Imagine hopping on the train each morning, fitting your workout in while you travel, and then watching the latest news on a big-screen TV. Then, imagine jumping in the carriage on the way home, grabbing a beer on board and blissing out in a noise-cancelling armchair. They're some of the ideas included in Germany's new 'train of the future', a concept that's being explored by state-owned railway company Deutsche Bahn. Their Ideas Train also features a dedicated gaming zone filled with consoles, documentary and live sports screenings, a vending machine dispensing baked goods, brews on tap, a coffee cube serving up speciality sips, and digital fitness coaches to keep your exercise as on track as the train. Dedicated spaces for families and groups travelling together, dine-and-work benches with integrated tablet shelves, laptop pods and a kids' play area ensure every type of commuter is catered for. It's all part of DB Regio's attempt to adapt to the new transport landscape, given that autonomous cars are zooming towards becoming a reality. Indeed, from Elon Musk's rockets, moving hotels and hyperloop system, to self-driving buses, flying cars and solar-powered trains, getting from A to B is set to look quite different in the coming years. Here's hoping that getting to work like this is included. Images: Deutsche Bahn.
If you're a Melburnian looking for a new staycation destination, you'll can now add the first Victorian venue from hotel chain W Hotel to your must-stay list. And if you're from elsewhere in Australia and you're planning a trip to the city, you can pair your next visit with drinks in a laneway bar, a dip in a sky-high pool and striking views. First announced in 2020, and now up and running as of February 2021, W Melbourne has opened in Flinders Lane, with 294 guest rooms and 29 suites. Following W Brisbane's ten-gallon baths, the Melbourne digs are no less indulgent — including an 'Extreme Wow Suite', which has its own 40-square-metre balcony with views of the Yarra, a jukebox and cocktail bar. Designed by local architect and interior design firm Hachem, W Melbourne also houses a 14th-floor spa, gym and a heated indoor pool with a gold-adorned roof, as well as a poolside bar and DJ decks. And, for those needing function space, W has a heap of it — a 830-square metre space for conferences, meetings, weddings or holding lush balls. On the food and drinks front, the site will eventually boast four in-house venues to choose from — with two up and running now. Already pouring drinks is bar Curious, which you'll find down a laneway and through a secret entrance. It's designed to look like a cocoon, and comes fitted out with dark hues, moody lighting and quite a display of wooden beams overhead. On the menu: cocktails inspired by Melbourne's love of coffee, art and fashion; plus oysters, charcuterie, cheese, and cold and hot small bites. Or, you can opt for a meal at Lollo, with the all-day dining venue under the direction of chef Adam D'Sylva. For breakfast, its range spans the likes of brekky pizza and Indian-style eggs, while duck lasagne, asparagus tortellini, grilled octopus and steak tartare feature on the menu throughout the rest of the day. Come May, the 30-seat Warabi will be your go-to for Japanese fine dining, with the intimate space also featuring a private space for ten. And, Culprit will flip from a cafe during the day to a wine bar at night — complete with a floor-to-ceiling charcuterie display and a vermouth tasting tray. Design-wise, the hotel goes heavy on Victorian bluestone tiles, glass and wood, and celebrates the city it calls home. So, you can expect to see a lenticular art installation by local artist Rus Kitchin, which creates a canopy of Australian flora and fauna; in-room wall graphics featuring fairy wrens, which are native to our shores; and design details inspired by Melbourne's street-level newspaper kiosks. W Melbourne is now open at 408 Flinders Lane, Melbourne.
Everyone has their favourite places to eat, and their favourite dishes to order while they're there. But what happens when a new tastebud-tempting dish arrives to whet your appetite? We've all experienced the kind of menu indecision that can spring in this exact situation, where we're torn between a tried-and-trusty tasty option we already know we'll love and opting for something new — and with its latest addition to its range, Betty's Burgers has an answer. Firstly, folks who don't partake in meat, rejoice: the chain has just launched a new plant-based version of its popular Betty's Classic burg. Called Betty's Classic Plant, it's made with soy-based plant patties from Love Buds, then piles on the lettuce, tomato, onion, cheese and Betty's special sauce that you'd find on the carnivorous option. And, while the patty is already both vegan and gluten-free, you can ensure that the whole burg is, too, by getting it without the milk bun — on a vegan bun instead — and sans sauce and cheese. If that's set your stomach a-rumbling, the new burger is on the menu now — and trying it out comes with a two-bite guarantee. Give it a couple of chomps, then either keep eating if you love it, or swap it for a regular Betty's Classic or a Betty's Classic Vegan straight away if you don't. While usually you need to get in quickly for Betty's Burgers fresh additions — its limited-time-only lobster rolls and prawn rolls, for instance — this new plant-based burg is a permanent newcomer, and will set you back $11.50. And if you're new to all things Betty's, it's known for its Shake Shack-style burgs and frozen custard desserts (called concretes). While you can now grab one of the chain's burgers at a heap of locations across Australia, including in Sydney, Melbourne, Brisbane, Perth and Adelaide, the company first began in Noosa, and then expanded to the Gold Coast. For more information about Betty's Burgers and its new Classic Plant burg, head to the chain's website.
Pearl Chablis & Oyster Bar will soon shuck its last bivalve. The beloved Bourke Street speakeasy is set to close its doors for the final time this July, following last week's announcement that sister venue Pinchy's will also shutter this month. Since opening in 2022, the sleek 28-seater has provided something of an antidote to Melbourne's increasingly maximalist fine-dining scene. With its laser focus on premium Australian seafood and an unrivalled chablis program — thought to be the largest in the country — Pearl carved out a niche for elegantly understated luxury. In a statement, owner and Director Jeremy Schinck cited a range of factors behind the decision, including the upcoming closure of Pinchy's, which played a vital role in supporting Pearl's more elevated format. "Unfortunately, with the economic climate and announced closure of Pinchy's ... we've had to make the difficult decision to close Pearl," said Schinck. "To our loyal guests, suppliers, friends, and industry peers, we thank you for supporting our vision and celebrating something that was truly unique to Melbourne." The news seems especially sudden given the unveiling just last month of Sam Holman as the venue's new Executive Chef. The Vue de Monde alum was charged with transforming the menu from a snack-and-sip offer to a nine-course degustation journey. The good news is that there's still time to sample Holman's produce-driven menu and selections from the award-winning wine list, with Pearl set to dim the lights on Saturday, July 19. It might just be goodbye for now, though, with Schnick hinting at a potential return — this time, with a bigger and bolder iteration of the Pearl concept. "While this chapter is ending, I'm already planning the next," Schinck says. "Pearl 2.0 is on the horizon, and I look forward to sharing something even more exciting in the near future." Pearl Chablis & Oyster will hold its final service on Saturday, July 19. Find it at Level 1/200 Bourke Street, Melbourne. For more information, head to the venue's website.
One of 2022's absolute best movies explored loss, time, childhood and mother-daughter bonds, and did so with playfulness and empathy. Another pondered a fraught reality for women mere decades ago, exploring a situation that sadly isn't confined to the annals of history. Both hailed from France from female filmmakers. Both wowed the international film festival circuit. Both Petite Maman and Happening also share something else in common: they were highlights of 2022's Alliance Française French Film Festival program. It's worth remembering last year's standouts now that 2023's full lineup is here — because this new batch of flicks, some freshly announced and some revealed back in January as a sneak peek, will also contain some of this year's very best titles. In total, Australia's annual celebration of French cinema will screen 39 movies throughout March and April in its whopping 34th year, taking its selection on the road to Aussie capitals and a number of regional locations. AFFFF's 2023 opening-night pick sits among the previously unveiled films, with Masquerade spinning a tale of glitz, glamour and the Côte d'Azur's far-less-glossy underbelly under La Belle Époque's director Nicolas Bedos' guidance — and with Pierre Niney (Yves Saint Laurent) and Isabelle Adjani (The World Is Yours) among his stars. As a bookend, it's now joined by Freestyle, which takes to the road with Benjamin Voisin (Lost Illusions) and Marina Foïs (Stella in Love), and promises to end the fest as memorably as it begins. In-between, must-sees include AFFFF's big picks teased in its first program announcement: Saint Omer, with documentarian Alice Diop drawing from true events to craft a drama about a young Parisian journalist and novelist attending murder trial, then wading through the complexities it surfaces within her own family history; One Fine Morning, the latest film by Bergman Island's Mia Hansen-Løve, this time a family drama starring Léa Seydoux (Crimes of the Future); and The Innocent, as written by, directed by and starring Louis Garrel (A Faithful Man), based on his own experiences, and also featuring Noémie Merlant (Tár). There's also Final Cut, a French remake of Japanese cult hit One Cut of the Dead from The Artist director Michel Hazanavicius, starring Romain Duris (Eiffel); Winter Boy, the new film from Sorry Angel's Christophe Honoré, an autobiographical drama focusing on 17-year-old Lucas (newcomer Paul Kircher); Brother and Sister, with Marion Cotillard (Annette) playing a stage actor and sibling to Melvil Poupaud (Summer of 85); and Other People's Children, a Virginie Efira (Benedetta)-led effort about being a stepmother that's also inspired by director Rebecca Zlotowski's (Planetarium) own life. That's not the end of highlights, either already revealed or just-dropped — with the latter spanning two Quentin Dupieux films. The director of Rubber and Deerskin adds both Incredible but True and Smoking Causes Coughing to the fest's lineup, as well as a sense of humour that only he possesses, anchoring AFFFF's comedy selection. Plus, there's award-winner Playground, which focuses on a seven-year-old girl; On the Wandering Paths, which brings Sylvain Tesson's novel to the screen so swiftly after The Velvet Queen also turned his work into cinema (including at AFFFF 2022); and The Origin of Evil, an account of a dysfunctional family that's one of three AFFFF 2023 movies to star Full Time's Laure Calamy. Or, viewers can look forward to Country Cabaret, which is based on a true story about a bold move to save a family farm; Sugar and Stars, adapting pastry chef Yazid Ichemrahem's autobiography to the screen; the Christmas-set A Good Doctor; and Jack Mimoun and the Secrets of Val Verde, the fest's dose of action, adventure and laughs all in one. This year's focus is firmly on the new over the classic, but when it comes to looking backwards, 1988 French box-office smash The Big Blue does the honours. The full list of 2023 AFFFF titles goes on, as cinephiles have come to not just expect but thoroughly enjoy from a fest that's the largest celebration of French film outside of France. ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL 2023 DATES: Tuesday, March 7–Wednesday, April 5: Palace Central, Palace Verona, Palace Norton St, Chauvel Cinema and Hayden Orpheum Cremorne in Sydney Wednesday, March 8–Wednesday, April 5: Palace Cinema Como, Palace Balwyn, Palace Brighton Bay, Palace Westgarth, The Astor Theatre, The Kino and Pentridge Cinema in Melbourne Wednesday, March 8–Wednesday, April 5: Luna Leederville, Luna on SX, Windsor Cinema, Palace Raine Square and Camelot Outdoor Cinema in Perth Thursday, March 9–Sunday, March 19: State Cinema, Hobart Thursday, March 9–Wednesday, April 5: Palace Electric Cinema, Canberra Wednesday, March 15–Wednesday, April 12: Palace James Street and Palace Barracks in Brisbane Thursday, March 16–Wednesday, April 5: Palace Byron Bay Thursday, March 23–Wednesday, April 19: Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas in Adelaide Friday, March 24–Sunday, March 26: Northern Festival, Chaffey Theatre, Middleback Arts Centre and Sir Robert Helpmann Theatre in Port Pirie, Renmark, Whyalla and Mount Gambier Wednesday, March 29–Sunday, April 2: Riverside Theatre Parramatta Wednesday, March 29–Sunday, April 16: Dendy Southport on the Gold Coast Monday, April 3 and Monday, April 10: Victa Cinema, Victor Harbour Friday, April 21–Sunday, April 23: Star Cinema, Bendigo + encore dates in some cities The Alliance Française French Film Festival tours Australia from Tuesday, March 7–Tuesday, April 25, 2023. For more information, or to buy tickets from 9am on Thursday, February 9, visit the AFFFF website.
It's that time again, Melburnians: time to rug up, rush from the Forum to the Comedy Theatre to Melbourne Central (and back again), and spend 18 days sitting in a cinema. For its 67th year, the Melbourne International Film Festival is back with its usual feast of features, documentaries, shorts, talks, experiments and more — although, given the enormous variety evident in each and every program, there's really no such thing as a 'usual' MIFF. Running from August 2 to 19, the lineup includes 254 feature films, 120 shorts and 19 virtual reality experiences; however, the numbers don't quite do it justice. Amidst the wealth of movies and events on offer, you'll find an all-night Nicolas Cage movie marathon, a screening of Drive with a live soundtrack and an in-conversation session with Arrested Development's Alia Shawkat. And that's just the beginning. Dreamy coming-of-age skateboarding flicks, searing explorations of sexual assault and perhaps the world's most loveable film star — they're all on the bill, plus a heartbreaking tale of a teen and his horse, Mads Mikkelsen getting frosty and an origin story of the Colombian drug trade, too. In fact, they all earned a spot in our must-see picks of the festival. Happy viewing. https://www.youtube.com/watch?v=oe-8HtrXVew ANGELS WEAR WHITE Underneath a giant beachside statue of Marilyn Monroe, the residents of China's Hainan Island etch out a living serving the tourist trade. It's one that teenage maid Mia (Wen Qi) has fought for, and it's the only option that she has — but when she witnesses an incident involving two 12-year-old girls and a middle-aged man, more than her livelihood is placed in jeopardy. Producer-turned-director Vivian Qu (Black Coal, Thin Ice) may helm a poised and perceptive crime drama, but she doesn't hold back in layering Angels Wear White with anger, passion and a distinctively female perspective on corruption, power and sexual assault. Every frame leaves an imprint, both visually and emotionally, while actors Qi and Zhou Meijun (as one of the schoolgirls) play their parts to heart-wrenching perfection. Pro tip: we highly recommending watching Angels Wear White in close proximity to You Were Never Really Here, but prepare to feel absolutely shattered afterwards. https://www.youtube.com/watch?v=iT1izrIxoos SKATE KITCHEN Three years ago, Crystal Moselle's The Wolfpack was the talk of the film festival circuit, courtesy of its true tale of home-schooled teenage boys brought up by cinema and remaking their favourites every chance they got. Skate Kitchen proves a fitting follow-up, this time stepping into a skateboarding sisterhood on the streets of New York — a world Long Island 18-year-old Camille (real-life skater Rachelle Vinberg) yearns to belong to as an escape from her otherwise lonely existence. Drawing upon the talented members of the skate collective that gives the movie its name, Moselle turns her street-set coming-of-age effort into a dreamy portrait of kick flips, kicking around skate parks and carving out a place in a male-dominated realm. The struggle to fit in, find yourself and fight back against gendered expectations has rarely rolled by with such empowering energy, or with such an ethereal air either. And as an added bonus, Skate Kitchen also features the best performance of Jaden Smith's acting career. https://www.youtube.com/watch?v=XgiIfyU1O9M PROTOTYPE Almost seven decades since the first 3D film was screened to an audience, the format isn't going away. Forget the red-and-blue lenses needed to see the three-dimensional images of old, and forget items and arms reaching out of the screen towards viewers — that's not what Blake Williams' Prototype trades in. Rather, depth, experimentation, immersive spectacle and one hell of a head trip drives this stereoscopic effort, which starts with the Galveston hurricane of 1900 and then rides an astonishingly realised wall of water into its aftermath. A disaster becomes a sci-fi dreamscape when a glowing TV-like object starts projecting images, and the rest is best experienced by letting it wash over you. An example of 3D at its most inventive, artistic and adventurous, it's an audio-visual assault of the mesmerising type (but if the format gives you a headache, or you're sensitive to strobe lighting, consider yourself warned). https://www.youtube.com/watch?v=G5FLCjaQtnY LEAN ON PETE When 15-year-old Charley (Charlie Plummer) first meets Lean On Pete, it's friendship at first sight — the kind of unconditional, unspoken bond that can only spring up between a person and their favourite animal. In his third exquisitely tender and affecting effort this decade alone, writer/director Andrew Haigh charts the boy and steed's path as the former graduates from grappling with isolation to coping with tragedy, and the latter disappoints his owner (Steve Buscemi) at the racetrack. As he did in Weekend and 45 Years, Haigh's eye for internalised performances shines through once again, with Plummer rightfully earning awards for his sensitive portrayal. Indeed, the empathy the film shows not only for its protagonist and the titular animal, but for life in the margins in America's midwest, lingers long after Lean on Pete stops rolling. https://www.youtube.com/watch?v=O4lCTHvSCaA STRANGE COLOURS "You're not just bouncing around the country like a tennis ball, are you?" the ailing, cantankerous Max (Daniel P. Jones) asks his estranged daughter Milena (Kate Cheel) when she makes the 18-hour trip to visit him in hospital. She says she's en route to Alice Springs, but there's a mesmerising air about Lightning Ridge — as alluring as the opals Max and the community's other male inhabitants mine in the locale's peaceful bush surroundings, and as inimitable as the unmistakable sound of the Australian vernacular dripping off Max and his buddies' tongues. The same can be said about this debut feature from Australian writer/director Alena Lodkina, which premiered at last year's Venice Film Festival. Shot with striking poetic naturalism worthy of its title, Strange Colours is as much about the mood of its characters and of the distinctive Australian landscape as it is about its slight but rewarding and revealing narrative. https://www.youtube.com/watch?time_continue=1&v=YNtkUqss8BM BISBEE '17 After combining fact with fiction in Kate Plays Christine, filmmaker Robert Greene tells another true tale in an untraditional way. It's another account of darkness, dating back to 1917 when the townsfolk of Bisbee, Arizona held guns at nearly 2000 striking workers, rounded up the mostly Mexican and European group, and forcing them out into the desert. Interrogating the obvious horrors of the incident, as well as recognising its parallels with some of the behaviour and rhetoric present in American society today, Greene works with Bisbee locals to restage the event. The results are as powerful to watch as they clearly are for those taking part, in a multi-layered documentary that uses everything it can to excavate the past — music, re-enactment and a probing approach included. https://www.youtube.com/watch?v=QgE8e6QBtt0 BIRDS OF PASSAGE Forget Narcos, Sicario and every other vision of the South American drug trade — with Birds of Passage, Colombian-born filmmakers Ciro Guerra and Cristina Gallego explore the origins of the country's illicit industry. If they bring even half the detail and artistry to this as they did to Embrace of the Serpent (which the former directed and the latter produced), then audiences are in for a stunning tumble into territory that might sound familiar on paper, but is certain to prove otherwise on-screen. Narrative-wise, the film tells the tale the Wayúu family. It's the 1970s, marijuana is a booming business, but their traditional ways start to crumble in the face of their pot-plying success. Guerra's work is usually something to experience, rather than a movie to merely see, and his latest promises just that once again. https://www.youtube.com/watch?v=CNUP3HkUe-Y&feature=youtu.be&rel=0&autoplay=1 FIRST REFORMED Ethan Hawke is all over this year's MIFF. No, we're not complaining. He stars in Nick Hornby adaptation Juliet, Naked. He directed music biopic Blaze. And he's also at the centre of First Reformed, in what's being called the best performance of his career — or one of them, at least. In the latest film by writer/director Paul Schrader (screenwriter of Taxi Driver and director of Light Sleeper, among others), Hawke plays a pastor asked to help a parishioner, only to become haunted by his own past. Crises of faith might be a surprisingly common topic on-screen, but this contemplation of spirituality's many soul-shattering complexities has been earning rave reviews on the festival circuit for almost a year now. https://www.youtube.com/watch?v=LskNXn2LQoU ARCTIC The survivalist film genre gets another entry with none other than Mads Mikkelsen leading the charge. As Overgård, the Danish star crashes his own plane, watches the helicopter sent to save him also plummet to the ground, and is then tasked with not only trudging his way out of the ice to save his own life, but taking a wounded woman with him. It's the first film by Joe Penna, the man behind YouTube channel MysteryGuitarMan, and Arctic comes complete with Mikkelsen at his finest, a gripping mood of tension and a jaw-dropping frosty setting. And if there's one thing that all of these survivalist movies keep proving, it's that there's a reason the powers-that-be keep bringing compelling tales of human endurance and perseverance to the screen. https://www.youtube.com/watch?v=2bmKxahpEpE THE FUGUE Ravenous singing mermaids might've filled Agnieszka Smoczyńska's last feature, The Lure, but The Fugue jumps into another pool completely. Still, it's the sheer ambition and unhinged nature of her first film that makes anything this Polish filmmaker dreams up worth watching. This time around, she spins a story of an amnesiac woman trying to remember her identity, and trying to work out her feelings about the person that she discovers. Written by star Gabriela Muskała, it's actually inspired by a true story, which also promises to ensure this suspenseful take on the psychological thriller genre transcends its ostensibly seen-before set-up. THE BILL MURRAY STORIES: LIFE LESSONS LEARNED FROM A MYTHICAL MAN Admit it, this film just jumped to the top of your must-see list for a very obvious reason. Who doesn't want to watch a documentary about Bill Murray — the man, the myth, the master — after all? When he's not voicing animated dogs and preparing to hit Australia's stage, the actor has amassed quite the collection of tales about his activities, with accounts of his everyday antics with everyday folks popping up frequently. It's these urban legends that director Tommy Avallone examines as he follows in the star's supposed footsteps. And if you're wondering what's true, what isn't, and how much Bill Murray is too much (if that's even possible), then let The Bill Murray Stories: Life Lessons Learned From a Mythical Man answer that for you. Still need to fill a few spots on your mini pass or passport? We've already cast our eye over plenty of other films from this year's MIFF program. 1% and Undertow made our list of Australian highlights for the year, while Damsel, The Tale, Kusama - Infinity, Pity and Mandy ranked among the films we were most looking forward to from Sundance. From the Berlinale, we recommended The Green Fog, Profile, An Elephant Sitting Still, Transit, Museum and Aga, and Happy as Lazzaro sparked excitement in our Cannes rundown. Before the Sydney Film Festival, we eagerly anticipated [CENSORED], Mirai, Juliet, Naked, Jirga, Rafiki and I Used to Be Normal: A Boyband Fangirl Story. During the fest, we loved Cold War, The Miseducation of Cameron Post and Piercing. And afterwards, Leave No Trace, The Rider, Burning, Shoplifters, The Guilty, Climax and Tyrel ranked among our highlights. Plus, there's also Let the Corpses Tan, You Were Never Really Here, Caniba, Zama and Diamantino, which were all among our Queensland Film Festival picks. The Melbourne International Film Festival runs from August 2 to 19. For more information and to buy tickets, visit the MIFF website.
Mother nature wants us to stop using plastic bags. They aren't good for the environment, particularly when disposed of incorrectly and become fatal turtle food due to their uncanny jellyfish-like appearance in the ocean. Consequently, she has teamed up with Mother Nature, a fellow attendee of her weekly mother's club, to create a brand-new range of uncarriable carrier bags that will tempt us into changing our plastic bag usage and recycling habits. Building on their first series of uncarriable carrier bags in 2005 that featured bags emblazoned with 'sperm clinic drop in centre' and 'Phil Collins unofficial fan club', the creative company has released four new yellow bags with overlaid x-ray machine like designs that suggest you are carrying items that you would not want your closest friends to uncover, let alone the wider general public. The designs include drug paraphernalia, sex toys and weapons and beg the question of how desperate your plastic bag need is if you are willing to be seen carrying these items. Showing that reverse psychology works a treat though, they may prove to be on everyone's want list as they are so covetable and novelty. But even then, that should slow plastic bag consumption, as these can carry all of your shopping and other plastic bag needs. Just don't take them on a plane, except maybe the sex toys one; that one probably won't get you stopped, just stared at a lot. Via It's Nice That
When your friends start talking furiously about how The Wire is the best TV show ever made, do you go quiet, trying not to let them know that you haven't watched it? The moment that the final season of Game of Thrones ended, did you instantly feel the urge to start all over again, because you just weren't ready to say goodbye yet? Whether there's a big gap in your pop culture knowledge or you're eager to revisit one of your favourite shows, that's where binging comes in. Serious binging — not just sitting on the couch and watching whatever your streaming platform of choice's algorithm happens to suggest. Serious binging involves committing time and effort to a show, working your way through it from start to finish and finding yourself obsessed with every last detail. It also means that you become that person who tells all their friends to watch or rewatch something. Yes, we've all been there. Finding time to hop into serious binging mode hasn't really been a problem in recent months, but if you're wondering what to watch next, we're here to help. Australia now has more streaming platforms than ever, and one of them is probably playing a TV series you desperately want to devote a big chunk of time to. Here are ten television standouts that you can currently watch from their very first seconds until they ultimately fade to black. https://www.youtube.com/watch?v=faRl5Bea-Go THE SOPRANOS The gangster genre has been part of popular culture since cinema's early days, but on TV, nothing is an essential and influential as The Sopranos. If you've watched any mob-related show or movie since 1999, it'll owe as much of a debt to David Chase's New Jersey-set crime drama as it does to the filmography of Martin Scorsese. Across six exquisitely written seasons, James Gandolfini and Edie Falco led the way — with Tony Soprano's work life, leading a local branch of the mob, intertwined with his home life with his wife Carmela and their kids Meadow (Jamie Lynn-Sigler) and AJ (Robert Iller). In fact, when the show starts, all of the above is giving Tony panic attacks, inspiring a visit to psychiatrist Dr Jennifer Melfi (Lorraine Bracco). Also featuring everyone from Steve Buscemi and Joe Pantoliano to Janeane Garofalo and Ben Kingsley, The Sopranos was simply the best thing on TV until it wrapped up in 2007. All six seasons of The Sopranos are available to stream via Binge and Foxtel Now. https://www.youtube.com/watch?v=z9rKY8MLWTU THE KNICK Over the past few months, almost everyone has rewatched Contagion, with Steven Soderbergh's prophetic outbreak thriller hitting rather close to home during the COVID-19 pandemic. The 2011 film is just one of the highlights on his busy resume, though — and if you're eager to watch the best thing he's ever made, then hit up medical series The Knick. Set at the turn of the 20th century, it follows the staff of a New York hospital as they endeavour to navigate everyday illnesses without the aid of modern advancements, pioneer experimental (and dangerous) surgical techniques, and try to stop their patients from dying. Also in career-best form is Clive Owen, who plays opium-addicted chief surgeon Dr John Thackery, while Moonlight's Andre Holland is similarly excellent as his new assistant chief surgeon. And, because that's the way he approaches most things he works on, Soderbergh directed, shot and edited every tense and thrilling episode. All of The Knick's two-season run is available to stream via Binge and Foxtel Now. https://www.youtube.com/watch?v=eIhUsfhXBJM GREAT NEWS You've seen 30 Rock, the brilliantly funny Tina Fey-created sitcom set within the TV industry. But if you haven't watched Great News, which she executive produced, then you're missing out on one of the other ace television-focused comedies of the past decade. This time around, it all takes place within a TV news program. Katie Wendelson (Briga Heelan) works on The Breakdown as a segment producer, but she wishes her boss Greg (Adam Campbell) would let her handle the show's top stories. There's plenty of workplace hijinks stemming from that premise alone, as well as from the overinflated ego of newsman and host Chuck Pierce (John Michael Higgins), and the celebrity antics of his co-anchor Portia Scott-Griffith (Nicole Richie). Complicating matters, though, is the arrival of Katie's overprotective mother Carol (Andrea Martin) as the show's new intern — and the results are equally smart and silly, as well as highly topical. All of Great News' two-season run is available to stream via Netflix. https://www.youtube.com/watch?v=nNHsA4WIFvc TWIN PEAKS It's the mind-bending small-town mystery-drama that comes with its own menu — and with plenty of thrills, laughs and weirdness. Whether you're watching Twin Peaks for the first or 31st time, you'll want to do so with plenty of damn fine coffee, fresh-made cherry pie and cinnamon-covered doughnuts to fuel your journey to this place most wonderful and strange. And, of course, David Lynch and Mark Frost's seminal TV series doesn't just serve up 90s-era oddness centred around the tragic murder of popular high-schooler Laura Palmer (Sheryl Lee), but returned for a mesmerising third season back in 2017 as well. There's simply never been anything on television like Twin Peaks, because no one can make movies and TV shows like Lynch. No one can play a kind and quirky FBI boss like Lynch either, or a dedicated agent like Kyle MacLachlan as Dale Cooper. All three seasons of Twin Peaks are available to stream via Stan. https://www.youtube.com/watch?v=lUeOCo0HeJo THE WIRE There are many things that are phenomenal about The Wire, from the complexity that seethes through every episode and season, to the fantastic cast centred around Dominic West, Wendell Pierce, Lance Reddick, Sonja Sohn, Michael K Williams and Andre Royo. It's the show that helped make stars out of Idris Elba and a very young Michael B Jordan, and it's absolutely unflinching in its exploration of law and order — and cops versus crime — in Baltimore. That said, as based loosely on the experiences of former homicide detective Ed Burns, and created and primarily written by ex-police reporter David Simon, the best thing about The Wire is how far and wide it ranges in exploring the Maryland city's relationship to law enforcement across its five seasons. Drugs, ports, the government, the school system and the media all fall into the series' remit, contributing to a show that feels as urgent now as when it first aired between 2002–08. All five seasons of The Wire are available to stream via Binge and Foxtel Now. https://www.youtube.com/watch?v=-1v_q6TWAL4 BUFFY THE VAMPIRE SLAYER Back in 1992, big-screen horror-comedy Buffy the Vampire Slayer introduced the world to a plucky California cheerleader who just happened to be fated to slay the undead. That's not the version of Buffy that everyone adores, obsesses over and has watched and rewatched for decades, however, with that honour belonging to Sarah Michelle Gellar in Joss Whedon's 1997–2003 TV series. And, from the show's witty sense of humour to its willingness to put its viewers through the emotional wringer, it's easy to see why television's Buffy the Vampire Slayer is the Buffy of record. A new slayer might be born into every generation, as the series taught us, but only one will always have our hearts — while grappling with trying to be a normal person, killing vamps and sometimes even falling for them, of course. All seven seasons of Buffy the Vampire Slayer are available to stream via Stan. https://www.youtube.com/watch?v=yjuXTD0m9Lc ROUND THE TWIST Sometimes, you want to spend your time binging your way through serious dramas or clever comedies. And sometimes, feeling nostalgic by revisiting the local TV show every Aussie kid watched is on the agenda. For two seasons between 1990–93, then another two from 2000–01, Round the Twist adapted Paul Jennings' popular books into an offbeat fantasy series — and, if you were the right age, it was must-see TV. It's the source of plenty of lighthouse obsessions, given that's where the Twist family lived, and it's also a show that knew how to balance humour, strangeness and scares. And yes, the latter two seasons aren't as great, but we're betting they're still baked into your childhood memories anyway. All four seasons of Round the Twist are available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=xUHlMgJxF30 MAD MEN If The Sopranos was the show that defined the 2000s, and it definitely was, then Mad Men did the same in the 2010s. Matthew Weiner's 60s-set advertising agency drama made a splash from the moment it started in 2007, but Mad Men is the epitome of a slow burn — with the series' charms apparent at the outset, but its full power accumulating and growing over time. That applies to the complicated Don Draper (Jon Hamm), Sterling Cooper's creative director and the show's point of focus, and to everyone in his orbit. Indeed, while Mad Men always tells Don's story, the depth and richness afforded not just fellow major characters such as Roger Sterling (John Slattery), Peggy Olson (Elisabeth Moss) and Joan Holloway (Christina Hendricks), but the series' huge range of supporting players, is one of the show's biggest strengths. That, and its meticulous period look, obviously. All seven seasons of Mad Men are available to stream via Netflix. https://www.youtube.com/watch?v=k4zBo6El-ok ABSOLUTELY FABULOUS Forget Absolutely Fabulous: The Movie, the 2016 film that really isn't funny and definitely didn't need to be made. Completely erase it from your memory, and just focus on the British comedy's five TV seasons and numerous television specials instead. No one plays booze-swilling, trend-chasing, self-obsessed pals like Jennifer Saunders and Joanna Lumley — and on the small screen, at least, their performances as PR agent Edina Monsoon and her magazine fashion editor bestie Patsy Stone are never less than hilarious. There's no scenario too outlandish for this pair, as Eddie's long-suffering mother (June Whitfield), daughter (Julia Sawalha) and assistant (Jane Horrocks) all endure in every episode. And, amidst all the laughs, over-the-top antics and satire, few shows have so astutely explored what it means to be growing older while refusing to let go of your younger years. All five seasons of Absolutely Fabulous are available to stream via Stan. https://www.youtube.com/watch?v=rlR4PJn8b8I GAME OF THRONES Maybe you adored every second of Game of Thrones, including how it ended. Perhaps you'd rather pretend that the last season didn't happen. Or, you could be looking for something to pass the time until George RR Martin finally releases a new book in his A Song of Fire and Ice series — aka the novels that HBO's big fantasy blockbuster is based on. Whichever category you fall into, the eight-season TV show unravels quite the story. Even if you're just in it for the dragons, the endless (and often literal) backstabbing, the soap opera-like relationships, Peter Dinklage's wonderful performance, the inevitable fate that awaits Sean Bean and the chance to say "you know nothing, Jon Snow" a few more times, that's completely understandable as well. All eight seasons of Game of Thrones are available to stream via Binge and Foxtel Now.
Becky with the good hair gets a shoutout in Swarm. Facial bites do as well, complete with a Love & Basketball reference when the culprit flees. This seven-part series about a global pop sensation and her buzzing fans and stans also has its music icon unexpectedly drop a stunner of a visual album, ride a white horse, be married to a well-known rapper, become a mum to twins and see said husband fight with her sister in an elevator. Her sibling is also a singer, and plenty of folks contend she's the more interesting of the two. Still, Swarm's object of fascination — protagonist Dre's (Dominique Fishback, Judas and the Black Messiah) undying obsession — sells out tours, breaks Ticketmaster and headlines one of the biggest music festivals there is. And, while they call themselves the titular term rather than a hive, her devotees are zealous and then some, especially humming around on social media. Donald Glover and Janine Nabers, the show's creators and past colleagues on Glover's exceptional, now-finished Atlanta — Nabers also worked on Watchmen, too — couldn't be more upfront about who they're referring to. No one says Beyoncé's name, however, but Swarm's Houston-born music megastar is the former Destiny's Child singer in everything except moniker. In case anyone watching thinks that this series is trading in coincidences and déjà vu, or just failing to be subtle when it comes to Ni'Jah (Nirine S Brown, Ruthless), the Prime Video newcomer keeps making an overt opening declaration. "This is not a work of fiction. Any similarity to actual persons, living or dead, or events, is intentional," it announces before each episode, all of which stream from Friday, March 17. Ni'Jah is Swarm's sun, radiating her vastly popular glow upon all who choose to bask, and upon the world in general anyway. Always orbiting her from a distance, Dre is the show's earth. This is the latter's tale, as she starts the series as a twentysomething in 2016 who still adores her childhood idol with the same passion she did as a teen and, instalment by instalment, shows how far she's willing to go to prove it. Swarm's debut scene features Dre excitedly tearing open an envelope containing the credit card she needs to buy expensive Ni'Jah tickets she can't afford, which she's purchasing as a birthday present for her best friend and housemate Marissa (Chloe Bailey, Grown-ish). Alas, before the first set of closing credits run, that concert-going dream will be tainted by tragedy and murder, sending Dre across the country to chase her hero, confront Ni'Jah naysayers and work out if she's anyone beyond a stan. Thoroughly unrelated fellow 2023 arrival Poker Face commences in a similar fashion — not with pop goddesses and the people who are crazy, drunk and sometimes dangerously in love them, but with a friendship fractured and a road trip springing in the aftermath. While Swarm isn't a mystery-of-the-week series, it does see Dre head to different places, take up various jobs and befriend an array of people, and lets each chapter unfurl as a largely self-contained narrative. It's also anchored by a compelling lead performance, and one that's calibrated to make a statement. As Dre, Fishback is commanding. She stings with vulnerability and fierceness alike, and floats between the two expertly. Crucially, while she's ferocious, she's purposefully the opposite — or near enough — of Ni'Jah's Queen Bey-esque vision of perfect Black womanhood. Even if Swarm wasn't in formation with the star who runs many fans' worlds, Dre would remain a character rarely seen on-screen. From The King of Comedy through to its own ardent admirer Joker, and including Misery in-between, pop culture isn't lacking in ultra-dedicated enthusiasts who've sipped more than lemonade and can't stop worshipping — but they're never Black women. As Atlanta did before it and so gloriously, Swarm unpacks stereotypical representation. It tears into fame and its costs and consequences as well, plus true-crime and its formula, and it's clearly unafraid of real-world parallels. Surging with the surreal and savage, too, it whirrs and fizzes on a heightened plane (that Swarm's episodes could slot easily into Atlanta is an immense compliment). Awkward to the point of barely speaking at the outset — she lights up in Marissa's presence, then withdraws whenever Khalid (Damson Idris, Snowfall), Marissa's boyfriend, is around — Dre is the type of protagonist that audiences can't look away from even at her worst. Journeying from strip-club gigs to communes, she traverses a coming-of-age story, but a brutal one. Fishback's resume has ample highlights, such as a BAFTA nomination for Judas and the Black Messiah, and also-excellent work in Show Me a Hero, The Hate U Give and The Deuce, but she turns in the TV equivalent to Mia Goth's phenomenal recent work in Pearl here. Both tell of young women who don't feel like they belong, want more than their lot than life, and sport hopes and dreams they're constantly told are pure fantasies. Both won't simply accept that reality, either, no matter who or what gets in their way. There's a particular potency to Glover, aka Childish Gambino, helping to tell Swarm's toxic showbiz fandom tale. Again, the series leans into letting art blatantly imitate and riff on life — not with references to his own career, but in nudges to IRL fame wherever it can. Bailey is one half of Chloe x Halle, a singer and star, and even a former Beyoncé co-star and protege. Popping up as an erotic dancer, Paris Jackson (Gringo) is the daughter of Michael Jackson and, yes, has an album as well. When Dre finds herself with a NXIVM-inspired group, Billie Eilish plays its leader Eva. Brother to Macaulay and Succession's Kieran, Rory Culkin (Under the Banner of Heaven) also features. So does Glover's own sibling Stephen. And, among Swarm's staff writers is Malia Obama, credited as Malia Ann. Winking and nodding serves Swarm nicely, filtering down to its co-director Ibra Ake, who held the same position with Beyoncé's The Lion King visual album Black Is King — a movie where Donald Glover voiced Simba and Beyoncé voiced Nala. Top-notch craft that's as immersive and textured as Atlanta always was, all while veering more prominently into psychological horror-meets-satire territory, proves as important and deftly executed (with the Glovers and Honk for Jesus, Save Your Soul's Adamma Ebo also behind the lens). Indeed, Swarm is a gripping series to look at and listen to, and a feat in aesthetics and sound; often grainy and saturated with red, and also literally buzzing whenever Dre's deeds are about to get violent, it's meticulous at plunging viewers into its headspace. Getting obsessed is easy — which, like any pop hit and its hooks, is aptly and knowingly all by design. Check out the trailer for Swarm below: Swarm streams via Prime Video.
With Game of Thrones ending its run this year, there's currently a huge fantasy-shaped hole in the TV and streaming landscape. Of course, the beloved show will go on thanks to its own prequel; however plenty of networks and platforms are trying their hands at the genre in the interim — and giving television buffs plenty to watch. Amazon is hoping to fill the gap with its forthcoming Lord of the Rings series, although it isn't due until 2021. HBO's next contender will arrive sooner, courtesy of its adaptation of His Dark Materials. And, while Netflix already has its Dark Crystal prequel launching in August, it'll soon drop new series The Witcher as well. An exact date for the latter hasn't been announced, but the Henry Cavill-starring show has just unveiled its first trailer at San Diego Comic-Con. The witcher of the title is Geralt of Rivia (Cavill, sporting long blonde locks), a monster hunter who prefers to work — aka slay beasts — alone. But life has other plans for the lone wolf, forcing him to cross paths with powerful sorceress Yennefer of Vengerberg (Anya Chalotra, Netflix's Wanderlust) and young princess Ciri (newcomer Freya Allan). The latter harbours a secret, because of course she does, with the series blending plenty of fantasy staples such as magic, royalty, fighting factions, battling hordes, fearsome creatures, a heap of sword-swinging and many a scenic location. After stepping into Superman's shoes and facing off against Tom Cruise in Mission: Impossible — Fallout, The Witcher marks Cavill's return to TV a decade after starring in regal period drama The Tudors. Behind-the-scenes, the show's eight-part first season is created, executive produced and co-scripted by Lauren Schmidt, who has everything from The West Wing, Parenthood and Power to Daredevil, The Defenders and The Umbrella Academy to her name. If the series' name sounds familiar, that's because The Witcher is based on the short stories and novels of writer Andrzej Sapkowski — and, as well as being turned into comics, it was adapted the video game series of the same name. A Polish film and TV show also reached screens back in the early 2000s, although they were poorly received. Check out the trailer for Netflix's The Witcher below: https://www.youtube.com/watch?v=cSqi-8kAMmM The Witcher will hit Netflix sometime later this year. We'll keep you updated with a release date when we have one.
Ever wanted to nom on Louis XIV? Feast on Emperor Jing Zong? Connoisseur ice cream have taken some royal cues with their brand new dessert line: the Connoisseur 'Empire Collection'. An epic thematic stretch (but a tasty-sounding one we can raise a spoon to), the collection is inspired by historical figures or 'tastemakers' who supposedly "had a connection to the very origins of ice cream," according to the Connoisseur team. Though the historic heavyweights' connection to ice cream is somewhat vague (and annoyingly they're all dudes), we're not ones to say nay to academic dessert. Kicking off the all-star historic lineup is Emperor Nero, embodied in coffee-flavoured ice cream (because Italy) littered with chocolate-coated hazelnuts and hazelnut liqueur. In between all that tyrannic ruling, fire-starting and attempting to assassinate his own mother, the Roman Emperor apparently used to have ice brought from the mountains and top it with fruit. What a decadent ass. Next up, King Louis XIV trots in with a French vanilla ice cream (der) with chocolate flakes and armagnac sauce worthy of Versailles. Iced desserts were served at the court of the 'Sun King', so he makes the cut. The origins of ice cream are sometimes credited to the Chinese Song Dynasty, leading to our next ice cream inspirer Emperor Jing Zong — realised as red bean and toasted coconut. Finally, King Cyrus of Persia gets his own iced confection, with pistachio ice cream swirled with cinnamon, honey and date sauce. The Persians have a strong connection to the history of ice cream; they'd apparently pour grape juice over snow, making a kind of ancient snow cone. Royally-inspired ice cream needs some pretty packaging, so Connoisseur have enlisted the help of Melbourne street artist Steve Cross. "It’s a tale of four men, connected by ice cream and I really wanted to bring them to life through the packaging and design to create something truly unique,” says Cross. "I was inspired both by the ingredients used and the historic figures with their rich back stories. It’s a great acknowledgment to history, bringing these legends alive today — a beautiful demonstration of the blending of two eras.” You can check out the four flavours in the freezer section at Coles and Woolies for your less-than-Ben and Jerry's price of $7.99. The Connoisseur team are also pushing the collection further, with a one-week exhibition at Blank Space in Surry Hills: The Empire Collection Pop-Up Gallery (September 17 - 22). Couldn't have thrown in one female figure, guys? Queens dig ice cream too.
The streets of Sydney are about to transform into a kaleidoscope of colour, charisma and character for the 46th annual Sydney Gay and Lesbian Mardi Gras, and we've got two exclusive packages to make sure you're in the thick of it. Whether you're a Mardi Gras veteran or a first-timer, these deals will set you up to have the ultimate Mardi Gras experience. First up, for those looking to add a touch of luxe to their Mardi Gras, we present the Diamond Club Viewing & Boutique City Stay. Priced at AU$1,599 for two people, this deal not only puts you in a premium viewing area for the Parade on Saturday, March 2, but also gives you access to exclusive bars, gourmet food and amenities at Diamond Club — one of the hottest tickets on the festival calendar. And when the day is done, you'll retreat to your luxury room at the Ovolo Woolloomooloo for two nights (March 1–3). This isn't just a place to crash — it's a five-star retreat complete with daily breakfast, unlimited Wi-Fi, self-laundry (because glitter gets everywhere), daily afternoon cocktails, free minibar, gym, pool and in-room Alexa and Apple TV. Alternatively, the Sideshow Viewing & Boutique City Stay starts from AU$1,299 for two people and offers front-row seats to the parade from the Sideshow area. Your accommodation? Take your pick between The Woolstore 1888 by Ovolo or the Kimpton Margot Sydney. Both options are an easy stroll to the parade route and come with all the perks you'd expect from top-tier hotels. So go on, treat yourself. You're not just booking a room; you're securing a front-row seat to one of the most vibrant events on the Sydney calendar. See you there.
The world has gone green. With carbon trading, hybrid cars and alternative fuels dominating elections and dining table chit-chat across the globe, the choice to be green is not simply an environmental consideration but a way of life for many people. Some environmentally-minded folks, however, have brought new meaning to the phrase "one man's trash is another man's treasure", transforming scrap metal and old beer cans into functional and often stunning houses. Here are ten bizarre and beautiful houses made entirely of recycled materials. Junk Castle Where: Washington State It took one high school teacher, one artist, $500 and a pile of discarded filth to make the Junk Castle, with everything from car doors to rusting kitchen appliances replacing the usual bricks and mortar. Le Casa de Botellas Where: Puerto Iguazu, Argentina The 'House of Bottles' is made from thousands of disposable plastic bottles for the purpose of "promoting ecological and social responsibility", and includes a matching bottle playhouse. Earthship Where: Haiti After the devastating 2010 Haiti Earthquake destroyed thousands of families' homes, eco-architect Michael Reynolds constructed this 120-square-foot house from discarded car tires. Not only did it cost next to nothing to build, but it is also resistant to earthquakes and hurricanes and harvests solar and wind energy. Jardin du Coquillage Where: Northern France 'The Garden of Shells' was a labour of love for French war veteran Bodan Litnianski, who upon returning from WWII began decorating the exterior of his house with shells. Upon finishing the walls, Litnianski then roamed the streets in search of abandoned toys, puppets and anything else that caught his fancy, transforming his tiny cottage into a veritable maze of colourful and exotic junk. House Built from Glass Bottles Where: Prince Edward Island, Canada 25,000 bottles were used by Édouard T. Arsenault to build this eco-friendly home. One wasn't enough though, with Arsenault making three similarly cost-effective houses across the island. Costa Verde Resort Where: Costa Rica This multi-million dollar extravaganza is one of the more innovative hotel designs you are likely to see, constructed from a decommissioned Boeing 727 previously used by South Africa Air. The striking exterior is more than adequately matched by its ritzy interior, in which the inside of the plane has been refashioned into wood panelled hotel rooms that fetch up to $500 a night. The Phoenix Commotion Where: Huntsville, Texas Architect, environmentalist and innovator Dan Phillips (above) is the brains behind eco-friendly construction company, The Phoenix Commotion. Having constructed 14 houses from materials salvaged from junkyards, flea markets and street corners across Texas, Phillips believes the possibilities for The Phoenix Commotion are just about endless. "You can't defy the laws of physics or building codes," Phillips told the New York Times, “but beyond that, the possibilities are endless.” The Beer Can House Where: Houston, Texas That's right, a house made entirely from flattened beer cans, beer bottles and other beer paraphernalia. Houston resident John Milkovisch became a local icon when in 1968 he began converting his family home into a shrine to the amber nectar. His only explanation for the hordes of perplexed neighbours was "I got sick of mowing the lawn". While it is now a favoured tourist attraction, it is only worth a visit if you are particularly strong of stomach, as 50 years of fermenting beer has apparently given the house a rather rancid stench. Houses Made From Shipping Pallets Where: Chile and Austria Designers in Chile and Austria have used discarded shipping pallets to create houses that are both functional and beautiful. The strong hardwood material and large holes in the pallets lend themselves perfectly for house exteriors providing homes with natural lighting, cooling and ventilation. Grain Silo House Where: Woodland, Utah Penny-saving, environmentally-conscious architects have been known to convert just about anything into houses, from churches to shipping containers to bomb shelters. One such trend that has developed in the US is repurposing grain silos into some surprisingly stylish homes. While this double-silo mansion took several years of redesigning and recreating, silos can be renovated into houses for as little as $7,000.
Melbourne's southeast has just scored a huge new Asian-fusion restaurant and bar — Chicki Chan — thanks to Johnny Jong and Kelvyn Yeoh. Jong is running the back of house as Director, leaning on his hefty 28-plus years experience to create this venture — having worked as Executive Chef at both Crown Sydney and Lucas Restaurants. And he has enlisted the help of Yeoh to run the kitchen, who's also worked at Crown and Lucas Restaurants — overseeing venues like Chin Chin, Hawker Hall, Yakimono, and Grill Americano. With such impressive credentials, you can't help but have high expectations for the duo's own restaurant. Similar to Lucas Restaurants venues (where the duo previously worked and seem to have gained inspiration), Chiki Chan is big on the vibes, decking out the two-storey space with a long bar backed by wave-like walls (plus another bar in the room out back), neon artwork, polished concrete floors, screens showing futuristic videos, and pumping music. They have clearly learned a few things from the one and only Chris Lucas, making the space ooze cool. When it comes to food, you can expect an eclectic mix of Asian-fusion eats — think Italian-style burrata with Szechuan chili oil, fennel jam and macadamias; crispy barramundi with an Asian remoulade, jalapenos and palm sugar sauce; and a coconut chantilly served with strawberry conssome, Thai basil oil and raspberry sorbet. Set menus are also on the docket — a necessary addition to any restaurant these days — which cost an easy $55, $65 and $85 per person. As expected, Asian-inspired cocktails make it onto the menu alongside Aussie wines and beers on tap, either found in the restaurant or adjoining Hiki Bar. At the cocktail bar, you can also find a tapas-srtyle food offering to appease the sip and snack crowds and those waiting for a table in the main dining room. Jong and Yeoh are ticking all the right boxes with Chiki Chan, clearly understanding how to stand out (while also fitting in enough as to not scare off customers) within Melbounre's highly competitive hospitality industry. You'll find the new Chiki Chan at 6 Centreway, Mordialloc, open 12pm–late from Wednesday–Sunday. For more details and to book a table, you can visit the venue's website.
Roadtripping combines a show pony portion of adult responsibility with the type of wind-in-your-hair freedom you just don't get in every day life. Ipso facto, it's the perfect way to travel. And if the Great Ocean Road isn't really your scene — or all those Instagram-famed pastures of the UK are sure to break bank — then Central Europe is where to start. Not only are car rental prices blasphemously affordable, but this part of the world is filled with hundreds of untouched marvels of Natural Wonder calibre. You can see the snow-capped mountain ranges of Slovenia, Europe's largest lake in Hungary, that infamous Croatian coastline and every wonder from Brno to Budapest all in under two weeks and for less than half a grand. Here's how. [caption id="attachment_570201" align="alignnone" width="1280"] Benjamin Combs[/caption] WHERE TO HIRE A CAR If you want to conquer a good deal of Central Europe on wheels, and have some time up your sleeve, do a no brainer and fly into the country that has a) the cheapest flights, and b) the cheapest car rental. Your best best is either Prague, Slovenia's capital Ljubljana or Bratislava in Slovakia — they all have a history of offering some pretty great deals on car rental (we're talking a few hundred dollars a week here). Their locations are also perfect for doing a circular route of the region without having to back-track. Most car hire companies cap their young drivers fee at seven to ten days, so if you hire for longer than a week, you're probably not going to pay more than $100 extra for being under 25 (compared that to the UK where you'll pay upwards of double). Check out rentalcars.com and skyscanner's car rental search for the best deals. [caption id="attachment_570192" align="alignnone" width="1280"] Guillaume Speurt via Flickr[/caption] WHERE TO TRAVEL Your rule of thumb should be get to the countries beginning with S, and stop at places with B. Slovenia, Slovakia and Serbia not only the hold the most insane nightlife in Europe, but each city is home the crème da le crème of Europe's castles, cathedrals and mountains. Lake Bled in Slovenia is beyond words — just look at the above photo. It's worth finding someone to elope with just for an excuse to get hitched at Spiš Castle in Slovakia, and when you get to Serbia, you'll find the remains of some kind of ruined, history-laden castle at most major turn offs. What's that? Oh, just King Stephen's timeshare that was ruined by a Mongolian invasion in the 14th century. Cool. If you're a confident driver, give the Austrian Alps a shot — and if you're driving between Slovenia and Austria or Slovakia you'll have to give them a go anyway as there's no getting around them. You'll have to be careful (ice is slippery, duh) but it's a resume-worthy feat getting over them alive/without crying at least a few times. Hungarian and Slovakian backroads are filled with some pretty eery, Deliverance-esque sights, like old women selling fruit and veggies from old school desks and men leading pigs along the road. But, on the upside, there's plenty of cows and sheep and the aforementioned pigs to pat. Inner-Croatia is hilly, which makes for brilliant en-route sightseeing, and you need to check out at least one of its national parks. Plitvice Lakes is outrageous. Little tip: If you're at the point where Slovenia and Croatia meet at the coast, duck into Trieste, Italy for lunch. It's only an hour or so detour. [caption id="attachment_570210" align="alignnone" width="1280"] Jean-Frederic Fortier[/caption] WHAT TO PACK IN THE BOOT You're not Bear Grylls-ing it so don't worry about gallons of water, flint or flare guns. First off, double check with your rental company that your car contains a Green Card — this proves you have the minimum car insurance needed as an international driver. You'll also need a multi-city European sim card for on-the-go internet (Vodafone offers a goody, as does giffgaff), some Euro (regardless of the country you're in) and a paper map or two wouldn't go astray. You can pretend to be a real adventurer and do this trip without GPS; the highway signs throughout Central Europe are easy enough to follow, but at the same time English isn't widely spoken in smaller towns and villages, so doing the trusty Amazing Race tactic of pulling into a servo and asking which way to Phil Keoghan may prove a little fruitless. Also, make sure you also have an ice scraper, a good board game (we recommend Uno or Bananagrams), so many dry socks and an iPod chockers with podcasts. [caption id="attachment_570196" align="alignnone" width="1280"] Marijana Petrovic[/caption] WHERE TO STOP FOR CHEAP EATS The most underwhelming part of your roadtrip will be the amount of McDonalds you see. Globalisation, eh? At the same time, go to at least one in Austria because they do a super yummy banana milkshake. In the major cities, pay a visit to food markets — we can recommend the Great Market Hall in Budapest, Viktualienmarkt in Munich, Open Kitchen in Ljubljana and Havel Market in Prague). Remember, you have a car and can therefore can grab something quick from the supermarket, and drive anywhere you want and picnic on Lake Balaton or under the shadow of some Yugoslav-era castle. TOLLS In every country you're going to have to buy a different vignette, or prepaid road toll — it's a little sticker you put on your windscreen. You can buy them from most servos, though Shell is your safest bet. Bank the word vignette and use it when asking for one because most service stations sell cards at the counter that look like vignettes, but are actually tokens for car washes. So even though you'll have the cleanest car this side of Austria, you'll also obtain the status of most wanted toll evader. Learn from our mistakes. Anyway, this website gives a great overview on where you'll need them and at what cost. [caption id="attachment_570208" align="alignnone" width="1280"] Dominic Lange[/caption] KEEP IN MIND... If you're travelling in winter, you're going to be equipped with snow wheels. They don't feel drastically different from normal wheels, but they create more friction with the road, which is occasionally noticeable. If you're driving in snow, be careful! Drive gently, avoid harsh acceleration, hard breaking, abrupt downward gear changes or steering movements. Houses are very close to major roads so watch out for ducks, chickens and children. Be wary driving in the dark, and always check what time the sun is setting in order to make realistic deadlines to get to your next location. Straight highways aren't forever, and ripping around, up and down mountains at 150 kilometres an hour in the dark is petrifying. Parking isn't so bad in most of Central Europe, and most underground car parks are about a quarter of the price of major city parking in Australia. If you attempt street parking in cities like Budapest, Vienna or Prague you risk morphing into an angry roadtrip dad and saying things you don't mean and losing your friends/wife/respect of your children. Risk it if you dare. If you conquer around 200 kilometers every couple of days (about three to four hours driving), you can easily do the Czech Republic, Slovakia, Hungary, Croatia, Slovenia and Austria in two weeks. Good luck, friends. Top image: Genie Austin.
When you make an album that lasts the test of time, that feat is worth celebrating. Moon Safari isn't the only record from French electro-pop duo Air that's as stellar now as it was when it first met the world, but the dreamy 1998 release is the album that Nicolas Godin and Jean-Benoît Dunckel have been celebrating in 2024. To mark its 25th anniversary, which arrived last year, the pair have been touring the globe to play Moon Safari in full live — starting in France, of course, but also heading everywhere from Switzerland, Italy, Germany and the UK to the US and Australia. For Vivid 2024, Air brought their current show to Sydney midyear — before the entire planet's eyes were on them during August's Paris Olympics closing ceremony, where they were part of Phoenix's set alongside Kavinsky, Angèle, Vannda and Ezra Koenig from Vampire Weekend. One trip Down Under this year isn't enough, however, so Air have now joined the Always Live lineup. From 'La femme d'argent' to 'Le voyage de Pénélope', the entire record will be performed live — 'Sexy Boy', 'All I Need', 'Kelly Watch the Stars' and 'You Make It Easy' included, of course. From there, Air's sets usually feature equally excellent tracks from across their career, such as 'Playground Love' from Sofia Coppola's The Virgin Suicides soundtrack, plus 'Venus' and 'Cherry Blossom Girl' from the duo's 2004 album Talkie Walkie. For Always Live, Air are playing a one-night-only gig under the stars at Sidney Myer Music Bowl on Wednesday, December 4, 2024, adding to an already jam-packed program that's bringing Jack White, The Offspring and St Vincent to Victoria as well for Australian-exclusive shows. [caption id="attachment_978773" align="alignnone" width="1920"] Mathieu Rainaud[/caption] "We were a duo doing some electronic thing, dreaming of selling 10,000 copies and being recognised by other musicians as cool. Then suddenly, we met the world," explains Dunckel about Moon Safari, calling the album "a deep, universal spell, full of love and mystery". If you missed Air in Sydney, here's your second chance to catch them in Australia this year. And if you need any more encouragement, the Moon Safari set was captured live at London's Royal Albert Hall earlier in 2024, which you can stream below: Air Play Moon Safari heads to Sidney Myer Music Bowl on Wednesday, December 4, 2024, with tickets on sale from 10am local time on Tuesday, November 12, 2024. Always Live 2024 runs from Friday, November 22–Sunday, December 8. For more information, and to get tickets, head to the festival website. Live images: Raph_PH via Flickr.
It's time to get schwifty, Rick and Morty fans — again. Last year, everyone's favourite interdimensional adventurers finally returned for their fourth season, with a certain eccentric scientist and his anxious grandson causing plenty of chaos throughout the multiverse across five characteristically anarchic episodes. To the delight of R&M fans everywhere, however, there's more where that came from. In fact, 2019's batch of episodes only covered half of the animated sitcom's fourth season — and the second set of five episodes is heading to the small screen this year. It'll start airing week-to-week in the US from early May, and hopefully Netflix Down Under will follow suit shortly afterwards. Of course, even if Australian and New Zealand viewers have to wait a few extra weeks, it'll be a much shorter delay than the gap between the show's third season in 2017 and its fourth in 2019. In the just-dropped trailer for the new episodes, Rick Sanchez and Morty Smith (both voiced by show co-creator Justin Roiland) are still doing what they do best: not just aping a concept straight out of Back to the Future (aka a lab coat-wearing old man, his teenage sidekick, and their time- and space-jumping antics), but wreaking havoc in as many universes as they can stumble across. Also back are Morty's mother Beth (Sarah Chalke), father Jerry (Chris Parnell) and sister Summer (Spencer Grammer). Watch the trailer below: https://www.youtube.com/watch?v=qPDqQDTnJKE As always, the new episodes will rejoin the smartest Rick and Morty-est Morty in the universe — and, behind the scenes, feature the smart comic writing of Roiland and Community's Dan Harmon. And, while five new episodes mightn't seem like much, there's still even more to come, with the show renewed for a huge 70 episodes by US network Adult Swim in 2018 (which is more than double the 31 that the comedy aired before season four started). If you're more excited about new R&M than Mr Meeseeks and Mr Poopybutthole are about just being themselves, then there's more good news, with Adult Swim also dropping a five-minute-long online mini-episode to tide fans over until the next full episodes hit. Prepare to meet Rick WTM-72 and Shogun Morty in Samurai & Shogun. Wubba lubba dub dub indeed. Check out Samurai & Shogun below: https://www.youtube.com/watch?time_continue=4&v=BSF5yoD-vC4&feature=emb_logo The final five episodes of Rick and Morty's fourth season will start airing weekly from May 3 in the US. Down Under, the show airs on Netflix — and we'll update you with a release date for the new episodes when one is announced.
When you're taking your pet pooch to the pub, park, cinema, opera, for brunch or to any other dog-friendly event, you want your four-legged friend to look its best. Yes, all puppers are adorable anyway, because just comes with the territory. But your furry little woofer is certain to dial up its natural cuteness in a piece from The Iconic's new pet range. Whether your dachshund would look dapper in a fleece-lined denim vest, your jack russell terrier needs a Christmas-patterned jumper or your shih tzu could do with a cable-knit or fringed sweater, you'll find it on offer in this new line. Brands such as Paul Smith, Filson, Sebastian Says and Pethaus are all part of the retailer's pet-focused range — as are Driza-Bone oilskin dog coats and RM Williams leather leashes. More than 60 items are currently available (including various sizes and colours), spanning collars, harnesses and leads, as well as hoodies, pullovers and coats. Elf-themed jumpers, vests embroidered with the words 'girl gang', macrame leashes, gold collars — they're all covered. The fashion and accessory line will add further items throughout the year, too, because even your doggo's wardrobe can change with the seasons. While The Iconic has dubbed the line its 'pet-friendly edit', so far it's all for dogs. That said, if you can somehow manage to get your cat into a vest or sweater, then you're well-equipped to slip them into something from this range. The Iconic's Pet-Friendly Edit is currently available to purchase online, with further items due to be added to the range later this year.
Nestled in the terrace-lined backstreets of Prahran, this southside pub and bistro is a dependable local that no doubt gives its neighbours some grief over the weekend. In addition to the main bar, dining area, public bar, and bottle shop, the large astroturf-lined beer garden can house hundreds on hot summer days and conveniently has an outside bar to cater for it. While it can be hard to get a table during the infamous Sunday Sessions, during the week this place is a relaxed little hideaway from the hustle and bustle of Chapel Street and offers great specials on pub grub including a $12 locals' night on Mondays.
Positioned right on the bay, yet just seven kilometres from the CBD, and brimming with personality, St Kilda is the vivacious, creative kid you want in your friend gang. It's got colour, it's got coastline and there's a whole swag of different ways to experience its offerings — whether you're a food-lover, an adventurous spirit, a social butterfly, or some mix of all of the above. Lots of life here revolves around that enviable beachfront location, which is crucial for extending those summer vibes for as long as possible. So, we've teamed up with White Claw to pull together a dawn-to-dusk itinerary in the buzzing beachside 'burb. 6.30AM: STROLL THE ST KILDA TO PORT MELBOURNE COASTAL WALK There's nothing quite like kicking off an early morning with an energising bayside walk; especially when it's backed by the kind of sunrise scenes you'll clock on the track from St Kilda to neighbouring Port Melbourne. This northern section of the famed Bay Trail is an easy cruise that'll take you just over an hour, with some cracking water views along the way. Don't forget to stop by the dog beach at Port Melbourne for a few morning pats. 8AM: FUEL UP WITH A FEEL-GOOD FEED FROM MATCHA MYLKBAR A big day of activities calls for a solid AM feast, which just so happens to be where Matcha Mylkbar excels. Venture to Acland Street and you'll find this dedicated plant-based cafe whipping up a menu of nourishing fare that looks as good as it makes you feel. Go for a stack of vibrant matcha pancakes or the jackfruit 'chicken' and waffles, washed down with one of a multitude of rainbow-hued drinks. Perhaps a nutrient-packed blue algae latte or the acai smoothie? [caption id="attachment_843900" align="alignnone" width="1920"] Joppe Spaa via Unsplash[/caption] 10AM: GET BENDY ON THE BAY WITH SOME SUP YOGA Fancy a little switch-up from your usual yoga sessions? In St Kilda, you can swap the studio for open skies and the rubber mat for a stand-up paddleboard to have crack at SUP yoga. There are a couple of operators running regular lessons at St Kilda Beach — book in a class with the likes of SUP Yoga Melbourne or Stand-Up Paddle HQ and challenge your core to a memorable water workout. The backdrop's beautiful and the post-yoga dip is blissful. 12PM: GRAB A BEACHFRONT LUNCH AT PONTOON For lunch with a view, you'll find it hard to top a visit to the shorefront beauty that is Pontoon. Hugging the sand, the bar and eatery boasts an enviable outlook, and it's serving up some pretty stellar grub to match. Fittingly, seafood is the star of the menu. Get snacky with some of the cod croquettes, the chilli mussels and a garlicky white bean dip, before diving into the likes of handmade blue swimmer crab spaghetti or the pork schnitzel with capers and lemon. Pair with your favourite White Claw pour for full effect, of course. 2PM: FLEX YOUR CREATIVE MUSCLE WITH A STREET-ART LESSON After spending the morning rocking around one of Melbourne's most vibrant suburbs, it's time to show off a bit of your own creative spirit. This city is famed for its lively, art-filled laneways and here in St Kilda, you can take an expert-led class to see you tapping into your own inner Banksy and creating some Hosier Lane-worthy masterpieces. Celebrated local artist Rus Kitchin runs a regular stencil and street art workshop, where you'll learn the secrets to designing and cutting stencils, and then use them to make two spray paint works of your own. 4PM: DITCH THE SHOES FOR A SPOT OF LAWN BOWLS Soaking up some rays, kicking back with mates and indulging in a bit of friendly competition — you can do it all simultaneously when you take to the turf at St Kilda Sports Club. The club's bowling green is open and primed for barefoot bowls most days of the week, with two-hour session times available for groups large and small. Your crew will even get an instructor to show you the ropes before you begin. And, since battling it out against mates can be thirsty work, there's an onsite bar for pre- and post-game refreshments. [caption id="attachment_699804" align="alignnone" width="1920"] Alex Drewnik[/caption] 7PM: HIT THE ESPY FOR A FEED AND A SERVE OF LIVE TUNES A true-blue St Kilda icon, The Espy is a quintessential stop on any local jaunt; a wining, dining and live music haven proudly overlooking St Kilda Beach. With myriad food and drink options, it's a choose-your-own-adventure kind of place, but if a feast of punchy modern Cantonese fare sounds like your jam, lock in dinner upstairs at Mya Tiger. This sumptuous space, filled with bright jewel tones and rich textures, offers a flavour-packed menu to impress. And what better way to cap off your night than catching a post-dinner gig downstairs? For more information on White Claw, head to the website.
Broadbeach has never really had to work too hard to convince people to visit. The laidback vibes, excellent dining scene and ample swimming spots that give the suburb its name do most of the heavy lifting. But if you are a little harder to impress, the good people at Tourism and Events Queensland are rising to the challenge and cordially inviting you to plan a long weekend away to the Gold Coast for the annual Blues on Broadbeach festival that runs from Thursday, May 18 to Sunday, May 21. With 22 years of experience under its belt, the 2023 incarnation of Blues on Broadbeach will be the pay-off of a well oiled machine. And, while the organisers have had some time to fine-tune their ability to put on a stellar music festival that showcases authentic rhythm and blues music, this year's program could very well be their best yet. As well as a lineup of national and international artists performing across the precinct's multiple stages, streets and parks, the four-day-long fest will fold in a massive selection of restaurants, cafes and bars, and a host of accommodation options. Meaning you can stay right in the heart of the festival and enjoy live music at your actual doorstep. Kind of worried about blowing the budget? Fear not, because Blues on Broadbeach is one of Australia's largest free music festivals and it's generally non-ticketed, so you can just rock up and play it by ear (pardon both bad music-related puns). So, if you're heading in from interstate, set your Google alert to track flight prices and round up some mates. Otherwise, if Broadbeach is closer to home for you, take your time and pop in and out as you please. Either way, whether its your first pilgrimage to Blues on Broadbeach, or your 22nd, we're going to call it now and say it probably won't be your last. Blues on Broadbeach is on from Thursday, May 18 to Sunday, May 21, 2023. For further details, head to the website.
Leonardo DiCaprio making his first movie in four years, a swaggering Brad Pitt spitting out wry dialogue, 60s showbiz laid bare, and Australians Margot Robbie and Damon Herriman playing Sharon Tate and Charles Manson — it must be Quentin Tarantino's Once Upon a Time in Hollywood. One of 2019's most anticipated titles, the acclaimed filmmaker's ninth stint behind the camera travels back five decades to tell the tale of fading TV star Rick Dalton (DiCaprio), his trusty stunt double Cliff Booth (Pitt), his neighbour Tate (Robbie) and an industry that's changing fast. Set in Los Angeles in 1969, it's a story that charts the end of Hollywood's golden age, the Manson Family murders and everything going on around Tinseltown at the time. Tarantino loves jumping into the past — thanks to Inglourious Basterds, Django Unchained and The Hateful Eight, this is his fourth consecutive period piece — but he might've found his ideal niche. For this journey back to fame, fortune and crime gone by, he's also amassed a who's who of the film's titular town. Get ready — it's a long list. Tarantino regulars Kurt Russell, Tim Roth, Bruce Dern, Zoe Bell and Michael Madsen all feature, as well as Dakota Fanning, Lena Dunham, Al Pacino, Timothy Olyphant, James Marsden and the late Luke Perry. Nodding not only to Hollywood's past and present, but to its future, up-and-comers Maya Hawke and Rumer Willis also pop up (they're the daughters of Uma Thurman and Ethan Hawke, and Demi Moore and Bruce Willis, respectively). Basically, Tinseltown today delves into Los Angeles' darker days, a behind-the-scenes Hollywood caper meets US crime history, and Tarantino might've taken some inspiration from the Coen Brothers' Hail, Caesar! — at least if the ace and amusing initial teaser for Once Upon a Time in Hollywood is any indication. The film premiered at the Cannes Film Festival — with Variety reporting it received a six-minute standing ovation — and will release worldwide from late July. Check out the first full trailer below: https://youtu.be/ELeMaP8EPAA Once Upon a Time in Hollywood releases in Australian cinemas on August 15.
Heading to Collingwood's Museum of Desire is one way to turn up the heat this winter, with this immersive playhouse's after-dark fun treading the line between art and eros. With demand on the rise, the museum has now extended its season through to the end of 2025, with late-night sessions from Wednesday—Sunday keeping the suggestive vibe going until as late as 10.30pm. Featuring all-new permanent provocations, the Museum of Desire is stacked with even more spicy encounters. The Little Vegas Love Chapel offers an irreverent elopement booth for cheeky wedding snaps. Plus, two newly unveiled Cabinets of Curiosities feature rare and risqué artefacts, from vintage erotica catalogues to taboo-bending objets d'art. With more than 20 attractions spread throughout this seductive space, the venue's exotic experiences include an orgasmic laser harp, flirtatious installations created by world-renowned artists, an alluring room filled with infinity mirrors, and even a boob-filled ball pit (yes, really) that you're welcome to dive into. As for the rest of the winter season, the Museum of Desire is hosting a series of special events, with Burlesque & Bites taking place on Wednesday, July 30. Offering a pleasure-seeking evening filled with creativity and performance, expect an enthralling burlesque show by the ever-glamorous Evana De Lune, alongside debut photography exhibitions, costume displays, indulgent nibbles and more. Images: Marcus Kiely
When you've been sipping on blue milk, how ready will you be to battle the Galactic Empire? Will tucking into green burgers and dessert space stations get you fuelled to rebel against oppression? There's only one way to find out the answers to these questions: by visiting the brand-new Star Wars Galactic Cafe, an Australian-first eatery that's now open at Melbourne Museum. After the Victorian venue became the top spot right now, in this very galaxy, to see Star Wars come to life via Lego courtesy of the world-premiering Lego Star Wars: The Exhibition — and the only place to check out life-sized recreations of the space saga's locations, characters, duels and moments as made out of eight-million-plus plastic bricks, in fact — the same site has welcomed another Aussie debut. As first announced back in May, never before has an official Star Wars cafe popped up Down Under. This one is only here for a limited season. Yes, blue milk is definitely on offer, because it wouldn't be a Star Wars-themed spot for a snack and a sip without it. You can enjoy it chilled or as part of a slushie. And the source of that all-important hue? Butterfly pea flower powder. The cafe's full food and drink range features other dishes and selections inspired by the franchise — and while there's no green milk or fish eggs, green-hued burgs and a Death Star by chocolate sweet treat are ready to tempt your tastebuds. Fittingly, the bites and drinks have names like Canto Bight Burger, Naboo Garden Vermicelli, Outer Rim Chicken Katsu and Tatooine Sunset. Also on offer: a Chewie gingerbread cookie that adorably resembles its namesake. A range of kids meal packs are available, too, with monikers such as Endo Explorer (featuring chicken nuggets) and Padawan Power (with a hummus and salad sandwich). Open since Saturday, June 7, 2025 and set to run until January 2026, the Star Wars Galactic Cafe is the result of Australian-first collaboration between Museums Victoria, Disney and Lucasfilm. The decor matches the menu, with the pop-up delivering an immersive eating and drinking experience beyond what you're consuming by taking you to a Corellian Star Cruiser to get feasting. If this sounds like the kind of spot that'll be popular, that's because it already is — so bookings are encouraged, with walk-in availability limited. Images: Carmen Zammit, courtesy of Museums Victoria.
Blessed be your streaming queue: come mid-September, it'll start being home to the fifth season of The Handmaid's Tale. It's the batch of episodes we've all known is coming since 2020, when the hit dystopian series was renewed for this fifth season before the fourth even hit. And, thanks to that fourth season, it promises one helluva reckoning. Saying that anything to do with The Handmaid's Tale is stressful is like saying that Gilead looks like a terrible place to live. Praise be the obvious again and again. Still, if you want to call the show's sneak peeks at its upcoming fifth season tense, disquieting and unsettling, all of those words fit. Hulu, which airs the series in the US, has just dropped the full trailer for season five — and, unsurprisingly, nothing is well. If you're up to date on the series you'll already know why. Of course, things are never well in The Handmaid's Tale — but now June (Elisabeth Moss, Shining Girls) faces the fallout from her actions in the show's last go-around, and Serena's (Yvonne Strahovski, Stateless) in-mourning getup speaks volumes. In the new trailer, June doesn't just navigate more than a few consequences. Still fighting Gilead from afar, with Luke (O-T Fagbenle, Black Widow) and Moira (Samira Wiley, Breaking News in Yuba County), she admits how much she enjoyed her most recent choices. As for Serena, she's in profile-raising mode in Toronto, as Gilead's influence creeps into Canada — and Commander Lawrence (Bradley Whitford, Tick, Tick... Boom!) and Aunt Lydia (Ann Dowd, Rebecca) are endeavouring to reform Gilead. Also returning among the cast: Max Minghella (Spiral: From the Book of Saw), Madeline Brewer (Hustlers), Amanda Brugel (Snowpiercer) and Sam Jaeger (The Eyes of Tammy Faye). With all of the above, blessed be the bleak dramas, too, which is exactly what The Handmaid's Tale has been serving up since 2017 now. Of course, on the page, this grim look at a potential oppressive existence has been drawing in fans since the 1985, when Margaret Atwood's book first hit shelves. A film followed in 1990, and opera in 2000 — plus a sequel novel in 2019. Yes, there have been many ways to dive into The Handmaid's Tale over the years, but only one keeps winning small-screen awards and stars a phenomenal Moss. The date to mark in your diary: Thursday, September 15, given that the show will return in the US on September 14. Down Under, episodes air weekly on SBS in Australia, and stream via SBS On Demand — and hit Neon in New Zealand — at the same time as in America. Check out the trailer for The Handmaid's Tale season five below: The fifth season of The Handmaid's Tale will hit start airing in Australia and New Zealand from Thursday, September 15 — on SBS TV, and to stream via SBS On Demand and Neon, with new episodes arriving weekly.
If brutal honesty, passionate angst and extraordinarily affecting personal songwriting is your jam, rejoice the return of Martha Wainwright to Australia for a massive, 12-date national tour. Part of a large, fractured musical family, it was perhaps fitting that Martha made her first big splash with 'Bloody Mother Fucking Asshole', a song at once heartbreaking and defiant, laying bare her difficult relationship with her father in an extraordinarily public way. And her forthcoming album, Come Home to Mama, continues this deeply personal approach to music, inspired by the six-month period in which she gave birth to her first child and lost her mother — legendary Canadian folk singer Kate McGarrigle — to cancer. But it's not all doom and gloom. Over the years Wainwright has established herself as a compelling and engaging performer with an extraordinary voice, one that will have you in tears one moment and tapping your feet the next. It won't be an easy night, but it could be an amazing one. 31 May – The Tivoli, Brisbane 1-2 June – Byron Theatre, Byron Bay 6 June – Sydney Opera House 8-9 June – Live n Cookin' @ Lizotte's, Newcastle 13 June – Theatre Royal, Hobart 14-15 June – Recital Centre, Melbourne 16 June – Memorial Hall, Leongatha (VIC) 20 June – Dunston Playhouse, Adelaide 22 June – Astor Theatre, Perth Tickets for the Sydney Opera House show are on sale on Friday, April 12, at 9am. More ticketing information here. https://youtube.com/watch?v=pX-bIr8dr6U
Supermarkets are phasing out plastic bags, venues and even McDonalds are ditching plastic straws, Hobart is eradicating plastic takeaway containers and cutlery, and a store in the Netherlands has launched a plastic-free aisle; however the world's beaches and oceans are still feeling the impact of humanity's decades-long love affair with the single-use plastic. According to a 2010 study, around 12.7 million tonnes of the substance goes into the ocean each year. That's an enormous problem that can't be cleaned up quickly, but the Surfrider Foundation Manly is joining forces with 4 Pines Brewing and a heap of Sydney cafes to do encourage folks to do their part. Running for the month of April across Manly, the Rubbish 4 Coffee Initiative gives locals an extra incentive to collect litter from the shore — if they fill a bucket and bring it to one of eight venues, they'll receive a free brew in return. Roma & Co, Hemingway's, Havana Beach, The Bower Restaurant, The Boathouse Shelly Beach, Manly Wine, Hakan's and Bluewater Cafe are the places taking part, and offering up Single O Coffee Roasters and Grinders coffee to. To get a caffeine hit without spending a cent, Sydneysiders first need to drop by one of the venues to collect a Surfrider-branded bucket. Once they've been to the beach and filled it with trash, they can return to the cafe for their free beverage. Of course, a coffee buzz isn't the only thing they'll be feeling afterwards — there'll also be the buzz of doing the environment a solid. The Rubbish 4 Coffee Initiative runs until the end of April. Visit the event Facebook page for further details.
If you're a Queenslander with a trip to Melbourne in your future — or vice versa — the pandemic has just interrupted your plans. With the Victorian capital about to start a seven-day lockdown in an attempt to contain the northern suburbs COVID-19 cluster, the Sunshine State is declaring the state a coronavirus hotspot. And, as a result, Queensland will close its borders to all of Victoria. The change was announced today, Thursday, May 27, and will come into effect at 1am tomorrow, Friday May 28. It applies to the entire state — unlike the last declaration back in February, which only covered Greater Melbourne. Accordingly, folks who've been in Victoria will no longer be permitted to enter Queensland, unless they receive an exemption and then go into government quarantine for 14 days. This affects anyone coming into Queensland who has been to Victoria in the past 14 days. And, if you arrive in the Sunshine State from Victoria during the remainder of today, you'll be required to go into a seven-day lockdown at home, just as if you were still down south. Queensland's Border Declaration Passes are also currently in effect for folks who've been in Victoria in the past fortnight, too. https://twitter.com/AnnastaciaMP/status/1397768245503877124 Earlier in the week, Queensland made a similar move, but limited to the City of Whittlesea local government area. Under that hotspot declaration, which came into effect at 1am on Wednesday, May 26, anyone who has been in the local government area since Tuesday, May 11 and enters Queensland is required to go into hotel quarantine For more information about southeast Queensland's COVID-19 border restrictions, or about the status of COVID-19 in the state, visit the Qld COVID-19 hub and the Queensland Health website. For more information about COVID-19 in Victoria and the state's current restrictions, head over to the Department of Health website.
"Sitting on a bench in Wicks Park in Marrickville, reading a field report by The Lifted Brow's Sam Cooney, I madly looked around for a caramel door described in the text. There it was! As if the writer had put the doorway there himself! Of course, I knew he hadn't, but it was perfect — the exact kind of dark magic that all good writers and artists and musicians perform when their work seems to lift up walls behind walls behind walls and reveal something new and unexpected with great clarity. This is what digital literature can do and be! It's a revelation — experiential and immersive and immediate." This eerie literary experience, as described by Concrete Playground writer Lauren Carroll Harris, was made possible through the award-winning digital project The Silent History. A science-fiction novel that takes the form of an app, The Silent History tells the tale of a dystopian future where a mysterious epidemic has robbed children of the ability to develop language. From 2011 to 2043, readers watch on as these mute children — dubbed 'silents' — tear families apart, unnerve entire government sectors and generally freak people out. Part sci-fi thriller, part-real-life scavenger hunt, the app has been called "entirely revolutionary" by Wired magazine, while the LA Times declared it "a landmark project that illuminates a possible future for e-book novels." We spoke to its creator, ex-McSweeney's managing editor and publisher Eli Horowitz, in Australia for the Sydney Writers' Festival, about what it means to read an app and what writers are doing differently to entertain a digital audience. The Writer as a Prime Mover "The first thing I wanted was it to be a story that you could explore," says Horowitz, "because I have this thing, which I bet that a lot of people have, when you read a book you love or see a movie you love or whatever, you almost then want to keep on existing in that world. You want to see what's just off the page or off the screen, and keep on exploring and living in it." The tablet platform, with its promise of interactivity and updatability, was a natural fit. An app like The Silent History combines the familiar pleasures of a page-turning narrative with the gaming world's mechanics of exploration and investigation. "Once I had that then the plot needed to be kind of global and sprawling, the kind of essential premise that could play itself out a lot of different ways, so that's why it became kind of like a medical story, an epidemic story almost, that lends itself well to that." But that's just the beginning. Around this main story arc float hundreds of 'field reports', site-specific side narratives that readers can only access when they travel to the physical location where the report is set. These reports can be written by anyone, anywhere — in fact, there are already a bunch tucked away around Australia. And if you're feeling inspired, you are free to pen your own and submit it for approval from The Silent History's US editing team. The Writer as a team player Horowitz, begotten of a librarian and originally a carpenter ("not a very good one"), claims that the whole process featured very little in the way of creative genius and a whole lot of good ol' problem solving. He admits that the communal approach of the project — which is what has brought The Silent History so much attention — wasn't even originally part of the blueprint. "The collaborative aspect was not so much any kind of ideological belief about crowd-sourcing or wikis or whatever but more that I wanted these things to be all over the place and I couldn't put them all over the place," he explains, "The more people we had [writing] the more of a geographic spread we could have." It sounds simple enough. But creative genius or problem solver, Horowitz has been hailed as a literary revolutionary. He and his team, Ying, Horowitz & Quinn LLC, are considered trailblazers in e-storytelling, crafting a digital experience unlike any other. While e-books have been popping up on the App Store since the release of the iPad in 2010, none has received this level of fanfare. The Writer as a Coder "A lot of times [with] these projects, the downfall is that they're essentially a technology project and they find some writing to cram into it or it's essentially a literary project and then at the end they add the technological aspect and it's still kind of unsatisfied or clunky or buggy," says Horowitz, "so having it all work together was really important." For all the praise coming his way, though, the San Franciscan remains humble. During his eight years at Californian publishing house McSweeney's, he operated under the mantra that anything he printed had to "earn the page it's on". He says that he brought this same approach over to the app world, trying to create something that "earns the screen it's on". "I approach this in very much the same way that I would approach a book with McSweeney's or whatever else," he says. "Just to think about how form and content both can affect each other, and to think about the total experience of the project. I don't see this as a move away from print or anything, I see this as just another tool in our toolbox." Eli Horowitz will be appearing at the The Sydney Writer's Festival from May 24 to 26 at the events Reading in the E-Future, Festival Club Friday, The Silent History and Tales From the Editorial Front Line. He'll also pop into the Sydney Apple Store on May 28 as part of Vivid Sydney.
In the lead-up to new Hollywood-set satire The Studio premiering its first season on Apple TV+, the streaming platform kept doing something that's a well-established element of the entertainment industry: name-dropping. This is the latest project from long-time collaborators Seth Rogen and Evan Goldberg after Superbad, Pineapple Express, This Is the End, Bad Neighbours and its sequel, The Interview, The Night Before and plenty more, with the pair co-creating, co-writing, co-directing and executive producing the series. Rogen (Mufasa: The Lion King) stars, with Catherine O'Hara (The Wild Robot), Ike Barinholtz (Curb Your Enthusiasm), Kathryn Hahn (Agatha All Along) and Chase Sui Wonders (City on Fire) rounding out the main cast. That's a starry group already. Across two trailers, however, a heap of guest parts and cameos were revealed — including for Bryan Cranston (Argylle), Zoë Kravitz (Blink Twice), Paul Dano (Fantasmas), Olivia Wilde (Don't Worry Darling), Charlize Theron (Fast X), Anthony Mackie (Captain America: Brave New World), Zac Efron (A Family Affair), Sarah Polley (Women Talking) Greta Lee (Past Lives), Ice Cube (Teenage Mutant Ninja Turtles: Mutant Mayhem), Rebecca Hall (Godzilla x Kong: The New Empire), Adam Scott (Severance), Ron Howard (Jim Henson Idea Man) and Martin Scorsese (Killers of the Flower Moon). A few days before the show's Wednesday, March 26, 2025 debut Down Under, the full list of well-known talents appearing on-screen arrived. Dave Franco (Love Lies Bleeding), Jean Smart (Hacks), Johnny Knoxville (The Luckiest Man in America), Josh Hutcherson (The Beekeeper), Quinta Brunson (Abbott Elementary), Ramy Youssef (Poor Things), Steve Buscemi (Transformers One), Zack Snyder (Rebel Moon), Aaron Sorkin (Being the Ricardos) and Parker Finn (Smile and Smile 2) are among them, too. It's clear through the roster of names, in The Studio's ten-part initial season itself, and from talking with a number of the show's cast and guiding forces: this is a series with the utmost of love for the art of making pictures, even as it savvily pokes fun at the whole business around movies. The task that Rogen and Goldberg have set themselves, and achieve winningly, is anchoring the act of parodying Tinseltown with details drawn from real-life experiences, assistance from that enviable lineup of Hollywood folks joining in and a celebratory insider spirit. Rogen plays Matt Remick, a film executive who has only ever wanted one job: to run the fictional Continental Studios. It doesn't take long for that dream to come true, or for the character to realise what being a studio head truly means. "I got into this because I love movies. But now I have this fear that my job is to ruin them," he tells his mentor and predecessor Patty Leigh (O'Hara). That line is indicative of The Studio's knack for turning reality into astute, acerbic but affectionate viewing — Rogen and Goldberg once heard it themselves, uttered by an IRL executive. "They're all really close to our experience in some way, shape or form," James Weaver — who co-runs Point Grey Pictures, the production company behind The Studio, with Rogen and Goldberg — tells Concrete Playground about the link between the series' characters and scenarios and actuality. That said, the team's own interactions across their careers were just the beginning. "We met with a lot of people in the industry who are friends of ours, who had run studios, et cetera, and tried to mine their experience for when we're not around. What do they say behind closed doors? And so I think we tried to have an understanding of what those conversations were like." Personal inspiration remains key across the show, though. "Giving a note to a filmmaker that you really respect, and a note that you know is not going to be popular, is something we've definitely had to do," Weaver continues. That 'been there, felt that' vibe is also crucial to the search for validation at the heart of The Studio. Everyone wants it, executives and megastars alike, whether by getting a gig, having their ideas heard, making a hit, leaving a legacy, winning awards, being thanked in public or being seen to have a worthy job. "Wanting to be thanked at an award show because that's the only evidence that you did anything on it is something that we've seen as well," Weaver advises. "I think we're hoping that that's coming through, that the authenticity of our experience is in the show, and that's partially, I think, what people seem to be liking." In Matt's Continental team, three fellow studio employees are rarely far from his side: Barinholtz's Sal Seperstein, another seasoned executive; Hahn's Maya Mason, the company's marketing head; and Wonders' Quinn Hackett, an up-and-comer. From their respective time in the business, each is familiar with the types of characters that they're portraying — and that knowledge played a part in their performances, sometimes directly and sometimes in a more general sense. "A lot of studio executives I've worked with over the years, some great, some not so great, but I pulled little moments from a lot of them and put them into Sal," Barinholtz notes. "I have not one specific person. What they wrote was what I basically followed. But as I was putting the costumes on, there's definitely some humans, one could say," Hahn says. For Wonders, "my best friend is an assistant to a director, and she is someone who's very precocious, very ready to take over the world, but definitely has to earn her stripes and bide her time, and I think lots of young, ambitious people can relate to that. So that's one person I had in mind." As Continental's execs weather everything from endeavouring to capitalise upon the intellectual property-driven movie trend by making a Kool-Aid flick to attempting to capture an expensive golden-hour one-take shot — plus missing footage, casting conundrums, trailer scandals, the Golden Globes and annual US movie theatre-owner convention CinemaCon — chaos is their baseline. Still, Wonders also sees the series as having "a big sense that if you love what you do and you do it with integrity, as sappy as that is, there is going to be something in it for you, some sort of goodwill that comes your way. I feel like these characters find they have sad lives where they just are so dedicated to this one thing, and at the end of the day they kind of find their family. So that's a nice universal message". [caption id="attachment_997078" align="alignnone" width="1920"] Photo by Eric Charbonneau/Apple TV+ via Getty Images.[/caption] And that oner? It isn't just a focus of a storyline within the show; long takes are also part of its own style. "It felt like every scene was a play, like you're doing a different play every scene — and just once you got dialled in, once we rehearsed and you knew what you were doing, it was really exhilarating to be in that zone," Barinholtz shares. "It's definitely more challenging, but then it's amazing how much you can accomplish," adds Hahn. "There's something heightened about doing it as a oner that I really, really love." We also chatted with Goldberg, Weaver, Barinholtz, Hahn and Wonders about the love that's baked into The Studio, that search for recognition that drives its characters, ensuring that the series is relatable far beyond Hollywood insiders, its visual approach, those cameos and more — including how Barinholtz and Hahn's past TV comedy roles on recent greats such as The Mindy Project, Parks and Recreation and The Afterparty came in handy. On How Everything in the Series, Jokes and Cameos Included, Filters Through the Show's Love for the Film Industry James: "At the beginning of the show, we really knew that this was going to be about having a show about how we love making movies. So I think it comes through the lens of that, everything that happens. So in terms of making jokes about A24 or some of the other companies that are in there, we've made movies with A24. They're great people. They do incredible work. And so I think the entire show is about our experience in Hollywood for the last 15 years, and I think we're trying to bring some truth and some sense of 'this is how it is', but also all through the lens of humour and fun. As far as the cameos, each of them came about in different ways. Some of them are people we've worked with in the past. Some people like Martin Scorsese or Zoë Kravitz, we met for the first time — and either through the script that Seth and Evan had written or through meetings, we talked to them about how we wanted to portray them in the show. And they were really excited and game. There is a history, whether it be The Player or The Larry Sanders Show, of Hollywood satirising itself. And so that was something that people understood, what we were going for, and people were really trusting and excited to be there. I think that we're not necessarily worried that people are going to see the show as some sort of takedown of Hollywood, because we love Hollywood and we love the fact that we get to make movies. It really is more of a presentation of our experience through the comedic lens than it is any takedown of the industry." On Barinholtz, Hahn and Wonders' First Impressions When The Studio Came Their Way Kathryn: "I mean, just to hear that these humans were involved. And I've never really worked with Seth and Evan together. And just the writing of it was just hilarious. And to think of these humans in those parts was really exciting. I couldn't wait to jump in." Chase: "They're telling very risky jokes, and I remember reading them on the page and thinking 'this is something I've heard behind closed doors, but never on television for all eternity'. So it's always good when you feel like you're doing something that's pushing boundaries." Ike: "I remember Seth called me and said 'hey, we're writing ...'. And I said 'I'm in'. And he said 'it's a show about Hollywood'. I said 'I'm in'. And he said 'Catherine O'Hara is going to be in it'. I said 'I'm in. I'm already in.'. It was the world's easiest 'yes'. It was just literally the world and the writing, and having them and Catherine — and Bryan Cranston, who is in really good physical shape. Beautiful body. It was the world's fastest and easiest 'yes'." On the Search for Validation That's at the Heart of the Show Evan: "I would say the nice thing about that element of the series is we set out not to make an aspirational version of Hollywood, but to make a real version of Hollywood. And that is the real version of Hollywood. People are very cynical and all that in the world today, but Hollywood is mostly people who are wildly passionate, care deeply and would rather do this than anything else in the world — no matter how high or low they are on the totem pole of success. People just are passionate in a way that most industries aren't. And so we get to tap into those hopes and dreams in making the show, merely by trying to replicate the real experiences we've had. And, of course, it doesn't always work out for people, and sometimes it does and sometimes it doesn't, but the passion is the thing that bleeds through it all." On the Importance of Balancing Satire and Affection for the Cast — and the Fact That The Studio Takes the Art of Filmmaking Very Seriously Chase: "I think it's important. And one thing Seth and Evan really tried to hit is the realism of the comedy, and comedy born of situations where people are just trying their hardest and it's just these doofuses who can't quite get it right. It also helps when our production design is impeccable, the way we filmed it is so high-level and it just naturally lends itself to a more elevated, smart type of comedy than just a slapstick sort of thing." Kathryn: "Because everything is so elevated, you really feel a certain responsibility to uphold the world around you and the filmmaking around you. And there is less opportunity for hamming around. So everything feels very focused in a way that keeps the energy legit and high and focused." Ike: "Could not say it better than they just did, so I won't." [caption id="attachment_997090" align="alignnone" width="1920"] Photo by Eric Charbonneau/Apple TV+ via Getty Images.[/caption] On How Barinholtz and Hahn's Past Work on Fellow TV Comedies Such as The Mindy Project, Parks and Recreation and The Afterparty Helped Them on the Path to The Studio Kathryn: "All good ensembles." Ike: "Yes, yes." Kathryn: "Great ensembles." Ike: "Great showrunners." Kathryn: "Yes." Ike: "Great writing." Kathryn: "Great writing." Ike: "We're lucky to have been through a lot of those and seen how they all work. And this was different than all those, just because they went about it a different way. But I think you learn every time you do a show, every time you do an episode of a show or whatever, you learn something, you learn a new trick. So it definitely makes it easier." On the Elements of the Series That Most Felt Real for the Cast and Crew James: "It all feels real to us. I mean, I think we day to day are in these conversations about what kind thing to get behind in terms of a movie or TV show — or who's a filmmaker or a performer that we really believe in. Then we have to have those conversations about 'how is this thing going to make people money?'. It's really this idea of art versus commerce that I think is at the centre of what the show is. But as Evan was just saying, I think then you put overlay that with characters who care deeply about doing something artistic, but also care deeply about not getting fired. And so I think those two ideas are butting up against each other at all times. And that feels very real. The executives that we've been working with for 15 years are friends of ours. We've watched them get married to each other and there's a lot of like, a lot of community, in terms of the people that this show is portraying. And so it all feels very real to us when it goes through that lens. Seth and Evan are also just very, very funny people. So when it comes to making the jokes and the scenarios out of the real thing, they're just very talented at making that funny and entertaining. But it comes from a real place, and I think that's why hopefully people like respond to the show." Ike: "I'm friends with a lot of people who are studio executives, and I think they like to drink a lot. And so I stole that, and I drink a lot in the show. In real life, moderation — but in the show, I have a problem." Kathryn: "Always moderation." Ike: "Always moderation. That's the takeaway." Chase: "I think also studio execs are people who wield a lot of power, but when they're put in front of actors, who are these big personalities, they can be very shy and kind of cower away. And that's something that's both really fun to play the comedy of and also show the humanity of these characters." Ike: "That's a good answer." Kathryn: "I definitely have been in things in which I've seen the mockups for the posters or the possible trailers, and clearly no one has seen the show or the movie. They're so wildly not what the movie's about." Ike: "Yes, yes, yes." On Making the Series Relatable Outside of Hollywood Ike: "I think that the guys, Seth and Evan, did a very good job — even though the show is undeniably set in this world of movies and studios and executives, I think a lot of the situations in each of these episodes are things that everyone has dealt with. We've all had a boss who's gotten too drunk. We've all wanted credit for something and we are afraid we're not going to get credit for it. We've all been jealous of a coworker at some point. So I think a lot of the themes that they deal with in the episodes are universal, and whether you are someone who works in entertainment or around entertainment, or you have nothing to do with entertainment, you'll recognise a lot of those themes and scenarios, and hopefully they'll make you laugh." Kathryn: "Chances are people watch entertainment, so they'll get an idea of what the situations are. But also it's made with love, and so I think that's a different thing, too. There's such care for these characters and there's such love for this business of making movies, and nobody's really tearing down anybody. And I think that that also feels fun for an audience, too." On the Visual Approach When You're Making a TV Series About Filmmaking Evan: "For our show, the method we filmed it came from two different sources. One was, directorially Seth and I have done a lot of improv comedy feature films where we do a wide shot, medium and we get cross coverage of closeups, and then in editing we mess with all the improv we did. And we just wanted to do something very different, so we thought long extended takes would be a great way to do that and to make it more directorial as opposed to written and edited. Then through that conversation, we talked about how it could impact the actual storytelling — and the thing we wanted to embrace was the panic that a lot of these people experience in these jobs. These studio heads, even though they're very powerful and very passionate and very intelligent, they're often panicking because they can just lose their job for one big disaster. One flop and their whole job, maybe even their career, could be done or messed up for a long time. So we thought it would good to anchor people in that mania, and in that intensity, and let them feel the panic — and the best way to do that is make it feel like you are a person, like you are the cameraman, like there's an individual there. So we used one lens with long takes, and it whips back and forth just like your own head would if you were in that room experiencing the scenario that our characters are." On Working with Seth Rogen in His Many Roles on the Series: Star, Co-Creator, Co-Director, Co-Writer and Executive Producer Ike: "Oh man, I'd worked with him a couple times but never as a director. And he's really incredible, I think, at acting and being present in the scene — but he's watching everything. So if there's a slight little problem in a take, if the camera operator accidentally bumps into someone and the camera shakes for half a second, Seth has seen it. And he will just start laughing and go 'let's go again'. But he's just very tuned in. I'm very impressed at how much. You would think, that for who he is and what he ingests, he would be just not — but he is so freaking tuned in. And he's also just an incredibly good-natured guy. I think a lot of times, if something goes wrong, I've seen directors or producers blow their stack and get mad — and I don't know, it's just they're nice Canadian boys who just don't get that upset." [caption id="attachment_997093" align="alignnone" width="1920"] Photo by Eric Charbonneau/Apple TV+ via Getty Images.[/caption] Chase: "Doesn't yell, doesn't get mad." Ike: "They don't yell." Kathryn: "You could see sometimes when you screwed up and you're trying to find a word, and then you see him, you see him basically shake his head and look at you." Chase: "Yeah, yeah, yeah." Kathryn: "And you're like 'well, save me'." On the Securing The Studio's Many, Many Cameos James: "Martin Scorsese was someone that we all admire and never thought we would have a chance to meet. Seth and Evan wrote a script with him as that character, and we sent it to him and he read it, and he was like 'yeah, I'd love to do it'. And then all of our heads exploded, basically. But then people like Charlize Theron or Zac Efron, they're all people that we have worked with in the past, so they were people that we could talk to directly and say 'hey, we have this idea for a character for you in our show'. And then there were some new people we got to meet, like Zoë Kravitz or Olivia Wilde. They were characters that we wrote for the show, and we just had to meet with them and get their ideas on that character. Seth and Evan were on a lot of zooms with each of them before they signed on. But it was nice, because I think once Martin Scorsese said yes, there were several phone calls that I started with 'so Martin Scorsese's doing the show — so can you do the show?'. And that was really nice, because people would generally say 'yeah, sure'." The Studio streams via Apple TV+.
When Fitzroy's venerable old pub The Rose — famous for their bangin' street parties and being a top-notch place to watch the footy — shut down in December 2015, it was to the dismay of locals. Luckily it was only for a few months to undergo renovations, which has seen the pub get a new lick of paint, a welcome refresh and, most notably, a wine bar upstairs. New owners Tim Hogan and John Tennent — who also own Port Melbourne's greatest wine bar, Harry and Frankie — have reinvigorated The Rose, but Fitzroy locals will be comforted by the fact that their natural watering hole retains the essence of the original pub. The front bar has lost the carpet, but kept the central bar and classic TV setup for watching a game and enjoying that classic Aussie pastime: a pot and a parma. However, upstairs has seen the biggest change. It's Fitzroy version of the pair's popular wine bar, and comes complete with a separate entrance. Up here the focus moves to wine (obviously) and away from pub food to a light charcuterie. There's also a walk-in wine cellar for diners to pluck their wine of choice fresh from the shelves.
Avocados: everyone loves them, not just Aussies accused of spending all their cash on smashed avo for brunch. In Amsterdam, one person loves them so much that he opened up a restaurant dedicated to serving the green creamy fruit up in as many ways as possible. Now, he's thinking about taking the show on the road, including to Australia. The Avocado Show, that is — because that's what the eatery is called. It launched in February in Amsterdam's De Pijp district, and calls itself "Europe's first and finest avocado bar". Breakfast, brunch, lunch, dinner, late at night, any time in between: if you've got a hankering for avo on bread, avo between two pieces of bread (aka avocado sandwiches), burgers made with avocado buns and more, you'll find it here. https://www.instagram.com/p/BZdMi__FQxc/?taken-by=theavocadoshow With the likes of avo roses on toast, avo poke bowls, avo ice cream and avo daiquiris on offer, the venture has been quite a success — unsurprisingly — which is what has prompted thoughts of expansion. MUNCHIES reports that there'll be new sites in Europe, as well as restaurants in North America, Asia and own our shores. Owner Ron Simpson told the publication he had received franchise requests before the first store even opened, so it's little wonder that 15 additional spots are planned over the next year. As you've probably noticed, avocado isn't literally the only thing on the menu, although every item does include it in some shape or form. If that makes you hungry, feasting your eyes on The Avocado Show's Instagram pics will only make it worse. Keep your eyes peeled for more info about their Aussie ventures while your stomach grumbles, though, with just where and when they'll arrive yet to be revealed. Via MUNCHIES
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BELFAST Warm, cosy, rosy, charming, feel-good: typically when a film spins its story during The Troubles in Northern Ireland, none of these words apply. But with Belfast, Kenneth Branagh has made a movie set in its eponymous city when the Protestant-versus-Catholic violence was a constant sight, and also helmed a feature that's about a childhood spent with that conflict as a backdrop. It's an approach that only works because Branagh draws from his own experiences — the film isn't a play-by-play memoir, but it's also clearly personal. Here, it's 1969, when the actor-turned-filmmaker would've been nine years old. The movie's protagonist, Buddy (first-timer Jude Hill), is that exact age, in fact. And with the beginnings of a three-decade-long sectarian fracas bubbling and boiling around him, he navigates the usual age-appropriate antics, such as school, crushes, doting grandparents with ailing health and a potential big move. The Troubles are a constant sight in the largely monochrome-hued film, too, and the reason Buddy's that parents are contemplating relocating to England, something they wouldn't have dreamed of otherwise. Pa (Jamie Dornan, The Tourist) already spends most of his time working there as a joiner, leaving Ma (Caitríona Balfe, Outlander) at home with Buddy and his elder brother Will (Lewis McAskie, Here Before) — with assistance from the boys' Granny (Judi Dench, Six Minutes to Midnight) and Pop (Ciarán Hinds, The Man in the Hat) — and he's been offered a new job that comes with a house. The violence swirling through Belfast has already made it to the family's street, to their hounded Catholic neighbours and, when Pa refuses to join the fray, put them on their fellow Protestants' hit list. Shifting to London (or perhaps further, to Sydney or Vancouver) would provide a new start and a safer future, but leaving all they've ever known isn't a simple decision. Belfast's adult characters are only known as Buddy would know them, such is Branagh's commitment to seeing this story, time and place through a child's eyes as he once did. And, while there's much debate to be had between Pa and Ma about whether to go or stay, the film is filled with its young lead's joys and worries — with the prospect of never again seeing the Catholic classmate he swoons over high among the boy's concerns. Belfast isn't short on context, however, though there's zero chance that it could be mistaken for a meaty interrogation of The Troubles. Branagh weaves in examples of how the push-and-pull of the conflict that's inescapable in his neighbourhood every day, Molotov cocktails, broken windows, blazes, riots and all, puts Buddy and his family in the middle. Still, a magical view of childhood remains, including when Buddy gets thrust into the thick of the fray — where, after he returns home with looted supermarket wares, his mother marches him back to return the stolen products amid the chaos. Branagh also indulges in an origin story, perhaps inspired by his stint in the Marvel Cinematic Universe directing the first Thor film back in 2011 (Buddy is even seen reading a Thor comic). Escaping The Troubles as much as anyone can in Belfast, the writer/director's on-screen surrogate adores seeing Chitty Chitty Bang Bang, and A Christmas Carol also features — scenes that come to life in colour, unlike the bulk of the picture around them. In the process, Branagh helps trace the early steps of his own desire to become a thespian and filmmaker, which has led to everything from Shakespeare adaptations such as Much Ado About Nothing and Hamlet, to doing double duty in front of and behind the lens with Hercule Poirot duo Murder on the Orient Express and Death on the Nile. He's played Harry Potter and the Chamber of Secrets' Gilderoy Lockhart, helmed Disney's live-action Cinderella, gotten villainous in Tenet, and of course, enjoyed an applauded on-stage career as well, all stemming from those first rapturous experiences watching when he was growing up. Read our full review. HERE OUT WEST Western Sydney could use a love letter right now, and that tribute arrives in Here Out West. The product of eight up-and-coming screenwriters from the area, it celebrates a place that has spent much of the past year garnering attention for a reason no one wanted: thanks to the tighter rules applied to the region during Sydney's four-month stretch of stay-at-home conditions in 2021, it was home to New South Wales' strictest lockdown of the pandemic to-date. Thankfully, COVID-19 isn't this movie's focus. Instead, as told in nine languages — Arabic, Bengali, Cantonese, Kurdish, Tagalog, Turkish, Vietnamese, Spanish and English — and helmed by five female filmmakers, Here Out West dwells in everyday lives. It champions by seeing and recognising, and by trumpeting voices that have always been there but are infrequently given a microphone. Opening shots of suburban houses and looping highways set the scene: viewers aren't journeying to an Aussie beach or the nation's parched outback expanse, aka two of the prevailing visions of this sunburnt, sea-girt continent on-screen. Rather, Here Out West unfurls its octet of intertwined vignettes in spaces far more ordinary — not to downplay the importance of surveying western Sydney, but to clearly note that these are its daily playgrounds. It's here that mothers have babies, neighbours look after the kids next door, grandmothers worry about their grandchildren, dads struggle to connect with their sons, and sport and food are among the ways that people come together. It's here that adults bicker among themselves over love, and with their parents about their futures. It's where lives begin and end, and where folks with dreams both big and modest also try to start anew. And yes, all of these scenarios are covered by the film's narrative. Initially, Here Out West spends time with Nancy (Geneviève Lemon, The Tourist), who takes care of her eight-year-old neighbour Amirah (debutant Mia-Lore Bayeh), but wasn't actually planning to help out today. She has a newborn granddaughter to meet — one that the authorities are planning to take away, so Nancy makes a drastic decision that'll ripple throughout the community across the movie's one-day timeframe. In the film's second segment, hospital carpark security guard Jorge (fellow first-timer Christian Ravello) is brought into the wider story, and also gets a snapshot chapter of his own. His instalment then intersects with friends Rashid (Rahel Romahn, Moon Rock for Monday), Dino (Thuso Lekwape, Book Week) and Robi (Arka Das, Babyteeth), who run through the streets arguing about Rashid's cousin. Next, their section links in with Ashmita (Leah Vandenberg, The Hunting) and her dying Bengali-speaking father back at the local hospital. Returning to specific spots comes with territory, because it comes with living anywhere; paths cross, people are drawn to the same busy and central locations, and some facilities — such as Here Out West's pivotal hospital — are always a hive of activity in any community. That truth continues to drive the film as it meets Kurdish refugees Keko (De Lovan Zandy) and Xoxe (Befrin Axtjärn Jackson), who are hoping to make a new beginning that still involves his penchant for music and her skills hand-weaving carpets, before jumping to Tuan (Khoi Trinh) and his brother Andy (Brandon Nguyen), who possess varying ideas about what it means to be Vietnamese Australian. Then comes a glimpse at nurse Roxanne's (Christine Milo, It's a Cult!) day as she works a double shift and misses her family in The Philippines. And, there's also Winnie (Gabrielle Chan, Hungry Ghosts) and Angel (Jing-Xuan Chan, Neighbours) as the mother and daughter close their Chinese restaurant for the last time. Read our full review. JACKASS FOREVER Older men, same ol' tricks and dicks: that's Jackass Forever. The fifth film in the prank-fuelled TV-to-movie franchise isn't afraid of letting it show, either, just as it's never been afraid of flashing around male genitalia. No one in Jackass' crew of comic daredevils is scared of that much — or, if they are, they're more frightened of not challenging themselves alongside their buddies — so the proud and purposeful attitude flaunted in the flick's title and usual formula is thoroughly unsurprising. Twenty-two years have passed since Johnny Knoxville, Steve-O, Chris Pontius, Dave Englund, Wee Man, Danger Ehren and Preston Lacy first turned outlandish stunts and practical jokes into an MTV hit, but age hasn't wearied their passion or camaraderie. It also hasn't dampened the gang's fondness for showing their junk, but there's something sweet here among all the penises: the fact that time inescapably passes but doing stupid shit with your mates sparks immortal joy. Jackass Forever is stupid, because the kinds of gags that Knoxville and company love are profoundly idiotic — including the film's opening gambit, where a green Godzilla-esque creature tramples a city but it's really Pontius' package painted like a monster. Also inherently silly: using the cast's bodies to prop up skateboarding ramps, a Knoxville-hosted game show that penalises wrong answers with a whack to the sack, exploding a port-a-potty while Steve-O is using it and a contraption made of harnesses that simultaneously gives three people wedgies. The ridiculous bits go on, including lighting farts underwater and drinking milk on a moving carousel to the point of vomiting. Another reason that Jackass is forever for this troupe: they're still as juvenile now, even though they're all over or approaching 50, as they ever were. Describing Jackass' risky skits and scenes never comes close to watching them, but how funny anyone finds this franchise depends on individual senses of humour and, sometimes, upon your mood on any given day. Regardless, there's always been an art to its follies, as captured on camera by Jeff Tremaine, the series' longstanding director, and also its co-creator with Knoxville and Her filmmaker Spike Jonze. Jackass' slapstick credentials carry on the traditions of Buster Keaton, Charlie Chaplin and The Three Stooges, but lewder and grosser, obviously. The saga's commitment to documenting not just the stunts and pranks themselves, but the setups, attitudes in advance and reactions afterwards — the key interplay between its perpetrators, victims and spectators, too — also sees it deconstruct the brand of comedy it sports as it goes. These sense-defying jesters show their working, in other words, and share the thrills it inspires. No wonder they don't ever want it to stop. Mortality does hang over Jackass Forever, however, as seen in a number of ways — starting with Knoxville's grey hair. It isn't always so strikingly silvery, and he's also shown talking about not wanting to show his bald spot, which Jonze then rushes in to cover with black spray paint. But when the crew's ringleader does let his wintry-hued tresses show, it's the best visual representation possible of how these guys will be adoring all things Jackass till they die. Well that, and the plethora of injuries suffered, including Knoxville's concussion, brain haemorrhage and bone fractures from a bull stunt. Jackass' ridiculous men can't escape the passing years and its impact upon their bodies if they wanted to, but it clearly makes them savour what they're doing. Read our full review. MOONFALL Does Roland Emmerich hate earth? Asking for not just a friend, but for the residents of an entire planet that the filmmaker just can't stop blowing up, devastating via CGI chaos and threatening with its end in his movies. Or, does he really love it, and has committed to the cinematic version of negging — tearing this pale blue dot down again and again so that his always paper-thin characters can swoop in to save the day, and also somehow seduce thankful viewers? Either way, Hollywood's go-to disaster-porn helmer is running out of moves, after a career spent blighting the globe in Independence Day, the terrible 1998 American Godzilla, The Day After Tomorrow, 2012 and Independence Day: Resurgence. He does what he long has with Moonfall, of course, but with a space twist and while also noticeably ripping off elements of Alien and Prometheus. Moonfall begins in 2011, on a Space Shuttle mission, when it seems as if astronauts Brian Harper (Patrick Wilson, The Conjuring: The Devil Made Me Do It) and Jo Fowler (Halle Berry, Bruised) might first find themselves in a Gravity knockoff. Something dark, fast and strange swarms them while Harper is out in the inky nothingness working on a satellite, leading to a tragedy, but no one believes his version of events — including Fowler. Ten years later, he's considered a has-been, she's still at NASA and, when conspiracy theorist KC Houseman (John Bradley, Game of Thrones) learns that the moon has been knocked off its orbit, they're the only ones who can save the day. Harper is also one of the only people willing to listen to Houseman's wild claim that the moon is actually an artificial megastructure, which is linked to its sudden descent upon earth. There's a word for folks who share Houseman's beliefs: 'megastructuralist', a term that viewers will never forget given how many times that Emmerich, Harald Kloser (also the film's composer) and Spenser Cohen (Extinction) work it into their screenplay. It's all that Bradley seems to say, and Moonfall clings to it like its filmmaker is desperately trying to one-up the hollow earth theory seen in Godzilla vs Kong, a better take on creature features than his past attempt. In general, Moonfall's script plays like a grab-bag of better elements from other space, disaster and sci-fi flicks all thrown together and spun like a gyroscope, but its nods in Ridley Scott and the Alien franchise's direction couldn't be more blatant. Indeed, thanks to its obvious pilfering, Moonfall often appears to have a better movie lurking inside — an interesting-enough space film erroneously packaged with all of Emmerich's standard world-ending mayhem — but only if you can somehow forget that one of the best pictures ever made got there first. Emmerich's latest would definitely be improved it it blew away some of the time it spends charting the fallout on earth, where "city-sized moon pieces will rain down", Harper and Fowler both have sons to save, and the thoroughly bored look on Charlie Plummer's (Words on Bathroom Walls) face as the just-imprisoned-but-good-at-heart Sonny Harper says everything. But then this film wouldn't have been made by this director, who refuses to embrace the ridiculousness of everything he's thrusting onto the screen and sticks with his stock-standard self-serious vibe. The premise, the writing, each easily foreseeable twist — it's all ludicrous, but played far too straight, although that doesn't result in anything but by-the-numbers performances by Wilson and Berry, and a gratingly one-note turn from Bradley. Perhaps Moonfall's biggest feat is making that other recent flick about a falling celestial object, Don't Look Up, look better than it is in comparison. Well that, and owning its silliness exactly once, in its moniker, because Moonfall certainly does describe exactly what happens. INDIA SWEETS AND SPICES India Sweets and Spices sports a clunky title, but a descriptive one. The saccharine and the zesty — the formulaic and spirited, too — combine in this coming-of-age comedy about an Indian American college freshman returning home from her no-holds-barred campus life for the summer, and being expected to slot back into her parents' and culture's expectations and traditions as if she'd never left. That quickly unhappy student is Alia Kapur (Sophia Ali, Grey's Anatomy), who has little on her agenda for her break except lazing by and in the pool; however, her prim-and-proper mother Sheila (Manisha Koirala, an Indian cinema mainstay) and doctor father Ranjit (Adil Hussain, Star Trek: Discovery) still demand that she do the rounds of their social circle's weekly Saturday-night party circuit. It's more her mum's doing than her significantly more laidback dad's, but it's also the done thing. What isn't usual: inviting the new proprietors of the local Indian store to these well-to-do shindigs. Writer/director Geeta Malik (Troublemaker) could've called her sophomore feature Crazy Rich Indian Americans — or Snobby Rich Indian Americans — and the moniker would've stuck, with a clear class clash the obvious outcome when Varun Dutta (Rish Shah, To All the Boys: Always and Forever), his mother Bhairavi (Deepti Gupta, High School Musical: The Musical — The Series) and dad Kamlesh (Kamran Shaikh, Evil Eye) show up to the Kapurs' home as asked. The conceited judgement over their nice but not glitzy attire is immediate, and further awkwardness springs quickly when it turns out that Sheila and Bhairavi shared a past before they both emigrated to the US. Alia is outraged over the reaction, intrigued about her mum's history and, given that's the reason she invited the Duttas in the first place, interested in Varun — and all three swiftly shape her summer. There's a sprinkle too much of the familiar to India Sweets and Spices, both in its narrative — and many of the details and cliches used to tell it — and its insights into the struggles of growing up surrounded by one country's attitudes but with another's conventions always knocking at the door. The template-esque feel makes the film pleasant rather than overly memorable, and its boilerplate TV-style gloss and sheen doesn't help it stand out, either. Thankfully, Malik's three key female talents couldn't fade into a by-the-numbers setup if they wanted to, and add much of the movie's verve as a result. Ali may play a character that could've stepped out of any similar flick, including the likes of Bend It Like Beckham and The Big Sick, but her delivery and presence are one of this feature's best traits. And whenever Koirala and Gupta are on-screen, be it together or separately, India Sweets and Spices benefits immensely. All three women are also pivotal to Malik's biggest attempt to differentiate India Sweets and Spices from other comparable fare: her foray into the quest for women's equality in India. Perched within the film's otherwise straightforward intergenerational and class conflicts sits a look at gender roles both historically in India and within Indian American communities today — the movie takes place in New Jersey — plus an examination of the sacrifices that might be made by someone willing to forgo her own fight to gift a better life to her children instead. This meaty and meaningful aspect of the feature would hit harder if so much that surrounded it wasn't content with easy tropes, though. Indeed, India Sweets and Spices is a tad too happy to act against its own advice, settling for something that's good enough rather than pushing itself further past the tried and tested. STREET GANG: HOW WE GOT TO SESAME STREET On a fictional New York street that's home to a cross-section of the city's multicultural population, young and old alike, and also to boisterous muppets, sunny days have been sweeping the clouds away since November 1969. Eager to educate preschoolers, Sesame Street has taught multiple generations of children the alphabet, to count — with help from Count von Count since 1972, of course — and about life in general, and both its longevity and the beloved turf it holds within popular culture speak to its enormous success. Street Gang: How We Got to Sesame Street knows that it's profiling a seminal piece of television, and that virtually everyone born in the past half-century grew up watching the adored series; however, it's also keen to tell the story behind that story. Nostalgia drips through this behind-the-scenes documentary, gleefully so, but so too does a chronicle of how Sesame Street became the icon it is — and against the odds. The show's backstory starts with TV producer Joan Ganz Cooney and psychologist Lloyd Morrisett, and with a dinner-party conversation that saw them float the idea of a television series that might help American children prepare for school — particularly kids of colour. The path to Sesame Street reaching the air wasn't smooth from there, or plain sailing once it got to screens (its focus on racial integration didn't go down well in parts of Mississippi, for instance), but education-meets-entertainment history was nonetheless made. Inspired by Michael Davis' 2008 non-fiction book Street Gang: The Complete History of Sesame Street, documentarian Marilyn Agrelo (An Invisible Sign) fashions her film as an insider's window into a miraculous program, blending informative details about how it came to be and its early years with clips of its muppet-fuelled magic. Both elements of the movie engage, as do its recent and archival interviews. On the screen, Street Gang benefits from the type of observation that helped make its subject such a delight: that showing is far better than telling. Given that there's so much ground to cover — Sesame Street could easily earn its own historical documentary series, but this film fits what it can into 107 minutes — it's patently a tricky juggling act to find the right balance between Sesame Street footage and analysis, but the clips presented are charmers. Agrelo deploys these snippets to demonstrate the show's commitment to representation, as paired with chats with actors such as Emilio Delgado (Luis) and Sonia Manzano (Maria); its educational approach, aka its number-one reason for existing; and the puppetry prowess of original Big Bird and Oscar the Grouch performer Carol Spinney, and of the great Jim Henson and Frank Oz. Discussions with and about the former, including about how both characters gave him outlet for parts of his personality, are lovely, while giggling at the latter pair's work as Bert and Ernie never gets old, and neither does appreciating why the double act is such a piece of genius. Sesame Street has always been revolutionary, too, and in a plethora of ways, all of which Street Gang celebrates. Its firm intent to ensure that it represented America's diversity sprang from its times and made a statement, while its willingness to use advertising techniques — jingles included — was savvy and smart. Its blend of humour and information, its eagerness to entertain the adults watching as well as the kids, the passion for ensuring that all children felt included and empowered: they're all pioneering. And, as much as the aired segments and hilarious outtakes prove joyous, the meaning and power of Sesame Street always beams through. Of course, being both amusing and enlightening was always the show's aim, so it's apt that this loveable documentary about it easily achieves the same feat. Street Gang: How We Got to Sesame Street is screening at Sydney's Golden Age Cinema and Bar, and is also available to stream via video on demand. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; and January 1, January 6, January 13, January 20 and January 27. You can also read our full reviews of a heap of recent movies, such as The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers and The Eyes of Tammy Faye.
When it comes to unearthing furnishings and bespoke goods from a bygone age, there aren't many better at it than Scout House owner Orlando Mesiti. Having long been a collector of weird and wonderful objects from vintage markets across Europe, his St Kilda shopfront should be your first stop when you're trying to hunt down something truly original. From furniture and fine works of art to homewares and peculiar knick-knacks, Scout House's offering is certain to have your home looking fresher than any coat of paint could manage. And, as an extra plus, Scout House also manufactures its own sofas, daybeds and other decorative goodies. Images: Tracey Ah-kee.
One of Melbourne's most recognisable rooftop addresses is getting ready to reveal a dramatic new look. This spring, MAMAS Dining Group — the crew behind Hochi Mama, Suzie Q and Winsdor Wine Room — will unveil its seventh venue: a Japanese izakaya-inspired rooftop set in the former home of Madame Brussels. The third-floor space at 59–63 Bourke Street will swap pastel garden party vibes for a low-lit, disco-drenched homage to 1980s Tokyo. Expect smooth disco and old-school hip hop spinning on vinyl, a drinks list that flows well into the night, and panoramic views of the city skyline — all wrapped in a retro-modern fit-out by hospitality architects Directitude. In the kitchen, MAMAS' Culinary Creative Director Michael Stolley will oversee a menu of share-style Japanese fare. Sushi from master chefs will sit alongside smoky, chargrilled yakitori and other snacky izakaya classics, paired with an extensive sake list, Japanese-inspired cocktails and top-shelf craft beers from Japan. With seating for up to 150, the venue aims to channel "the soul of Shibuya nights and the heart of Harajuku days". For MAMAS Dining Group CEO and Director Thai Ho, the upcoming opening is a moment worthy of the group's tenth anniversary: "We're so excited to open our seventh venue in the heart of Melbourne's CBD, a huge milestone to mark MAMAS' 10 years of operation in Australia's most renowned city for hospitality. To open in one of the city's most iconic locations is a fantastic opportunity." When the doors of the yet-to-be-named venue swing open this spring, expect a rooftop that swaps Pimm's jugs for sake carafes, cucumber sandwiches for smoky yakitori, and prim garden parties for moody Tokyo nights — and a whole new chapter for one of Melbourne's most coveted rooftops. MAMAS Dining Group's as-yet-unnamed seventh venue will open in the former Madame Brussels site this spring. For more information, head to the group's website.
For nearly a century, 280 Little Collins Street has stood as a significant retail and social hub for generations of Melburnians. Designed by celebrated Melbourne interwar architect Harry Norris as the first significant Chicago-inspired gothic-style commercial building in Victoria, it opened in 1930 as the flagship store of the fast-expanding G J Coles empire — later rebadged as Coles — before David Jones took over in the 1980s, transforming the site into that brand's Melbourne menswear flagship. This October, the heritage-listed building will embark on a new chapter as Rodd & Gunn's new global flagship. The upcoming store will showcase fashion, dining and design across its four floors, marking the New Zealand outfitter's most ambitious venture to date. It follows the recent arrival of Mecca's new Bourke Street flagship in the northern wing of the same building, marking a new era for one of Melbourne's most distinctive addresses. Rodd & Gunn has worked with St Kilda-based Studio Y to reimagine the building's southern wing, weaving its art deco glamour with hospitality-led design. Arched motifs, curved joinery, stepped stone and metallic accents nod to the 1930s, while warm timbers, natural stone and marble accents echo Rodd & Gunn's contemporary aesthetic. "This building holds a special place in Melbourne's history, and we wanted our flagship to honour that legacy at every turn," says Mike Beagley, Rodd & Gunn CEO (pictured below). "Every design choice was made to respect its heritage while creating something entirely new." Each of the four distinct but connected levels offers a different experience. The lower-ground Cellar pays homage to the famed Coles Cafeteria, combining a retail wine store with an innovative cocktail laboratory by Matt Bax (Bar Americano), an Italian-inspired menu featuring handmade pasta and all-day aperitivi. Oversized checkerboard flooring, bluestone laneway walkways, intimate booth seating and mood lighting evoke the feeling of a wine cave. The ground floor will become an elegant, immersive retail space, where cornice plasterwork and marble joinery are juxtaposed with modern display fixtures, heritage-inspired balustrades and robust timber finishes. The mezzanine, meanwhile, will be home to an exclusive Member's Bar, a handsomely wood-panelled, club-like space with sculptural lighting by Volker Haug, Kiwi-inspired snacks and classic cocktails for loyalty clientele. [caption id="attachment_854450" align="alignnone" width="1920"] The Lodge Bar & Dining, Brisbane[/caption] The crown jewel sits on level one: The Lodge Dining Room. Framed by soaring arched windows and antique mirrors, the grand yet intimate space offers produce-led menus — ranging from à la carte to ten-course tasting journeys — by Executive Chef James Evangelinos (New York's The Musket Room, hatted Sydney pub Hotel Centennial and James Packer's former personal chef). Wines are curated by Master Sommelier Cameron Douglas, showcasing the best of New Zealand alongside standout Australian and international drops, while a reeded-glass private dining room with a striking white marble table adds a layer of exclusivity. The new flagship will open in two stages. The retail store and subterranean cellar will launch in early October, followed by the private lounge and dining room later in the month. "While New Zealand will always remain Rodd & Gunn's spiritual home, the opening of our Melbourne flagship is our way of giving back to a city that has supported Rodd & Gunn from the very beginning," says Josh Beagley, Director of The Lodge Group. "Every surface in this flagship tells a story — a dialogue between past and present that honours the history of the building and the fabric of our brand." [caption id="attachment_854449" align="alignnone" width="1920"] The Lodge Bar & Dining, Brisbane[/caption] Rodd & Gunn's Little Collins Street flagship opens in October 2025. For more information, head to the brand's website.
Rustica Sourdough, the Melbourne institution and baker of all things sour and delicious, has opened a new bakery and cafe in Melbourne's central business district. Located on the corner of Little Collins and Queen Street and adjacent to the famous Gothic Bank building, this new 70-seat outpost of Melbourne's iconic bakery-brunch hybrid has both easy grab-and-go options for busy inner-city workers in need of a brew and a bite, as well as a dine-in menu for those wanting to leisurely take their time over lunch. Developed by head chef and long-running team member Chatelle Saba, the menu features delights like a breakfast surf-and-turf lineup of lobster and prawn eggs benedict, accompanied by crispy potatoes and salmon roe. For those who can't go past a pasta, there's a prawn, clam and mussel linguine with white wine, chilli and garlic, and if you're in desperate need of a burg, wrap your laughing gear around a buttermilk fried chicken burger, complete with Korean hot sauce, aioli, pickles and slaw — all stuffed inside a milk bun. As for the pastries, expect to see all the goodies Rustica is known for holding court in the cabinet, including almond and chocolate croissants, brioche doughnuts, cronuts, and other sweet treats. Because no pastry is complete without a good brew to accompany it, the team are serving up their signature coffee blend First Love Coffee, a roast that has become synonymous with Rustica cafes city-wide and now even has its own signature flagship cafe in Collins Arch. Rustica Little Collins and Queen Street is open seven days a week, from 7am-4pm Monday to Friday and 8am-4pm on weekends.
If you stream it, they will come: so discovered the Melbourne International Film Festival in 2020, when its biggest commitment to putting its lineup online resulted in the event's larget audience ever at the time. Now that the early days of the pandemic are over, the fest has been back in cinemas for a few years, and gloriously so. But for those located elsewhere around Australia, or folks who can't fit in as many IRL trips to the flicks as they'd like, or Melburnians who want to deploy every way there is to see as many movies possible during the festival, MIFF is still embracing its digital component. MIFF Online kicks off after the IRL event and runs past its in-person counterpart's end, too. To stare at the big screen, you'll be heading along between Thursday, August 7–Sunday, August 24. To play along from your small screen of choice, the dates are Friday, August 15–Sunday, August 31. While the range of films available to view on your couch via ACMI's Cinema 3 is smaller, there's still plenty to see — including both features and shorts. A post-apocalyptic musical starring Tilda Swinton (The Room Next Door), Michael Shannon (The Bikeriders), George MacKay (The Beast) and Moses Ingram (Lady in the Lake), The End hails from The Act of Killing and The Look of Silence's Joshua Oppenheimer — and it's one of the highlights on 2025's MIFF Online program. Fittingly, so is Videoheaven, with Alex Ross Perry (Her Smell) paying tribute to the video-store era via a Maya Hawke (Inside Out 2)-narrated film essay solely comprised from movie and TV clips. Or, you can visit Inner Mongolia's plains courtesy of To Kill a Mongolian Horse, catch coming-of-age tale Little Trouble Girls, explore a sunny sailing voyage with Kyuka Before Summer's End and join John Magaro (Materialists) for a road trip from Utah to Nebraska in Omaha. Tomorrow We Move from MIFF's 2025 Chantal Akerman retrospective is also available for viewing online, as is the new stop-motion animation Sanatorium Under the Sign of the Hourglass from the Brothers Quay (The Piano Tuner of Earthquakes) — plus SXSW-winning documentary Ghost Boy from Rodney Ascher (Room 237, The Nightmare, A Glitch in the Matrix), about a man with locked-in syndrome. 2025's MIFF spans Footy Shorts, a partnership with the AFL that's resulted in five short flicks focusing on the sport — and they're on the MIFF Online lineup as well. For more filmmaking in brief, the Australian shorts package is also making the leap to digital.
Opening its doors in June 2025, Wellness Social Club is a beautiful space that combines state-of-the-art technology and more traditional modalities with a communal — dare we say, a social — approach to wellness. Whether you're stopping in for a spot of yoga and contrast water therapy with mates, or channelling your inner biohacker with a session in the in-house hyperbaric oxygen chamber, the venue offers a wide range of services and treatments designed to help you recharge and reconnect. There's a fair bit packed into this labyrinthine space, but thanks to a considered design featuring clean lines, soft archways, ambient lighting, and earthy tones and textures, it never feels cramped, but instead invites you to slow down. "Think of it as a health club meets a high-end lounge," says Co-Founder Tamara O'Dowd, who developed the concept alongside her son Ayman O'Dowd and business partner Ben Gunning over three years. "We wanted to create a place that doesn't just look after your physical health but supports your emotional and social wellbeing too. It's a place to unwind, catch up with a friend, and reset — all in one visit." There's an impressive range of services available here. In addition to traditional and infrared saunas and magnesium-infused hot and cold plunge pools, you'll also find full-body red-light therapy, vagus nerve stimulation, lymphatic compression therapy, BrainTap tech featuring advanced neurostimulation technology and a medical-grade hyperbaric chamber that supplies you with 100 percent oxygen. More of a wellness lover than a biohacker? Wellness Social Club offers yin yoga, breathwork, IV vitamin drips and sound healing for those looking to dive into inner healing. [caption id="attachment_1010907" align="alignnone" width="1920"] Supplied[/caption]
A young woman sheltered in the most literal sense there is, living her entire life in Vault 33, one of the subterranean facilities where humanity endeavours to start anew. A TV and movie star famed for his roles in westerns, then entertaining kids at birthday parties, then still alive but irradiated 219 years after the nuclear destruction of Los Angeles. An aspiring soldier who has never known anything but a devastated world, clinging to hopes of progression through the military. All three walk into the wasteland in Fallout, the long-awaited live-action adaptation of the gaming series that first arrived in 1997, as hits streaming queues on Thursday, April 11 Down Under. All three cross paths in an attempt to do all that anyone can in a post-apocalyptic hellscape: survive. So goes Prime Video's leap into a world that's had millions mashing buttons through not only the OG game, but also three released sequels — a fourth is on the way — plus seven spinoffs. Even with Westworld' Jonathan Nolan and Lisa Joy as executive producers, working with Geneva Robertson-Dworet (Captain Marvel) and Graham Wagner (The Office, Silicon Valley) as showrunners and the series' creators, giving Fallout the live-action treatment is a massive and ambitious task. But where 2023 had The Last of Us, 2024 now has this; both are big-name dystopian titles that earned legions of devotees through gaming, and both are excellent in gripping and immersive fashion (and while building worlds meticulously) at making the big-budget, high-profile, star-led move to television. Fallout's vision of one of the bleakest potential futures splits its focus between Lucy MacLean (Ella Purnell, Yellowjackets), who has no concept of how humanity can exist on the surface when the show kicks off; Cooper Howard aka bounty hunter The Ghoul (Walton Goggins, I'm a Virgo), the screen gunslinger who saw the bombs fall and now wields weapons IRL; and Maximus (Aaron Moten, Emancipation), a trainee for the Brotherhood of Steel, which is committed to restoring order by throwing around its might (and using robotic armour). The show's lead casting is gleaming, to the point that imagining anyone but this trio of actors as Lucy, Howard-slash-The Ghoul and Maximus is impossible. Where else has Walton's resume, with its jumps between law-and-order efforts, westerns traditional and neo, and comedy — see: The Shield, Justified, Sons of Anarchy, The Hateful Eight, Vice Principals and The Righteous Gemstones, as a mere few examples — been leading than here? (And, next, also season three of The White Lotus.) Fallout's core threesome make each other's acquaintance — some with relief, some begrudgingly — but each character has their own agenda. Lucy, the dutiful daughter of Vault 33's Overseer Hank (Kyle MacLachlan, Lucky Hank), is on a mission to restore the status quo to the only home that she's ever known. When she finds herself chasing the same object as The Ghoul and Maximus, she begins to learn the vast array of differences between being sealed off and weathering the aftermath above, though. The Ghoul's portion of the tale hops between now and then, examining the man that Howard was and who he's since become, the latter through sheer necessity. For Maximus, overcoming trauma and carving out a way forward is also his narrative. "The wasteland's got its own golden rule: thou shalt get sidetracked by bullshit every time," offers The Ghoul. Among those setbacks lurks a pervasive kill-or-be-killed mindset among everyone who hasn't enjoyed an underground existence wearing blue jumpsuits, frolicking in inside fields surrounded by projections of the sky and sun, and deeming marriage and procreation as the most important function there is in response to nuclear holocaust. Throw in decaying mutated people, who'll rot further into zombie territory without the right medicine staving off the effects of residing in a former blast zone, plus every manifestation of human behaviour as its worst as well. And that's before a giant radioactive salamander with a taste for flesh gets munching, adding another layer of monsters to the end of the world. Fallout's production team haven't skimped on vivid detail, bringing the series' scenario to life with lived-in production design that makes its bunkers and barren terrain alike look as if viewers could walk right into them. Nolan, crafting an alternative-history sequel to his brother Christopher Nolan's Oscar-winning Oppenheimer in a way, helped guide a similar visual experience with Westworld alongside his partner Joy. The four-season show also reached TV as an adaptation (in that case, of the 1973 film of the same name that was written and directed by Jurassic Park author Michael Crichton). Also for Prime Video — but sadly renewed for a second season, then cancelled during the 2023 Hollywood strikes — The Peripheral, based on sci-fi author William Gibson's novel, achieved the same enthralling feat. The Ghoul's basic principle for persisting — as uttered in retort to the biblical golden rule about treating others as you'd like to be treated — also describes much of Fallout's narrative journey. Lucy, The Ghoul and Maximus' goals are clear; the route there, however, is anything but. Beneath the orange haze, the series brings in a stacked supporting cast spanning Moises Arias (Samaritan), Sarita Choudhury (And Just Like That...), Michael Emerson (Evil), Dale Dickey (Lawman: Bass Reeves) and Matt Berry (What We Do in the Shadows), too, each adding to the 23rd century's reality. Some of their characters grasp to what they can. Some give striving for a different future their all. Some are robots. Some — from a roster of talent that also spans Leslie Uggams (Extrapolations), Frances Turner (The Boys), Dave Register (Heightened), Zach Cherry (Severance) and Johnny Pemberton (Weird: The Al Yankovic Story), plus Rodrigo Luzzi (Dead Ringers), Annabel O'Hagan (Dear Edward) and Xelia Mendes-Jones (The Wheel of Time) — try to get to the bottom of secrets, mysteries and why this life is the way it is. Fallout revels in exploring amid the ruins, and also in the vaults, which were conceived in the before times by a company called Vault-Tec. The ripples created by protecting the rich in corporate-made compounds but leaving everyone else to a dusty desert melee is one of the show's trains of thought. Pondering the choices that we're all faced with in such circumstances, the type of person that you truly want to be chief among them, is another. There's gleeful gore and a comedic tone as well, with the soundtrack's mix of 50s-era tunes with a tense score by Ramin Djawadi (3 Body Problem) capturing the vibe perfectly. A thumbs up is a loaded gesture in Fallout — but the series itself earns one. Check out the trailer for Fallout below: Fallout streams via Prime Video from Thursday, April 11, 2024. Read our interview with Walton Goggins, Ella Purnell and Aaron Moten. Images: courtesy of Prime Video.
If you've made it to the middle of March without starting to count down until the Easter and ANZAC Day long weekends, congratulations: you're stronger-willed that most. Beginning to think about more than just a few days off sometime soon? If you're keen to travel from the very end of April 2025, you're in luck: Virgin has just dropped a new flight sale. Book in that annual leave, because you can take a discounted trip to Hamilton Island, Uluru, Bali, Fiji, Queenstown, the Gold Coast, the Sunshine Coast, Hobart and more. The sale covers one-million fares, both Australian and international destinations among them, and prices start at $45. Yes, that $45 fare is for the Sydney–Byron Bay route, for a one-way ticket. You can also head to the Gold Coast from Sydney from $65, from Brisbane to Proserpine for $69 and from Melbourne to the Sunshine Coast from $109. Prefer a Hamilton Island getaway instead? Flights there kick off at $109 from Brisbane and Sydney, and $139 from Melbourne. Other deals elsewhere span Sydney–Melbourne from $95, Brisbane–Hobart from $115, Brisbane–Uluru from $129, Melbourne-Perth from $195 and Sydney–Perth from $199. Do scenic sights further afield call your name? Your overseas options include Melbourne–Queenstown from $425, Gold Coast–Bali from $489, Brisbane–Port Vila from $499, Sydney–Nadi from $569 and Brisbane–Apia from $689, all return. You've got until midnight AEST on Wednesday, March 26, 2025 to book, unless sold out earlier. And the cheap fares, which are valid in both directions between each point in the discounted route, start with Virgin's Economy Lite option — although there are also business seats on offer. Wondering when you'll need to travel? These deals cover periods between Wednesday, April 30, 2025–Wednesday, February 11, 2026, with all dates varying per route. Inclusions also differ depending on your ticket and, as usual when it comes to flight sales, you'll need to get in quick. Virgin's March 2025 sale runs until midnight AEST on Wednesday, March 26, 2025 — unless sold out earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Come with us now on a journey through time and space, as Matthew McConaughey takes the top spot as heroic protagonist in the new Christopher Nolan film, Interstellar. The brand new (awesome) trailer can only be watched at Interstellar's newly launched website. Once you get there, you'll need a special passcode — '7201969' — the date Apollo 11 landed on the moon. Badass. The film sees McConaughey and fellow astronaut Anne Hathaway travel through a wormhole with the simple goal of saving humanity. The newly-released trailer gives a tiny insight into McConaughey’s character — an engineer and widowed father with two children — as well as vast landscapes of alien worlds and a spaceship hurtling through empty space. We can tell this is not going to be a smooth-sailing intergalactic ride, as McConaughey philosophises in the opening lines, "We used to look up at the sky and wonder at our place in the stars. Now we just look down and worry about our place in the dirt." Cue goosebumps. The highly-anticipated film also stars Jessica Chastain, Casey Affleck, Michael Caine, Wes Bentley, John Lithgow, Ellen Burstyn, Topher Grace and Matt Damon. That’s one stellar Interstellar line-up right there (#sorrynotsorry). This is Nolan’s first film since wrapping up the Batman trilogy with The Dark Night Rises. Interstellar will be in cinemas November 7 and has a pretty killer poster lurking around: Via The Verge.
Cave hotels, tree-house hotels, and hotels next to natural wonders: the bedroom-pros at Mr & Mrs Smith have seen it all (well, we’re still waiting for our first spaceship hotel, but hey). Here are 10 of Smith’s most interesting places to pass a night, picked just for Concrete Playground. 1. LONGITUDE 131° by VOYAGES, AUSTRALIA What: Safari-style desert campWhere: Up close to Uluru What could possibly be any more awe-inspiring than waking up to views of the world’s biggest monolith, Uluru? It’s remote, for sure, but Longitude 131° by Voyages can be reached via a flight to Yulara, where guests are greeted by a member of staff in a four-wheel drive. The villas are called ‘tents’, but you can banish memories of uncomfortable camping trips from your school days. These impressive specimens are on stilts, with ensuite bathrooms and fully automated blinds. Tours of the national park are included in the rates and the curvy pool is kept ice-cold at all times – perfectly refreshing after unforgettable treks up Uluru. 2. HAPUKU LODGE AND TREE HOUSES, NEW ZEALAND What: Architectural meets arborealWhere: Deer-dotted pastures and peaks Simultaneous views of mountains, the sea, olive grove and a deer-park… where else other than New Zealand? A top-spot for whale-watching, Hapuku Lodge and Tree Houses is a true get-away, with fully equipped villas nestled high amongst the tree-tops, so you can coo at the local birds (or just kiss your lovebird). The lodge’s knockout 600-hectare grounds, between the towering Kaikoura Seaward Mountains and surf-lashed Mangamaunu Bay, include the family farm’s oil-producing olive grove and deer stud. For a cool canopy experience, the modern, wood-clad Tree House Rooms, set in a manuka grove remote from the main lodge, are a must. 3. SIX SENSES YAO NOI, THAILAND What: Rustic-chic castawayWhere: Yao Noi island hillside Perched on a cliff-side over-looking Phang Nga Bay, Six Senses Yao Noi makes each night feel like an adventure. A selection of nine different types of villa are available, each with stylish interiors, some with pools, and every one offering the best views we’ve ever clapped eyes on. Privacy-seeking couples or families would do well to book a Hideaway Two-bedroom Pool Villa, which has two levels, an open-air bathroom, private ensuite and its own infinity pool. 4. OHLA, BARCELONA What: Classic Catalan coolWhere: Beside Barrio Gotico With a neoclassical exterior but minimalistic interiors, Ohla Hotel in Barcelona never quite makes up its mind. Originally the palace of the first Count of Barcelona, then a department store and police office, and now a hotel renovated with assistance from artist and sculptor Frederic Amat, Ohla is an eclectic mix of history. Hundreds of ceramic eyeballs adorn the outside walls of the hotel, thanks to Amat. The rooms have wooden floors and refrain from over-decoration; in-room massages are available on request. 5. GORAH ELEPHANT CAMP, SOUTH AFRICA What: Bastion of imperial glamourWhere: Stunning South African savannah The wilderness of Addo Elephant National Park is right on the doorstep of Gorah Elephant Camp. Combining Victorian colonial style with classy mod cons, the tent-like suites have thatched canopies, four-poster beds, private deck and panoramic views of the savannah. The Gorah house itself is a mid-18th-century heritage manor, and serves as the main building on the site. Unabashed luxury abounds in the tents themselves: expect silk-soft Egyptian cotton linen and glossy toffee wooden floorboards. 6. SAFFIRE, TASMANIA What: Elemental sanctuaryWhere: Curving Coles Bay coastline Saffire must confuse the seagulls swooping overhead: is it a giant starfish? A huge silver oil spill? A resting spaceship? If only we could tell them: no, it’s a stingray-shaped sanctuary with eye-widening architecture, an excellent restaurant, a pampering spa and a prime natural location (iconic Wineglass Bay is just minutes away). If you fancy your own private courtyard plunge pool, snaffle one of the four Private Pavilions (rooms 1 to 4, aka Mayson, Amos, Dove or Baudin), which include cat-swingingly spacious living and bedroom areas, a kitchen, dining zone and front deck. Saffire's chef can even come and cook for you in-room. 7. GILI LANKANFUSHI, MALDIVES What: Water worldWhere: Lapis lazuli lagoon Be prepared to come home feeling lonely, or with a Mr Friday stuffed illegally in your suitcase: this hotel’s service is flawless, and every villa comes with a Ms/Mr Friday who will look after you so well, you won’t want to leave them behind. You’re not allowed shoes here, and you won’t find any newspapers, but these are the only limits at this beautiful beachside hotel, which must prompt proposals left, right and centre. Gili Lankanfushi’s villas are all overwater: we like the 210sq m Villa Suites best. They’re open-air, apart from the bedroom (which is also the only bit with air-con; everywhere else gets a sea breeze) and have a large living room with day beds and an overwater sundeck with stairs leading to the ocean. 8. QT SYDNEY, AUSTRALIA What: Theatrical temptressWhere: Sydney's happening heart This super-central design diva is carved out of the historic State Theatre and Gowings department store buildings, blending Gothic, art deco and Italianate architecture with quirky-but-cool interiors. Door gals dressed in saucy uniforms, buzzy drinking and dining, and a hip day spa? We're smitten. Sexy, sassy and stylish, QT Sydney has her party shoes on and is ready to dance. Helmed by chef Paul Easson under the creative direction of Sydney restaurateur Robert Marchetti, Gowings Bar & Grill is an edgy, European-style all-day brasserie, which lures diners with its fresh Australian produce (sourced from artisan providores), so-now culinary techniques (we're talking wood-fired rotisseries and ovens) and smart list of up-and-coming wines. 9. SEXTANTIO LE GROTTE DELLA CIVITA, ITALY What: Boutique BedrockWhere: Matera’s grand canyon If Fred Flintstone were looking for a romantic crash-pad for him and Wilma, he could do a lot worse than check into this cave hotel, set in the ancient stassi (stone settlement) of Matera, a mysterious, overlooked patch of Basilicata in southern Italy, flanked by the Ionian and Tyrrhenian seas. Sextantio le Grotte della Civita has a prehistoric birthday and old-world charm: bed sheets and furniture are antique; candles flicker in corners; bath products feature olive oil and packaged simply, and there’s a tasting room set in the old church. Whole families once bedded down in each cave, so expect buckets of space. 10. SAMODE PALACE, INDIA What: All that glittersWhere: Fairytale desert fort Mirror-tiled walls, mural-lined walls, marble swimming pools and antique-filled suites: Samode Palace in the heart of Rajasthan, Jaipur, sounds like the stuff of far-flung fairy tales, but it’s deliciously real. This blue-blooded getaway began life 300 years ago as a maharaja's mansion, so it’s had a while to perfect its poise; modern additions include a gym, sauna, steam room, day spa and boutique. (Of course, kings and queens need to keep in touch with their subjects, so there’s free WiFi in the central courtyard and business centre.) Wander through the Sheesh Mahal, a series of glittering rooms, each more breath-snatching than the last. Once a royal reception space, it's now used for chichi cocktail sessions.
When you find the coming together of good coffee and a good conscience, great things usually follow. Fest of Merit, the newest venture from youth social enterprise YGAP, proves this to be true. Found in an open space on Swan Street in Richmond, they haven't held back on the interior. It's raw, exposed and perfectly executed. Hanging lights and plants finish the look perfectly (as do the handsome wait staff, but that's a whole other story). As YGAP's newest project, Feast of Merit donates all of their profits to youth education and youth leadership in Malawi, Ghana, Rwanda, Bangladesh, Cambodia and Australia. On top of this they focus on seasonal produce, raw foods and locally sourced drinks. Local, ethical and sustainable food is served up with a distinct Middle Eastern flavour. The breakfast menu caters to a range of tastes with the sweeter side of things looking like Bircher muesli, coconut water, apricot, pistachios, and hung yoghurt ($11.50) and a bowl of backyard fruits, chia seeds, orange blossom, yoghurt ice and smoked almonds ($12.50). For those going down the savoury path, you can opt for the young asparagus, ricotta and avocado with harissa toast and a soft egg ($16) or the beetroot (pickled, raw and roasted) with wild rice, candied walnuts, salted ricotta and za'atar spice ($13.50). Lunch is a 'choose your own adventure' experience with three salads available with three optional proteins for a more hearty meal. You might see a roasted Dutch carrot, mint, pistachio, currant, freekeh, harissa and preserved lemon salad topped with roasted Milawa chicken. Job done. Smoothies, juices, and digestives dominate the drinks list with a raw almond milk creation calling out our name. Warning: raw treats may tempt you as you're paying the cheque. But don't worry — your money is going to a good cause.
UPDATE, MARCH 25, 2020: Due to cinema closures and other concerns around COVID-19, In the Heights will no longer release on its initially scheduled date of Thursday, June 25, 2020. At present, a new release date has not been announced — we'll update you when one has been revealed. 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. Over the past five years, Hamilton has become a cultural phenomenon — and, thanks to its fame and acclaim, so has the hip hop musical's creator Lin-Manuel Miranda. But that's not the only stellar stage show to the multi-talented composer, actor, singer and playwright's name. Before he took on US history (and before he helped bring Bring It On to the theatre, too), Miranda turned life in Manhattan's Washington Heights into four-time Tony-winner In the Heights. While every Hamilton fan dreams of the day that it's turned into a movie, In the Heights is actually making the leap to the big screen first — in 2020, with a stacked cast, with Crazy Rich Asians director Jon M Chu behind the lens, and via a film primarily shot on location in its titular spot. Quiara Alegría Hudes, who wrote the text for the stage version, has also written the feature's screenplay. And Lin-Manuel Miranda is involved, naturally, producing the movie, overseeing the music and popping up on-screen as well. On Broadway from 2008–11, Miranda played the lead role of bodega owner Usnavi de la Vega. In the film, that honour goes to Anthony Ramos — an alumnus of the original production of Hamilton who has also featured in Patti Cake$, A Star Is Born and Godzilla: King of the Monsters. Usnavi works hard, saves everything he earns and strives for a better life. He also sits at the centre of a vibrant community just beyond the 181st Street subway stop, with In the Heights charting the lives, loves and dreams of the Latinx neighbourhood through colourful, energetic and — as seen in the just-dropped trailer — exquisitely choreographed song and dance numbers. Joining Ramos and Miranda (who plays Piragua Guy, the owner of a shaved ice dessert stand) are Corey Hawkins (Straight Outta Compton), singer Leslie Grace, Melissa Barrera (Vida), Dascha Polanco (Orange is the New Black), Marc Anthony and Jimmy Smits — plus original In the Heights stage star Olga Merediz, Rent's Daphne Rubin-Vega and Matilda the Musical's Gregory Diaz IV. Brooklyn Nine-Nine's Stephanie Beatriz also features, after Miranda made an appearance on the hit sitcom earlier this year. Check out the full trailer below: https://www.youtube.com/watch?v=U0CL-ZSuCrQ In the Heights was due to open in Australian cinemas on June 25, 2020; however it'll now release on a yet-to-be-revealed date — we'll update you when one is announced.
Prepare to get hopelessly devoted — again — to Rydell High, summer lovers reuniting at school, leather jackets and Pink Ladies, all across Australia's stages in 2024. Because giving Grease a prequel streaming series isn't enough, the 50s-set musical is returning to its original home, with a brand-new multimillion-dollar theatre production of the five-decade-old show set to be the one that local audiences want next year. Grease is shaping up to be Melbourne's big summer hit, zipping into the Victorian capital's Her Majesty's Theatre like lightening in January. Then, from March, it'll take its retro stylings to Sydney's Capitol Theatre. If you live elsewhere in the country, cross your fingers that these two initial seasons are only the beginning. Everyone knows Grease's plot by now, given how popular the 1978 movie adaptation of the musical rom-com still is, especially Down Under. It is about an Australian transfer student, after all, who falls in love with an American high schooler in California. After it sped from the stage to become a silver-screen classic, it spawned a 1982 Michelle Pfeiffer-starring sequel, too, then this year's Paramount+ show Grease: Rise of the Pink Ladies. Exactly who'll be slipping into John Travolta (Paradise City) and the late, great Olivia Newton-John's (The Very Excellent Mr Crocodile Dundee) leathers as Danny Zuko and Sandy Olsson in the new Aussie production has yet to be revealed, nor has any casting — T-Birds, Pink Ladies and teachers alike. But whoever gets the gig, obviously they'll be belting out all the famous tunes, including the titular 'Grease' and fellow earworms 'Summer Nights', 'Sandy', 'Hopelessly Devoted to You', 'You're The One That I Want', 'Greased Lightnin' and 'Beauty School Dropout'. "I am thrilled that Grease, one of the world's all-time favourite musicals, is returning to Australia in a brand-new production featuring an all-Australian creative team," said producer John Frost announcing the new tour, which is presented by John Frost for Crossroads Live Australia. "Grease has always been about having fun and, coupled with the much-loved songs and choreography, I know that this will be the party musical that everyone is talking about for a long time to come." GREASE 2024 AUSTRALIAN TOUR: From January 2024 — Her Majesty's Theatre, Melbourne From March 2024 — Capitol Theatre, Sydney Grease will tour Australia in 2024, starting in Melbourne in January. For more information or to sign up for the ticket waitlist, head to the musical's website.
Pour red wine down the front of it. Cover it in tomato sauce. Sweat in it till you can sweat no more. The Silic self-cleaning T-shirt will act like you're not even there, because it's pretty much impervious to stains. Set to be funded via a Kickstarter campaign that's gone bananas, having met its stretch goal 13 times over, the Silic represents a breakthrough in fabric technology. Created by Aamir Patel, in collaboration with an ex-Vera Wang designer, the T-shirt depends upon what's known as 'hydrophobic nanotechnology'. In other words, the fabric is covered in billions of microscopic silica particles. These create a layer of air, causing any liquids that hit to form a sphere and roll away immediately. Many similar technologies tend to disappear as soon as the garment is cleaned, but the Silic remains stain-proof after 80 sessions in the washing machine. Plus, according to the designers, it's been created according to safe, non-cancerous processes. Production is set to happen in Silicon Valley, in a facility that's been responsible for manufacturing goods for Nike and Levi's. Currently available in black and white, the Silic boasts a simple yet stylish design. It's said to "enhance any torso, which gives a bold look". If you're interested in committing to a pledge before the campaign finishes up on Australia Day, US$48 will buy you one shirt, US$88 two, US$138 three and US$199 five.
By now, there's no question that 400 Gradi is Melbourne pizza royalty. Back in 2014, owner and founder Johnny Di Francesco's margherita was famously crowned best in the world at the Campionato Mondiale Della Pizza (Pizza World Championship), beating 600 competitors from across the globe. And now, having added a swag more pizzerias to the family in the years since, 400 Gradi has claimed yet another huge glory, last night taking out the title of Best Pizza in Oceania at the second annual 50 Top Pizza Awards in Naples. The Melbourne pizzeria was secretly judged against almost 1000 others from across Italy and the globe, and secured both a place among the world's 50 best and reigned supreme over all other pizzerias in Oceania. "I am truly honoured, and almost speechless, to be honest," said Di Francesco at the event. "Never did I think that my beginnings in pizza as a twelve year old would lead me here." Other Aussie restaurants named finalists in the Oceania category include Sydney's Verace Pizzeria (Macquarie Park), La Disfida (Ashfield) and The Dolphin Hotel (Surry Hills), along with fellow Melburnian, Guy Grossi's Ombra. Best book a table now — we have a feeling these pizzas will be pretty darn popular in the coming weeks. You can check out the full lineup of award-winning pizzas here.
If there's ever a time not to throw away your shot, it's this: getting the chance to be in the room where Lin-Manuel Miranda chats about Hamilton live in Australia in March. The smash-hit musical's creator is heading Down Under for the first time since the show started its Australian run, to see the Aussie version which kicked off in Sydney, then hit Melbourne and is now playing Brisbane. Even better: he's doing a live public Q&A session to share some insights about the theatre production that everyone has been talking about for almost a decade now. While the news that Miranda would hit Brisbane for an in-person Hamilton fan event was revealed last week, further details have now dropped. The Tony-, Grammy-, Emmy-, Olivier- and Pulitzer Prize-winner will take to the QPAC Lyric Theatre stage on Sunday, March 5 to discuss all things Hamilton in an interview with Leigh Sales. Also joining them: actor Jason Arrow, who plays Alexander Hamilton in the Australian production. [caption id="attachment_795466" align="alignnone" width="1920"] Destination NSW[/caption] Attendees can expect to hear about everything from Miranda's decision to make the show to begin with through to how the lyrics for Hamilton's famous tunes came about — and about the music theatre easter eggs peppered throughout the piece as well. Folks eager to get the Hamilton scoop from the man himself will need to hope they have luck on their side, however, given that the only way to attend is to win free tickets. Entries open at 10am AEST today, Monday, February 20, via the QPAC website, closing at 10am on Wednesday, February 22 — which is when winners will be drawn, then notified by email. Miranda's Brisbane Q&A is an Australian exclusive, so Hamilton obsessives elsewhere in the country will need to make plans to hit up the Sunshine State if they score tickets. [caption id="attachment_773737" align="alignnone" width="1920"] Hamilton filmed version courtesy Disney+.[/caption] "I have been waiting such a long time to come to Australia and I can't wait to be with the company down under in-person for the first time," said Miranda when his visit was first announced. "I have heard such great things from friends and fans in Australia, it is going to be fantastic to be able to meet them and watch them perform." The biggest show in musical theatre this century, this game-changing, award-winning, rightly raved-about take on 18th-century American politics is about the life of Founding Father Alexander Hamilton, as well as inclusion and politics in current-day America. In addition to its swag of Tony Awards — 11 in fact, which includes Best Musical — it has nabbed a Grammy Award and even a Pulitzer Prize. And, Miranda wrote the music, lyrics and the book for the critically acclaimed hip hop musical. [caption id="attachment_774805" align="alignnone" width="1920"] Hamilton filmed version courtesy Disney+.[/caption] The Broadway hit's Aussie production features a cast that currently includes Jason Arrow as Alexander Hamilton, Martha Berhane as Eliza Hamilton, Callan Purcell as Aaron Burr, Akina Edmonds as Angelica Schuyler, Matu Ngaropo as George Washington, and Victory Ndukwe as Marquis de Lafayette and Thomas Jefferson. Sami Afuni plays Hercules Mulligan and James Madison, Wern Mak does double duty as John Laurens and Philip Hamilton, Elandrah Eramiha plays Peggy Schuyler and Maria Reynolds, and Brent Hill steps into King George III's robes. When it finishes its Brisbane season at QPAC's Lyric Theatre on Sunday, April 23, the show will leave the country for a New Zealand run. That'll mean that fans will then need to be content with watching the filmed version of Hamilton's Broadway production, which started streaming via Disney+ in 2020, again. (And yes, it's as phenomenal as you've heard). Brisbanites keen to see Hamilton for cheap in-person can also try the $10 ticket lottery, which offers tickets for less than the cost of lunch. [caption id="attachment_846530" align="alignnone" width="1920"] Daniel Boud[/caption] Lin-Manuel Miranda will chat with Leigh Sales and Jason Arrow at QPAC's Lyric Theatre, South Bank, Brisbane on Sunday, March 5. To enter to win free tickets to attend, head to the QPAC website between 10am AEST on Monday, February 20–10am on Wednesday, February 22. Hamilton's Brisbane season runs until Sunday, April 23 at QPAC's Lyric Theatre, South Bank, with tickets available via the musical's website. Top image: Hamilton filmed version courtesy Disney+.
