at hand. Famed for its staffs’ meticulous attention to detail and commitment to the wellbeing of its residents this hotel proves to be the perfect retreat — you’ll never experience anything quite like the Grand Budapest Hotel. True to Trip Advisor form, the comments section is the best bit. Whether fuelled by fans or the marketing team themselves, there's some chortleworthy digs in there for fans of Anderson's wonderfully whimsical hotel: "I am a lady in my 80s and I had the pleasure of staying in this wonderful hotel. Charming, luxurious, soothing, breathtaking... these are just some of the words I'd use to describe the concierge. Simply put, Gustav blew my mind. The hotel wasn't bad either." "Its best days may be behind it, but it's at least quiet, and you never have to wait for a table at dinner time." "As much as I enjoy the solitude, though, it's not perfect. The elevator has the odor of some strong cologne that just won't dissipate, and every so often a VERY creepy old man wanders around and sleeps in the servant's quarters. I'm sorry, but somebody like that has no business amongst the classes that would be staying in a grand hotel." "One of the few genuinely historic buildings remaining in Zig-Zag-occupied Zubrowka. The concierge is lazy, but also quite accommodating." Marketing teams for The Exotic Marigold Hotel, Bates Motel and Hotel Transylvania are face palming right now. Via Indiewire and IWATCHSTUFF.
Whatever else the past couple of years have served up, it has been an impressive time for folks who like staring up at the sky. 2016 ended with a huge supermoon that had everyone looking to the heavens, then 2018 began with an extremely rare super blue blood moon (a supermoon, a blue moon and a total lunar eclipse all at once). Next, at the end of July, an epic lunar eclipse will mark the next notable celestial happening. WHAT IS IT? On Saturday, July 28, earth will bear witness to the longest lunar eclipse of this century — with the penumbral eclipse lasting just shy of four hours (236 minutes, to be exact) and the total lunar eclipse spanning 103 minutes. If you're wondering what the difference is between the two (because we're all more familiar with The Mighty Boosh's take on the moon than actual lunar terms, aren't we?), a penumbral eclipse is when the earth's outer shadow falls on the moon's surface, while a total lunar eclipse involves the moon passing directly into the earth's actual shadow. WHAT'S SO SPECIAL ABOUT IT? As well as offering a great excuse to go stargazing, the 103-minute total eclipse pips the 100-minute event that took place on June 15, 2011 — although it falls just short of the 108-minute event on July 16, 2000. That said, eclipses that last this long are rare. When the super blue blood moon came around earlier in 2018, its full eclipse only lasted 72 minutes. In fact, if you miss it, you'll need to wait until 2029 for a 102-minute total lunar eclipse, with others lasting the same duration expected in 2047 and 2094. Nothing that reaches 103 minutes will in length will occur again this century — and no total lunar eclipses of any length will be visible from Australia again until May 2021. During the main event, the moon will also turn a blood-red shade thanks to sunlight that's filtered and refracted by the earth's atmosphere. So as well as a total lunar eclipse and a full moon, it'll be a blood moon as well. WHEN CAN I SEE IT? Australians will be able to spy the penumbral eclipse from 3.14am local time and the partial eclipse from 4.24am, before the full thing at 5.30am. If you're not able to tear yourself out of bed that early on a winter weekend morning, the maximum eclipse will occur at 6.21am. We won't be able to see the end of it, however, as the moon will be below the horizon when the full, partial and penumbral eclipses end (at 7.13am, 8.19am and 9.28am local time, respectively). For the full details, timeanddate.com has put together a handy to-the-minute schedule of when the eclipse will be happening in Sydney, Melbourne and Brisbane. [caption id="attachment_678443" align="aligncenter" width="1080"] Sydney total lunar eclipse times via timeanddate.com[/caption] Have your cameras at the ready, obviously — and see if you can outdo the previous big batches of supermoon snaps and super blue blood moon pics. WHERE CAN I SEE IT? Being in the southern hemisphere, we get some of the best views in the world — weather permitting, of course. Everyone in Australia should be able to catch a glimpse, but, even so, if you're living in the city, it would be best to as far away from light pollution as you can. Unsurprisingly, possible showers are predicted for the day in Sydney and Melbourne, which could have an impact upon visibility; however Brisbane is supposed to be mostly sunny. For Sydneysiders looking for a specific stargazing (or moon-viewing) spot, Sydney Observatory will be open from 5am. If you can't get a clear view, The Virtual Telescope Project will be live-streaming what they're calling 'The Night of the Red Moon and the Red Planet' – because Mars will also be visible in the sky — from the skyline above Rome from 4.30am AEST. Via Space.com and timeanddate.com.
If your life could use a bit more Pixar magic at the moment, then Disney is here to help, with the Mouse House rushing the beloved animation studio's latest film to Australian and New Zealand audiences via digital rental and its streaming platform Disney+. Featuring the voices of Chris Pratt, Tom Holland, Julia Louis-Dreyfus and Octavia Spencer, Onward was originally slated to release on the big screen Down Under on Thursday, March 26; however those plans changed when cinemas were ordered to shut. While the movie did play in Australian theatres for a few days over the weekend immediately beforehand, giving dedicated audiences a sneak peek, cinemas were hardly packed at the time — so, if this elf-filled adventure is still on your must-watch list, you're not alone. Pixar fans will be able to get their animation fix via video on demand from Friday, April 3, which'll require paying separately to view the film. Or, if you're already a Disney+ subscriber — or you've been thinking of becoming one — you'll be able to watch Onward on the company's own streaming platform as part of its regular package from 6pm on Friday, April 24. Story-wise, Onward tells the tale of brothers Ian and Barley Lightfoot (Marvel co-stars Holland and Pratt), two teenage elves who've grown up without their dearly departed dad. Thanks to an unexpected flash of long-dormant magic, they're given the chance to spend one last day with their father — but, in order to do so, they'll have to undertake a perilous quest in Barley's rundown van Guinevere. From the above description, you might've noticed that Pixar's usual formula isn't at play here, with the company branching beyond the "what if toys/cars/rats/robots/monsters/feelings had feelings?" setup that's served it so well in everything from the Toy Story franchise to Inside Out. Rest assured, however, that Onward's central elf siblings do indeed experience a whole heap of emotions as they cast spells, try to decipher mysterious maps, endeavour to avoid curses, explore their complicated brotherly relationship and team up with a part-lion, part-bat, part-scorpion called The Manticore (Spencer). Fast-tracking Onward to digital platforms is the latest example of film industry's efforts to adapt to the changes forced by the spread of COVID-19. In Australia and New Zealand, Disney follows fellow distributor Roadshow's lead — with the latter also speeding up the online release of a number of its big titles as well. Check out the trailer for Onward below: https://www.youtube.com/watch?v=HxKXiQvyG_o Onward will be available to purchase separately on digital platforms in Australia and New Zealand from Friday, April 3, before hitting Disney's streaming platform Disney+ as part of its regular package at 6pm on Friday, April 24. Images: © 2019 Disney/Pixar. All Rights Reserved. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Having departed from its initial spot in Richmond, Fabric Deluxe has called Footscray home since early 2018. Undeniably passionate about everything sewing and fabric related, Fabric Deluxe sets out to engage budding seamsters from the younger generations who are searching for a fun and accessible skill to learn. For those that are looking to pick up a new hobby or complete their latest sewing project, Fabric Deluxe has just about every imaginable colour, pattern and haberdashery item you could ever need.
One of Melbourne's favourite lockdown success stories is this brainchild of Federico Congiu (Di Stasio) and Manato Deleon (DOC Pizza & Mozzarella Bar, Shujinko). The pair's ramen pop-up Parco Project — and signature lobster ramen — earned cult status in 2021. Now, the concept has spawned a permanent bricks-and-mortar ramen bar in Moonee Ponds, an intimate 19-seat restaurant that nods to the tiny venues of Tokyo. Here, Congiu draws on his time spent mastering the art of ramen while working in Miyazaki, Tokyo, Sapporo and Abashiri, to deliver a lineup of full-flavoured soups, rice bowls and sides made to crowd-pleasing recipes. The ramen features a clean and natural umami kick thanks to the use of house-made koji — a traditional Japanese ferment or edible fungus made from mould-inoculated grains. Often used to create ingredients like miso, sake and soy sauce, the product lends Parco's soups an extra level of flavour and is even thought to aid digestion. On the menu, you'll catch four ramen varieties, headlined by the signature offering — a thick chicken broth with spinach, dashi-marinated egg and either charred pork or chicken cha siu ($18.50). For an extra fix of richness, try the black truffle ramen — boasting pork neck cha siu and dashi egg ($19.50) — or fire things up with the addition of Parco's house 'spicy paste' to any ramen. You can also get your mitts on a bowl of that fan-fave lobster ramen ($23). Outside of the soups, you can dig into a range of donburi bowls, plus snacks like karaage chicken ($12), gyoza ($9.80) and parmesan-doused truffle fries ($7). BYO booze for an easy $5 per person.
As we move into spring, the days become longer, the warmth begins to return to the evenings, and we dare to bare arms. And so, "Let us toast to animal pleasures, to escapism, to rain on the roof and instant coffee, to unemployment insurance and library cards, to absinthe and good-hearted landlords, to music and warm bodies and contraceptives... and to the 'good life', whatever it is and wherever it happens to be." So says Hunter S. Thompson, the author of The Rum Diary, after which this Fitzroy watering hole is named. In the spirit typical of Thompson's writing — fast paced, first person, participatory and energetic — The Rum Diary pays a delightfully appropriate homage to its namesake's author, seven nights a week. Walking through the wooden doors (pull, don't push) you'll clock the shelves behind the bar, which are absolutely heaving with rum. One hundred and seventy different varieties of rum, to be precise. The guys behind the bar will doubtless be muddling, shaking or concocting a delicious something or other, so take a seat and peruse their cocktail list while you try to decide whether you want rum, rum, or rum. Or perhaps something with rum. If you don't want rum, of course they do have a veritable plethora of other varieties to choose from, so don't fret. The team at the Rum Diary, headed up by owner Hamish Goonetilleke, "create excitement around rum, bringing together the best people, atmosphere and experience in which to share it". So share we shall. And in the spirit of inclusiveness, The Rum Diary have cordially opened their specs book and given you five of their best cocktails for you to try at home. Of course, if the idea of creating all of this yourself is too much for you to bear, just head in and have the experts make it for you. Guatemala Soup First up: The Guatemala Soup. Perfect for sipping while you're contemplating the mysteries of life, arguing with a mate about Carsei Lannister's fundamental character flaws, or when you just want to enjoy the affable atmosphere. 30ml Zacapa 23 10ml Amaro Montenegro 10ml Pedro Ximénez 1 dash Cacao Blanc 2 dashes of old time aromatic bitters 10ml water Top with sour cherry foam. Stir down in a rocks glass and garnish with orange zest. Hibiscus Knickerbocker The devilishly tasty Hibiscus Knickerbocker is a rum-heavy bevvy with just a hint of hibiscus, which really drives home the deliciousness of the Angostura. Angostura is rich, mellow smooth rum with chocolate, spice and vanilla flavours. Highly recommended for when you want to look suave. 60ml Angostura 5 year old 25ml lime juice 20ml hibiscus syrup 4 dashes Angostura bitters Shake and strain into a martini glass with lime twist. Foxy Bingo The perfect spring beverage, the Foxy Bingo will be the one you choose when you want to sit on the outside tables and watch the world go by on Brunswick Street. Lightly sparkling and just slightly bitter, it's the drink you drink when you don't want to think. Fabulous, darling. 45ml Plantation 3 Star White Rum 15ml Aperol 25ml lime juice 20ml Pommery Rose 2 dashes peach bitters Build in champagne flute and top with sparkling. Dark 'n' Stormy Okay. Showstopper time. The Dark 'n' Stormy is the tart friend you wish you had by your side when you were trying to get the courage to quit your job. You just know that this drink is going to sass you — plus it has the added benefit of making you feel virtuous, 'cos it's got ginger in it, and ginger is good for you, okay? Ginger is an anti-nausea aid as well, so maybe you won't have a hangover tomorrow. Maybe. 45ml Gosling's Black Seal Rum 1 dash Angostura aromatic bitters 1 glug lemon juice Top with homemade ginger beer and coriander. Build in glass and garnish with lime wheel. Rum Negroni The classic Negroni, rummified. Delightful and definitely a sipping drink, the mellow vanilla of the rums mixed with the Campari and Aperol has the power to make you feel like you could be somewhere canal-side in Venice if you squint a fair bit (and if you could just stop your friend from talking about Dancing With The Stars). 10ml Angostura 5 year old 10ml Plantation Original Dark Rum 20ml Antica Formula 10ml Campari 10ml Aperol Stir down in rocks glass and garnish with an orange twist. Well, that’s it: five of the best from the Rum Diary to add to your spring cocktail arsenal. But remember, it's always easier for someone to make it for you, and then all you have to do is raise hand to mouth. Ugh, isn’t life HARD sometimes? The Rum Diary, 334 Brunswick Street, Fitzroy, (03) 9939 0616, rumdiarybar.com.au Negroni image thanks to Geoff Peters, Dark 'n' Stormy image thanks to michelle.schrank.
If you're a fan of watching smart, rewarding, deep-thinking science fiction, then you're probably a fan of Alex Garland's. Originally an author, he initially came to fame as the writer of 90s bestseller The Beach, before moving into screenwriting with the script for 28 Days Later. More screenplays followed, including Sunshine, Never Let Me Go and Dredd — but it was his 2014 directorial debut Ex Machina that showed the extent of his filmmaking prowess. Annihilation proved a highly worthy addition to his resume in 2018, too, even after it was shuffled onto Netflix rather than screening in cinemas in much of the world. Given his track record so far, any new project by Garland is cause for excitement. In 2020, direct your enthusiasm towards new eight-part series Devs. The writer/director is making the leap to television with a cast led by Nick Offerman — and with Ex Machina's Sonoya Mizuno, Love's Karl Glusman, American Horror Story's Alison Pill and Bad Times at the El Royale's Cailee Spaeny also featuring. Due to start streaming in the US in March — with availability Down Under yet to be confirmed — Devs begins with a premise that doesn't sound all that different from Ex Machina. At a quantum computing company called by Amaya, which is run by an unnerving CEO called Forest (Offerman), things don't seem quite right. That especially seems the case to computer engineer Lily Chan (Mizuno), who believes that Amaya is responsible for the disappearance of her boyfriend. The more she investigates, the stranger and more sinister it all appears, as seen in the show's first trailer. Expect conspiracies, futuristic tech thrills, dark yet vivid images and Offerman sporting a long-locked hairstyle that Ron Swanson surely wouldn't approve of — plus, as the series' sneak peek demonstrates, killer set design. Naturally, the bulk of Devs' mysteries are being kept close to Garland's chest until the show premieres, but the initial teaser still paints an immensely intriguing picture. Check out the trailer below: https://www.youtube.com/watch?v=t8klax373ds Devs starts streaming in the US on March 5 via Hulu, with the series' air date Down Under yet to be revealed. Image: Miya Mizuno, FX Networks.
Memes might not be the first thing that spring to mind when you're thinking of ways to stage a hard-hitting political protest (you know, those times when you do that). But this unassuming cultural phenomenon, initially reserved for LOLcats, has spent over a decade mutating into a medium that netizens now actively use as a form of direct political expression. Straightforward and effective in their output, memes usually consist of a simple (or roughly photoshopped) image accompanied by some witty text using the IMPACT font. Memes are more and more becoming the people's answer to the realm of government-issued propaganda, distilling an issue down to its core message and dispersing it far and wide. Here are five of the best political memes that have recently infected social and mainstream media. CHINA: Free CGC So it would be super-embarrassing if one of the world's largest and most powerful military and security powers let an activist escape house arrest, right? And even more so if he was blind, right? Well this is what happened in April last year, when blind Chinese activist Chen Guangcheng escaped from house arrest right under the noses of officials. In an effort to keep word from spreading, search terms including his name, as well as related terms like 'CGC' and 'the blind man' were quickly blocked by Chinese online censors. But many web-savvy internet users and Chen supporters came up with creative ways to spread the message and to show their support. 'Free CGC' became a slogan attached to this appropriated KFC ad, which features Chen in his signature sunglasses, looking like the archetypal Western hero, Colonel Sanders. The meme proved a powerful way of dodging The Great Firewall, as images, unlike words are not easily searchable (for similar reasons, our favourite giant rubber duck became a subversive symbol this year). It soon went viral on Weibo (China's Twitter) and everybody found out about what happened. Here's the punchline: Chen sought protection from the US Embassy in Beijing, who allowed him to then seek asylum in the US. Ironic, as whistleblower Edward Snowden recently travelled to Hong Kong to seek asylum from US prosecution for similar offences. Bonus Snowden Meme: TURKEY: The Standing Man Throughout June, a protest movement formed in opposition to Turkey's ruling AKP (Justice and Development Party), who announced plans to redevelop the secularly symbolic Gezi Park located in Taksim Square with an Ottoman-era barracks and a mosque. The initial small-scale protest snowballed into nation-wide anti-government demonstrations after a heavy-handed police response left many seriously injured. But following a wave of arrests in an effort to clear out Taksim Square, performance artist Erdem Gunduz, now known as 'the Standing Man', staged an eight-hour silent vigil where he stood in Taksim Square facing a portrait of Kemal Ataturk, the founder of modern, secular Turkey. This simple symbolism inspired hundreds to join him, and has generated "the standing man" meme on social media. It's kind of like planking's cool vertical brother. Some of the images that best illustrate the development of this meme are collected in this Atlantic article. https://youtube.com/watch?v=QMjK0nmwzKU EGYPT: Harlem Shake In February, an Australian teen known on YouTube as TheSunnyCoastSkate, uploaded this averagely amusing 'Harlem Shake' video, triggering a mass of imitation uploads. Within two weeks, YouTube reported around 12,000 Harlem Shake videos had been posted, amassing more than 44 million views. Whilst the vast majority of these videos are by bored university students in need of an excuse to get krunk and semi-naked in their bedrooms, the video meme has also served as an avenue for political expression in Egypt. In March, protestors in Cairo staged a 400-strong flash mob-style Harlem Shake in front of the main office of the Islamic Brotherhood in what has been dubbed a "satiric revolutionary struggle", sending a powerful anti-conservative message not just to president Mohammed Morsi but also reinvigorating the country's weary press-corps. #TweetLikeAForeignJournalist Disappointment high among Kenyans as electoral body denies them chance to rig elections. #KOT — Major Mouz (@mosesmuya) March 4, 2013 KENYA: #tweetlikeaforeignjournalist In 2007, foreign journalists were accused of misreporting the Kenyan elections, exaggerating and presenting inaccurate information for the sake of dramatic narrative. So what did those savvy Kenyans do to combat the threat of misrepresentation in this year's March General elections? They used the hashtag #TweetLikeAForeignJournalist on Twitter to generate satirical election news. The meme spread rapidly amongst Kenya's 12 million Twitter users, with the groundswell catching out the global media to force more balanced reporting. #TweetLikeaForeignJournalist: Peace erupts in various parts of Kenya. The government is asking the international community to assist. — Vicarius Filli Dei (@Vicarius) March 7, 2013 #TweetLikeAForeignJournalist several foreign journalists reported dead from boredom across the country. — Miss Kibui (@rouzieroze) March 7, 2013 AUSTRALIA: Kevin Rudd wins at Game of Thrones Everyone's saying it, Australian politics is the new Game of Thrones, which is sad for Julia Gillard because she used to like Game of Thrones. But let's face it, K-Rudd has returned to the throne. And with him has arrived a slew of punchy memes, cutting through the onslaught of media babble surrounding the spill, poking fun at the ridiculous state of Australian politics. What with all the recent frontbench backbench slaying, we're just glad nobody's memed it with Texas Chainsaw Massacre. Yet. We'll leave you with these.
First birthdays are not all pleasant. Banal observations like "I can't believe it's only been a year!" fly out of people's mouths as unwelcomely as the projectile vomit now covering your brand new button-up (thanks, birthday boy). But upon hearing that Spotify Australia turned one today, we couldn't help but join the chorus of disbelief. It's only been a year? Really? It's hard to remember life before Spotify. The days of trying to 'unmax out' your maxed-out credit card before clicking 'purchase'. Of artists watching through tears as their life's work is torrented to the masses. A year later, it's hard to imagine anything other than clicking that little green button to soak our ears in unlimited, legal music juice. We might not yet have struck the perfect balance between access for audiences versus payment for artists, but it feels like we're getting closer. So for that we'd like to say 'Happy Birthday, Spotify'. Now today, just like the last occasion on which you celebrated a first birthday, is all about gushing and goggling over pretty pictures. And, proud mother that she is, Spotify Australia has shared this super-amazing infographic which you just have to see. The stats are pretty friggen incredible — Australian Spotify users have streamed a mammoth 42.5 million hours of music and have created over 14 million playlists over the past 12 months. (That's over 4000 years of music — which, if played in order, would take about 50 generations to finish. We're talking 6013, guys.) Of those 14 million playlists, over 240,000 playlists have been created about love, romance and/or sex; 150,000 for exercise; and 65,000 for getting through the work day. Also, a whopping 230,000 were created for travel. So if you've ever wanted to scream, "I get it, arts student, your European experience makes you singularly unique", you at least have proof that their playlist probably wasn't. American duo Macklemore & Ryan Lewis and Icelandic indie-pop-folksters Of Monsters and Men dominated our listening habits, taking out Most Streamed Artist and Most Streamed Track/Album respectively. We can now also confirm that Australians like Flume. A lot. Not only was he the most streamed local artist, but he took out three of the top five local tracks of 2012/13. This had little to do with the Spotify habits of Prime Minister Julia Gillard, who eschewed the young producer for the likes of Bruce Springsteen and Midnight Oil. We can't confirm if Julia actually enjoys Midnight Oil or is just playlisting them for the unity of the federal front bench.
Fresh from curating Laneway's gourmet food menu, acclaimed Longsong chef David Moyle will join Flinders Island residents for the inaugural Food and Crayfish Festival. Taking place across April 14 and 15, the weekend festivities will focus on a special long lunch, celebrating the wealth of fresh produce and ingredients available on the island. To cook up a storm, Moyle has invited fellow chefs James Viles from Biota, Mark LaBrooy from Three Blue Ducks, and Matt Stone and Jo Barrett from Oakridge Wines to join him in creating the April 14 beachside feast. In line with the festival's first theme —Mother Nature + Human Nature — the quintet will spend a week on the island visiting local producers, foraging and diving to create the perfect menu. "It is such a great treat as a chef to be able to cook dishes directly from the location and connected to the land you are standing on" Moyle noted. Because all great meals need a nice drop to go with them, sommelier Alice Chugg from Hobart bar and bottleshop Ettie's will join the chefs, matching their culinary delights with a selection of Tasmanian wines and beverages. Fish for the festival will come from the island's only crayfish fisherman, 74-year-old Jack Wheatly, who captures the ocean's bounty like his father and grandfather before him. Other celebrated ingredients to be incorporated into the festival include saltgrass lamb, wallaby and mutton bird. The exact beach location of the lunch will be revealed 48 hours before the event, taking into account the microclimate. Islanders will lend chairs from their own dining tables for the event, and the local 'Men's Shed' is crafting the long tables for the lunch. Open to only 100 'off-islanders', tickets for the lunch — which has a dress code of barefoot cocktail — are currently available for the grand price of $240. Flinders Island Food and Crayfish Festival takes place across April 14 and 15 on Flinders Island. Visit www.visitflindersisland.com.au for tickets and further details. Image: Kara Hynes.
Once fairly short on applaudable dining destinations, the northside suburb of Preston has been busy steadily carving out a different story. Now it boasts neighbourhood food gems aplenty and is welcoming more to the fold each year. The area's multicultural community has helped spawn a diverse lineup of top-notch dining offerings, too, from modern Australian burger joints packed every night of the week, to pizza-slinging cocktail bars to cheery noodle houses dishing up an array of authentic eats. If you're not a local and haven't ventured beyond that Dundas Street-Plenty Road junction in a while, it's time to head north and embrace this suburban pocket's many culinary charms.
Melbourne's Il Mercato Centrale is finally here. This huge Italian food hall and market — the first of its kind in Australia — was first announced back in 2022 and was expected to open late in he same year. Unfortunately, the highly ambitious venture encountered a heap of issues that pushed the opening back a couple of years. But all those woes are now in the past, as the team officially opened the 546 Collins Street site at 4pm on Thursday, September 19. First off, the 3500-square-metre space, spread across three stories, truly is enormous. The first floor has a market feel but with more flash, fun and tech. Each of the vendors is slinging their own specialty goods, with none competing with the other. Here, you can find fresh produce to take home or have them cook it up for you on the spot. Then, up one floor, you'll find a fine-diner, gelateria, distillery, wine bar, cocktail bar, and a smattering of other food vendors. Head up another staircase to then find a multi-purpose space for holding big events and regular workshops and masterclasses — hosted by Il Mercato Centrale's vendors. There's a lot going on, and it's best to explore in person, but to help you start planning your visit, we've put together this quick guide to all the vendors who've set up shop on Collins Street's huge new drinking and dining destination. What's more, you won't need to spend all your time running around from stall to stall when dining here — simply scan a QR code and order from a selection of these spots in one transaction, and have them ready to pick up or be delivered to your table (wherever that may be in the food hall) within a few minutes. Il Forno Damian Malone's Il Forno bakery sits right at the entrance of Il Mercato Centrale, showing just how important good bread is to Italians. The team here is milling its own flour, making it into handmade loaves of bread and pastries. Quickly pop in before work for a cheeky croissant, or stop by after a day in the office to take some fresh bread home. Il Caffe No Italian food and drink destination is complete without standout coffee. And Il Mercato Centrale has enlisted the help of Jerry Lee to bring it to life on the ground floor. Locally roasted Mosaic by Lavazza coffee is being used in espresso shots, and it's served in quintessentially Italian in style. That means you're not going to find your bougie filter coffees or Melbourne magics here. It is simple and to the point. But for fun, the team is selling its playful coffee caviar. Before you get turned off, there's no fish product in it — simply espresso that's had a little science intervention that transforms it into tiny balls that pop in your mouth. La Pasta Fresca It's almost impossible to find fresh pasta in the CBD that you can take home. That is until right now, thanks to Angelo Sperlinga, who is running this spot. He's been selling pasta for over 27 years now and has absolutely nailed the art. You'll find a stack of different kinds of pasta here, varying in shape, size and regional origins. Stop by to take these away, or order them with your choice of sauces for lunch or dinner at the new Il Mercato Centrale in Melbourne. La Pasticceria Neapolitan pastries are championed at this pastry stall, run by Alessandro Grillo and Vincenzo Marino. Yes, that means you'll be filling up on sfogliatella, baba, zeppole, and all sorts of cakes and biscotti. Grab a few with your coffee when dining in, or box up a bunch of your faves to take back to the office. La Pizza al Taglio Traditional Roman pizza al taglio is championed at this stall, which is run by Nicoló Conenna who — like many of the traders here — hails from Italy. Here, you'll find thick-ish crust pizza, fat foccacia sandwiches loaded with meat, veg and cheese, plus some morish arancini — some of which come stuffed with different kinds of pasta rather than rice. Cheese is heavily used here, so be sure to pop a Lactese tablet if you and dairy aren't the best of friends. La Frutta e la Verdura Bivano & Sons is running the fruit and veg tall at Il Mercat Centrale, selling locally grown produce as well as fresh juices. Even though this is sitting in the back corner of the ground floor, you won't miss it thanks to the brightly coloured fruit draped all over the front of the stall. La Carne e i Salumi This butcher and steakhouse has one of the sexiest stalls in the market — that is, if you're a meat eater. There's a large glass display right out front with large cuts of meat slowly spinning around on hooks. Drop by for legendary eats like capocollo di calabria and bistecca alla fiorentina, cooked over the grill to order. Prefer to take some of the raw steaks home? Too easy. They'll wrap them up, give you cooking tips and send you on your way. I Calamari Fritti Out of all the stalls at Melbourne's Il Mercato Centrale, this one is the most specialised. Here, Paula and Gary Harding are almost exclusively selling freshly fried calamari. Yeah, there are a few little salads also up for grabs, but it is all about the salt and pepper calamari, and Italian crumbed calamari — a recipe passed down from their Sicilian nonna. If we can nab a seat outside on Collins Street, this is what we'll be ordering to go with our many rounds of Aperol spritz. La Mozzarella Like it says in the name, La Mozarella (run by the That's Amore crew) is where you get your cheese — specifically, buffalo mozzarella. Traditional Italian methods and recipes are at the heart of the team's practices, preserving the ancient art of cheese-making with patience, dedication and love. But mozzarella isn't the only cheese sold here. You've also got fresh ricotta, burrata, caciovalla and provolone, among many others — either served to eat there or taken home for cooking. We'll likely be ordering a few burrata balls while sipping on Italian wines upstairs at the Enoteca. Il Pesce Wild-caught and farmed seafood seafood can be found down the back of the ground floor market section, run by George Milonas. His diverse range includes a variety of Australian seafood such as fish, shellfish, mollusks, and oysters, which can all be cooked onsite or taken away. Strangely, the team is even selling sushi here — clearly, they know just how much Melburnians love their lunchtime sushi rolls. Il Cioccolato This isn't your average chocolate shop. Alessandro Luppolo has brought some next-level bean-to-bar creations to Il Mercato Centrale that look just as good as they taste. Its collection includes single-origin dark and milk chocolates, plus a smattering of innovatively crafted bonbons — the flavours of which change semi-regularly. L'Enoteca Just as coffee is an Italian essential in the morning, wine is just as important from the afternoon onward. Nailing the vino was always going to be important at Il Mercato Centrale, and they've done a bang-up job by getting Marco and Michelle Singarella to run the wine bar. You'll find an impressive range of artisanal wines from Australia, New Zealand, Italy, and France, plus a few tap wines from local and Italian producers. Sit at the bar and order some drops by the glass, or run in to take some bottles home. We highly recommend nabbing a table up here, ordering some fresh oysters and arancini to go with your sip-and-snack session. I Connoli La Canolleria is another well-known artistan setting up shop in Melbourne's Il Mercato Centrale. These guys can already be found at Queen Vic Market, South Melbourne Market and their bricks-and-mortar shop on Lygon Street, where they make some of the city's finest cannoli. These are made the traditional way, with fresh ricotta, and come with a heap of different classic flavours. Il Bar Centrale This ground-floor bar is pumping out all your usual suspects, from local and Italian beers and wines to simple cocktails and mixed drinks. Order these from your table or with the team themselves, drinking late into the night. La Distilleria Yes, Melbourne's Il Mercato Centrale has its own gin distillery. Because, why not? Australian Distilling Co. is in charge here, making and serving its wide range of gins, which the team will help you pair with whatever food you've ordered from the other vendors. You'll soon be able to participate in gin masterclasses here as well, making and bottling up your own gin to take home. Il Gelato Rovena Xeba is serving up brilliant artisanal gelato, gelato cakes, waffles and crepes from her small stall upstairs. She uses organic milk, fresh fruits, vanilla beans, organic eggs and butter to create a range of products that embody the quality and tradition of Italian gelato making. A particular highlight has got to be her signature Spaghetti Ice Cream — a playful twist on classic gelato. First off, the gelato is made with organic milk and vanilla beans, which is pressed through machinery to resemble spaghetti. It's topped with homemade strawberry coulis — simulating tomato sauce — and finished with white chocolate shavings as grated cheese. It's fun, but far from being naff. It still tastes damn good. I Cocktail The food hall and market's own bar has taken up prime position on the second floor, right in front of the stunning windows overlooking Collins Street. Here, bartenders are mixing up all your usual Italian cocktails, plus a few signature sips with plenty of flair. Sit up here and watch the theatrical cocktail-making, or simply have the bevs delivered to whatever part of Il Mercato Centrale you've set yourselves up at. La Pizza Napoletana This is one of the stalls we were most looking forward to visiting, for Valerio Violetti is running the show. He's known for creating some of the best pizza in Australia — and has plenty of awards to prove it — and the pizzas he's making here are no joke. Il Mercato Centrale worked hard to get him here, and we are all too grateful for their perseverance. Here, he and his team are plating up sensational Napoletana pizza, cooked up in one of the two huge puma-shaped pizza ovens. This is a must-visit spot at the new CBD food hall. La Pasta Fatta in Casa Annapaola D'Alessio's pasta stall — located right next to La Pizza Napoletana — is yet another standout spot. Here, D'Alessio and her team are making handmade pasta for the masses, without losing out on quality. You can take this home, but it would be an absolute shame not to try their cooked pasta dishes. They'll change seasonally, so be sure to pop by regularly for some of Melbourne's best pasta. Lo Smash Burger For us, this is one of the more surprising stalls. We never knew smash burgers were particularly Italian, but we certainly aren't upset to find them at Il Mercato Centrale. Its signature smash burger features a patty made from a blend of angus brisket and chuck beef, smashed onto a hot griddle to create a crispy crust and juicy interior. Topped with melted cheddar, lettuce, and pickles, this burger will satisfy even the fussiest eaters out there. Il Riso Restaurants get risotto wrong all the time. It is a true labour of love that needs to be precisely prepared and cooked. And risotteria crushes it. The risotto is super creamy but still has just the right amount of bite. The team also plates up a bunch of other rice-based eats— perfect for the coeliacs out there. You'll be surprised with just how good the crew's rice-based pasta tastes, while the arancini are beyond perfect. Il Ristorante Chef Jerry Kim is running the fine-dining restaurant here at Il Mercato Centrale, which is currently still under works. Sadly, a lot of its furniture wasn't delivered in time, so this space feels a little underwhelming right now. Still, once it is done, you'll be visiting Il Ristorante for contemporary takes on classic Italian cuisine — served in a more formal setting. La Piadina Piadina, a traditional Italian flatbread, is heroed at this small stall up on the second level. These come stuffed with all kinds of classic fillings like ham and cheese, salmon or — our fave — eggplant parmigiana. These bites really transport you to Europe, as the seemingly simple ingredients are so damn good that not much needs to be done to them. Biting into these will make you feel like you've gone to your mate's nonna's place for lunch. Il Mercato Centrale Melbourne can be found at 546 Collins Street, Melbourne. The Italian market and food hub is open 7am–10pm from Sunday–Thursday, and 7am–midnight on Fridays and Saturdays. For more details, you can visit the venue's website.
Little Andorra is where editors go to relax and unwind over the multitudes of text they need to pore over. There are many charms to this casual wine bar that rests on a sleepy corner of Nicholson Street: awning-covered alfresco seating out front, a leafy bricked-in courtyard to the rear, and a long wooden wrap-around bar inside that's ideal for sharing quips with the staff. Banter is a third arm to the crew here, and the lip-smacking bites — like mussels with 'nduja, burrata-laden pappardelle and house-made porchetta — that match the extensive list of wine doesn't hurt either. The bar opens from 2pm daily, and the light that shines through that yonder window should be enough to call you in, if the aforementioned hasn't done the job already.
Here's a trend: co-stars from Baywatch, the movie not the series, making separate biopics about wrestlers. When Zac Efron (The Studio) did it, The Iron Claw was the result, and the film about Kevin Von Erich and his family was excellent. Next, it's Dwayne Johnson's (Red One) turn in The Smashing Machine, with MMA fighter Mark Kerr in the spotlight. Johnson, aka The Rock, leaping into the ring is far from a new development, of course — but the wrestler-turned-actor is now drawing upon his sporting background and talents in the other well-known side of his career. That said, even if you've watched plenty of his WWE exploits, and then his film and TV roles in everything from The Scorpion King, the Fast and Furious franchise, Ballers and Pain & Gain to San Andreas, the recent Jumanji flicks and Black Adam, you haven't seen Johnson like this before. The Smashing Machine hits cinemas in October 2025. Opposite Emily Blunt (The Fall Guy) as Dawn Staples — with the pair reuniting after 2021's Jungle Cruise, and set to team up again next for Martin Scorsese (Killers of the Flower Moon) — Johnson helps bring the story of a wrester-turned-UFC star to the screen. In the just-dropped first trailer for the flick, Kerr is determined to keep chasing the unparalleled high that comes with winning, even while he's in pain and as it's clearly taking a toll on his relationship with Staples. The term "unrecognisable" gets thrown around a lot when actors transform for a role; however, every time Johnson's face is on-screen in the first sneak peek at The Smashing Machine, that description proves true. If the name of the movie sounds familiar, that's because there's a 2002 documentary of the same moniker that's also about Kerr. As a biopic, The Smashing Machine hails from writer/director Benny Safdie, making his first solo directorial effort after spending his filmmaking career so far co-helming with his brother Josh. On their shared resume: Daddy Longlegs, Lenny Cooke, Heaven Knows What, Good Time and Uncut Gems. It's been six years since Benny was last behind the camera on a feature, but he's been popping up in acting parts elsewhere, including in Pieces of a Woman, Licorice Pizza, Stars at Noon, Obi-Wan Kenobi, Are You There God? It's Me, Margaret, Oppenheimer and The Curse — the latter of which he co-wrote and co-created with The Rehearsal's Nathan Fielder. Benny's brother Josh also has a new film out in 2025, also focusing on sports and also helmed on his lonesome. In Marty Supreme, Timothée Chalamet (A Complete Unknown) is in the lead — and ping-pong is the focus. Check out the trailer for The Smashing Machine below: The Smashing Machine releases in cinemas Down Under on Thursday, October 2, 2025.
It's free, it's a summer staple, and it's a reason to spend two days partying at the St Kilda Foreshore and its surroundings. The event: St Kilda Festival, the bayside fest that notches up 43 years in 2024. As always, it knows how to celebrate — and it's enlisting help from Mallrat, Mo'Ju, Bag Raiders, Budjerah, Mark Seymour and the Undertow, and Northeast Party House. 2024's music lineup isn't short on big names, clearly, as split across two days. On Saturday, February 17, the festival is bringing back the First Peoples First program that heroes Indigenous music and culture, which it launched in 2023. Mo'Ju will be joined by Ziggy Ramo, Richard J Frankland, Wildfire Manwurrk, The Merindas and more on the main stage, while the day's garden stage lineup starts with Charlie Needs Braces, Canisha and Sedriece. Saturday's event will span a sunset ceremony as well. Just like last year again, Sunday, February 18 has been dubbed the Big Festival Sunday, which is where Bag Raiders, Mallrat, Budjerah, Thandi Phoenix, 1300, Mark Seymour and The Undertow, and others come in. There'll be a six-stage setup, with Telenova, RVG, Big Words, Jewel Owusu and The New Monos among the other talents featured. Alongside more than 60 acts hitting the stage across the entire festival, St Kilda Festival's lineup includes dance, sports demonstrations and workshops, plus roving entertainment, markets and stalls for grabbing a bite — so, enough to keep 400,000-plus attendees mighty busy and loving it over a big weekend. St Kilda Festival 2024 Lineup: First Peoples First — Saturday, February 17: Main Stage: Mo'Ju Ziggy Ramo Richard J Frankland Wildfire Manwurrk The Merindas Eleanor Jawurlngali Triad Birren Singing Our Futures presented by the Archie Roach Foundation O'Donnell Garden Stage: Charlie Needs Braces Canisha Sedriece Katie Aspel Pirritu Liv & The Dream Birren Big Festival Sunday — Sunday, February 18 : Main Stage Bag Raiders Mallrat Budjerah Thandi Phoenix 1300 Mark Seymour & The Undertow Singing Our Futures presented by the Archie Roach Foundation Cointreau Summer Stage: Northeast Party House Forest Claudette Gut Health Sunfruits Kinder J-Milla Chela Maya Vice O'Donnell Garden Stage: Telenova Adam Noviello CD Titration Hard No The Heights Lotte Gallagher Goodbye Butterfly For families: NV Dance Studio Riot Baby Woody's World Whistle & Trick Team Dream Triangle Stage: RVG Big Words Wildfire Manwurrk The Slingers Chikchika Cool Sounds Platonic Sex New Music Stage: Jewel Owusu Mudrat Tab Family Lewis Coleman Romanie Mulga Bore Hard Rock Brekky Boy Mathilde Anne Good Pash Winten Locals Stage: The New Monos The Miffs Bernadette Novembre John Wayne Parsons Tanya George Bailey Judd KP Hydes JHM Tristan Heath Louis St Kilda Festival 2024 will take over the St Kilda Foreshore and surrounds from Saturday, February 17– Sunday, February 18 — head to the festival's website for further details. Top images: Joshua Braybrook / TJ Garvie / J Forsyth.
Entrecote is the latest restaurant to open a side bar and it's Gigi, an extravagant hidden upper-level bar tucked off Greville Street with soft lighting, crystal chandeliers, velvet finishings and ravishing Persian rugs. Gigi's signature cocktail — the Gigi — features gin enlivened with a sweet green pea syrup, elderflower and lemon, while the Tiki Cinnamon, Pandan Negroni, and Mango and Lemongrass expertly blend eclectic global influences. Wines are predominantly from French regions, with a smattering of Australian and Italian varietals, and bottles range from below $100 to upwards of $700. Digestifs and a curated selection of beers and ciders are also available. You may not be at Gigi for the food, but that doesn't mean the menu that melds luxury with comfort isn't worth trying. There are caviar tartlets. Caramelised French onion drip served alongside potato crisps. The la petite sœur cheeseburger — a jam-packed bite of Emmental cheese, pickles, and the bar's signature café de Entrecôte butter. Toasted chicken 'sandwich points' with cornichons and tabasco, which may just usurp Gin Palace's famed chicken sandwich. Flaky housemade sausage rolls. Gigi's macarons to finish — choose from a holy trinity of chocolate, pistachio and rosewater flavours. Don't forget to catch views of the lush adjoining Grattan Gardens from the open-air terrace. Images: Annika Kafcaloudis.
When Lamaro's first announced they were swapping their gastropub schtick for something much more Spanish, South Melbourne locals weren't too happy about it. You see, the pub has been the suburb's go-to schnitzel joint for 10 years, and now there's not a piece of crumbed veal in sight. The restaurant's focus has shifted to ethical dining. The menu honours Victorian produce from Cape Schanck and Greenvale farms, which are both owned by Lamaro's parent company, Colonial Leisure Group. Upon entering the bar, a giant meat fridge filled with the farm's spoils now welcomes patrons. It's a pleasant form of compensation. The team running Lamaro's is impressive. Leading the revitalised kitchen is Louis Naepels, who previously headed the CBD's Grossi Florentino. Sworn in as floor manager is Marvin Holder, a Vue de Monde veteran who managed the restaurant for five years. Naepels has crafted a menu that sings the Spanish food language: tapas. The menu options come in forms hot, cold, sweet, spicy, sultry, crunchy and smooth. Whatever taste or texture you can think of, it's in there. Start off with some wood-fired octopus, served with broad beans, potato and squid ink ($22). The Greenvale Farm acorn-fed ham with stracciatella (shredded burrata) on country bread is a non-negotiable ($33). That schnitzel the locals were so accustomed to has been replaced by the suckling pig drizzled with pork gravy ($43). It's topped with a crackling hard to put down, regardless of how full your stomach is from overeating. Although a glance at the dessert options will make you revaluate your stomach capacity. Seal off your meal with a sweet potato ice cream sandwich drizzled with dulce de leche ($10). It's surprisingly light for something that sounds so hefty. The space has been revived by Techne Architecture, the minds behind Lee Ho Fook, Fonda and Botherambo. The interiors have been altered to create a sense of warmth, made up of tan leather seats, timber tables, and a marble fireplace that exudes an earthy vibe. Above Lamaro's communal table is a giant mural of Cape Schanck's rolling hills, giving diners a sense of the where their food has come from. At Lamaro's you can either grab a quick bite, or partake in the full tapas experience. It's one that's packed with love, community and passion for produce.
