Move aside, bottomless brunch — there's a new amped-up concept dining experience in town and it's here for a tasty one-night-only appearance. Introducing, Hip Hop Hibachi, which is set to fire up Richmond's National Hotel on Thursday, March 24. Promising a new kind of weeknight feasting fun, the event will see you settling in with a table full of mates and your own private hibachi grill. Cook up a storm while grooving to classic hip hop hits as spun by DJ Nat. You'll choose from either the meat-based ($45 per person) or vegetarian ($35 per person) set menu, filled with traditional yakiniku and yakitori fixings, plus a range of Japanese sides. The raw ingredients are delivered to your table ready to be grilled to charry perfection right beneath your nose. We're talking sliced wagyu, pork belly and prawns for the carnivores; miso eggplant and marinated tofu to tempt the vegetarians; and additional side dishes ranging from miso and shiitake croquettes to crispy karaage chicken. Various sittings are available across the evening, though you'll need to have at least four diners to book a table.
Take a journey back through time with artist Eugenia Lim, in a playful new video piece that explores the history of Chinese immigrants in Australia. Filmed by Lim at Sovereign Hill Historical Park, Yellow Peril depicts a Chinese 'ambassador’ in a shiny gold Mao suit as she roams the rural mining town amidst the height of the Victorian gold rush. Taking its cues from the low key observational comedies of French filmmaker Jacques Tati, the work touches on questions of cultural and national identity, as well as the interwoven socio-economic destinies of Australia and its Asian neighbour. Yellow Peril is the latest of Lim’s works to explore issues of multiculturalism. A second generation Australian of Chinese-Singaporean descent, she has previously exhibited work at the Tate Modern, GOMA, ACMI and HUN Gallery NY. Yellow Peril will be exhibited at the BUS Projects gallery space in Collingwood from April 8 to 25.
Early in The Super Mario Bros Movie, pop culture's go-to red-capped plumber (Chris Pratt, Thor: Love and Thunder) sits down to dinner with his brother Luigi (Charlie Day, It's Always Sunny in Philadelphia) and the rest of their family. Pasta is on offer for the Italian American brood, but it comes with something that the Nintendo favourite and gaming mainstay since 1981's first-ever Donkey Kong title quickly advises that he hates: mushrooms. Fans know that more fungi are in his future. In this animated take on the beloved character, his sibling, and their pals and adversaries, a trip to the Mushroom Kingdom is inevitable. And, while there, Mario will meet Toad — a pint-sized humanoid with a toadstool for a head, who is part of a whole race of such folks also called Toads. From the titular brothers through to Princess Peach (Anya Taylor-Joy, The Menu), the fire-breathing Bowser (Jack Black, Apollo 10 1/2: A Space Age Childhood) and even big gorilla Donkey Kong (Seth Rogen, The Fabelmans), The Super Mario Bros Movie stacks together the bulk of the gaming franchise's best-known figures — and Toad is one of them. It also assembles an impressive voice cast to help bring its players to life, including Keegan-Michael Key as its main mushroom man. Here, the actor and sketch-comedy great's tones prove as elastic as his face and limbs long have, especially in iconic skit series Key & Peele. How do you voice a diminutive critter who is as perky as he is tiny? Someone who Key likens to a golden retriever? With ample energy, as The Super Mario Bros Movie's viewers hear. While fellow Key & Peele namesake Jordan Peele followed up that five-season 2012–15 show with a jump behind the lens, helming Get Out, Us and Nope — and earning an Oscar for Best Original Screenplay for the former — Key has remained a constant on-screen. The pair also share Fargo, Keanu, Toy Story 4 and Wendell & Wild on their resumes, teaming up in front of the lens or through voice work on all four; however, Key's list of credits spans everything from Parks and Recreation and Schmigadoon! to The Predator and Dolemite Is My Name. He's broken out his vocal talents in Archer and Bob's Burgers, too, and in the photorealistic version of The Lion King as well. But signing on for The Super Mario Bros Movie couldn't have been an easier choice for the OG Donkey Kong aficionado. That instant enthusiasm comes through in a perky, peppy performance — a voice that's squeakier than viewers are used to from Key, but slides easily into a career that keeps bounding in every on-screen direction possible. During his Key & Peele days, he brought audiences President Obama's anger translator Luther, substitute teacher Mr Garvey and his creative pronunciations, a "Liam Neesons"-loving valet, one of the brilliant 'Aerobics Meltdown' sketch's fierce lycra-clad competitors and more. Of course he's been bouncing here, there and everywhere since. With The Super Mario Bros Movie now in cinemas, Concrete Playground chatted with Key about jumping at the part, finding his Toad voice, preparing for the part, drawing upon his improv background and what he looks for in a role. ON TURNING DONKEY KONG FANDOM INTO A SUPER MARIO BROS ROLE Do you need to be a Super Mario Bros fan to press start on being in one of the game's leaps to the screen? Bob Hoskins, who played the titular character in 1993's live-action movie, famously wasn't. But Key was — and instantly said yes to being involved in the second film bringing Mario and the game's characters to cinemas. "I was a fan of Super Mario, or Mario Bros in the beginning, from Donkey Kong. I was a big Donkey Kong fan way back in the day," Key advises. "So when they approached me and asked me to do Toad, I was like 'I'd be more than happy. I don't even need to see the script! I'm happy. I'm in. I'm your guy. Whatever you want, whatever you need, I'm your guy'." ON FINDING THE RIGHT VOICE FOR TOAD While Key sits among The Super Mario Bros Movie's well-known names, his vocal work stands out from Pratt, Day, Taylor-Joy, Black, Rogan and company. Listen to Mario, Luigi, Peach, Bowser and DK, viewers immediately recognise the actor behind them. That isn't the case with Toad and Key. "What I did is, I was impersonating a friend of mine and trying to get his vocal patterns and vocal rhythms. And I brought that to the table, and then the directors [Aaron Horvath and Michael Jelenic] and I both worked on the pitch, and trying to find where the right pitch would be — and if I could get the voice higher and higher, then higher and higher," Key notes. "And I finally got him some place up here [Key's voice gets higher], until we then got him even higher than that [Key's voice returns to its usual pitch]. Then, mostly the biggest trick was trying to figure out how to maintain that voice while I was in the booth — because sometimes you'd be in the booth for three-to-six hours, and you're trying to figure out how do you maintain that." "So I would just pretend I was — you know, I'm like: 'what would it be like if I was sucking on a helium balloon? How do I make my voice sound like that?'. And then I'm like: 'what else can I do? I don't know — wear tight pants? I'll wear tight pants!'. Anything to keep that voice at that high register." ON PREPARING FOR PLAYING A HUMANOID WITH A MUSHROOM FOR A HEAD The Super Mario Bros Movie starts in reality — animated reality, but in Brooklyn. Here, there aren't mushrooms as far as the eye can see, or coin blocks, or rainbow roads to race on Mario Kart-style. And there definitely aren't mushroom men like Toad. All it takes is a warp pipe to transport Mario and Luigi into the realm seen in Nintendo games for four decades now. That's where Toad comes in. Asked how you prepare for such a part — playing a toadstool-topped humanoid, specifically — Key is all about creativity and being upbeat (and one of humanity's favourite pets). "I think it's just making sure that you're sparking your imagination on any given day. Because what I did — I knew what Toad looked like, but I would just sometimes look at pictures of him and just go 'what am I getting from this picture? What am I getting about how I can portray this?'," he says. "There's something about him that's snappy and positive. He's also like a mushroom-man version of a golden retriever. I wanted him to have that kind of sensibility when I portrayed him." ON DRAWING UPON HIS SKETCH-COMEDY BACKGROUND In the sketch-comedy game, Key is a legend. Before Key & Peele, he spent six seasons on Mad TV, too, also often opposite Peele. And, prior to that, he's among the long list of comedy names to have come through improv troupe The Second City — as Peele also did, and Bill Murray, Mike Myers, Catherine O'Hara, Stephen Colbert, Steve Carell, Tina Fey and Amy Poehler as well. That background came in handy with The Super Mario Bros Movie, including getting into character. "I did get to improvise. I got to improvise quite a bit. A lot of it ended up on the cutting-room floor, but I like to use the improvisation to get into the spirit of it more than anything else," Key explains. "Sometimes I would just improvise right before the line and then jump into the line, and that would give the line the feeling I wanted it to have, the sense and the spirit that I wanted it to have." "Sometimes, you can just use improvisation in that way and it still helps." [caption id="attachment_896345" align="alignnone" width="1920"] Gage Skidmore via Wikimedia Commons[/caption] ON WHAT HE LOOKS FOR IN A PART Key's time on-screen dates back a couple of decades, including a one-episode stint in ER in 2001, plus 00s roles in Role Models and Due Date. What appeals to him now, after Pitch Perfect 2, Tomorrowland, Win It All and The Disaster Artist as well, and also Friends From College, Veep, No Activity and Reboot? Movies and TV shows that stand out. "I look for something in the project that's a little different. Something that catches my eye is always going to be something that I've never seen before. So, if you take a project like Schmigadoon!, I go 'oh god, I've never seen anything like that — if they're interested in me doing that, I want to do that'," Key says. "And the same thing with Super Mario Bros. I figured it would make a lot of sense — I understand what the movie looked like in 1993, when they made the live-action one, but I'm like 'what would it look like if it were this animated movie with the technology that we have today to make animation?'. I thought 'this thing's going to look amazing'." "So I try to jump onboard things that have a little twist to them — some kind of fun, clever twist that makes them different than whatever your run-of-the-mill project might be." The Super Mario Bros Movie released in cinemas Down Under on Wednesday, April 5. Read our full review.
Seltzer brand Part Time Rangers has arrived with a new line of summer-ready drinks that are helping make a difference. The Peach Penguin is a flavour-packed addition to the brand's range and, as the name suggests, it has an affinity for one of the world's cutest creatures: the penguin. If you pick up a four-pack of these fruity vodka and peach juice drinks, you can feel a little better about your latest boozy purchase than usual. For every seltzer sold, Part Time Rangers donates to conservation initiatives around the world — and this time, a portion of the profits from the peach flavour are going directly to the Conservation Council of Western Australia and penguin expert Dr Erin Clitheroe. WA's Little Penguin has seen an 80-percent population decline since 2007 due to warmer ocean conditions and increased air temperature. It's species like the little penguin that the Conservation Council is working to save. On top of donating these proceeds to help provide assistance with the penguin population of Penguin Island, Part Time Rangers also wants you to get involved directly. After conducting a survey that found only five percent of young Australians consider the Little Penguin a conservation concern, the seltzer brand has launched a competition to try and raise awareness for these fluffy little animals. The seltzer brand is giving away an all-expenses-paid trip to Western Australia to help Clitheroe with her conservation efforts. The winner of this major prize will get to spend three days with the scientist, in what Part Time Rangers has described as a "scholar-sip". They'll also get return flights to Perth, four nights accommodation, $1500 to spend on food and transport, $2000 prize money and a case of seltzer. There will also be ten runner-ups who will each win a hat and a four-pack of seltzer. To enter, just head to the Part Time Rangers website and explain in 25 words or less why you want to fly to Perth and hang out with Dr Erin Clitheroe. Applications for the competition close at 5pm on Monday, February 20. Outside of the Peach Penguin flavour, you'll also find other drinks in the range — like the Pink Rhino, with proceeds going to Rhinos Without Borders, plus the Black and Yellow Elephant flavours, which both raise money for the Big Life Foundation. For more information on Part Time Rangers and the competition head to the brand's website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
There's no need to shake off that Swiftmania, Australia. The world's biggest pop star right now has hit the country, unleashed the first three nights of the Aussie leg of her Eras tour, broken records and given everyone an enchanted time. There's no way that you could not know that Taylor Swift has arrived Down Under, with Melbourne her first stop. That trio of initial gigs even means that she makes more appearances at the MCG in 2024 than most AFL teams, in fact. So, you went along and it was gorgeous, and you're still keen to get your Swiftie on. Or, you're hitting the Sydney concerts at Accor Stadium from Friday, February 23–Monday, February 26 and want to get the full lowdown. Missed out completely? Eager to figure out how to cope? We can help you with that as well. We were lucky enough to hit up an Eras show in Melbourne, so we have the details. We've outlined logistical tips if you're watching Swift's three-hour spectacular in Sydney, too — plus Swift-related events across Sydney, Melbourne and Brisbane. And yes, the Eras concert film will help fill that blank space in your calendar. Here's our Australian Eras tour 101: [caption id="attachment_941681" align="alignnone" width="1920"] TAS Rights Management[/caption] The Show (and Yes, It's as Sensational as You've Heard) Before even getting to the show, most fans have memorised the setlist, seen most of the performances on social media and created perfect recreations of Swift's Eras tour costumes. They know what's to come. But are they ready for it? Absolutely not. From the moment that Swift enters the stage — emerging from the giant flower petals that everyone has seen in countless videos of already — the MCG loses its shit. It's the feeling of being a part of the international tour that's been obsessed over for so many months that draws up the excitement. We don't need to be surprised. We just want to be a part of these legendary moments. Swift doesn't disappoint, on any level, for none of the three-hour show packed with hits. She runs through each of her albums, spanning 18 years of music, ticking off the bangers as the crowd screams the lyrics along with her — no matter what era they come from. She doesn't lose breath or miss a beat for a moment. She's done this show god knows how many times now and knows exactly what she's doing. She's a total pro. [caption id="attachment_941679" align="alignnone" width="1920"] TAS Rights Management[/caption] But while Swift soars in her most upbeat hits, the more-emotional ballads show her real vulnerability. The walls seem to really come down for a few moments. This is best seen in her ten-minute version of 'All Too Well', captivating the audience for the entire song while it's just her on stage with a guitar in a stunning red-and-black sequinned coat. She gets visibly angry, is particularly pointed with some harsh lyrics and takes the audience with her on the journey of hating the celeb we all know this song is about. From start to finish, Swift repeatedly reminds you why she is an icon — and that she's got plenty of more eras to come. Let's just hope that she brings them back Down Under to smash some more records and give us another (or first) chance to see her IRL. [caption id="attachment_941680" align="alignnone" width="1920"] TAS Rights Management[/caption] Tips to Help Make Hitting the Gigs as Gorgeous as Possible When it comes to the kit you'll be wearing, most Swifties go down one of two routes. You can sequin the house down and be inspired by her tour looks, or try to recreate one of her iconic music-video ensembles. Glitter is almost a must, even if it covers your bathroom at home for months afterwards. And friendship bracelets. You've got to invest in some if you want to participate in those sweet community feels at the concert, when everyone is swapping bracelets with one another, sharing their excitement for what's to come. It couldn't be more wholesome. While heels might go with your outfit, flats are probably the smartest choice. Everyone gets a seat, but you'll be standing and dancing for over three hours. Everyone in the crowd tries to sit down in between eras when the stage gets changed over and Swift quickly swaps into a new outfit, but it's not enough to save your poor feet (especially as there isn't that much time between albums). Beyond that, be sure to bring a portable battery for your phone. Even if you say you won't take videos, you likely will. And there are plenty of times during the night when fans turn on their camera lights and sway along to the slow jams. For most of us, this will kill our batteries in an hour. [caption id="attachment_940691" align="alignnone" width="1920"] Ronald Woan via Wikimedia Commons.[/caption] If you're heading to one of the four Sydney shows, it's time to start planning your journey. Gates open at 4.30pm, and everyone has assigned seating, so there's no need to camp out overnight to secure the best spot. The show will kick off around 6.20pm, with Sabrina Carpenter handling opening duties. Get down early to see what she rhymes with Sydney during her iconic 'Nonsense' outros. While there is car parking available, it's almost fully booked up already, so public transport is the optimal option for heading in. Travel on PT is included in your ticket, and both express trains and major event buses are running each night to deal with the masses of Swifties making the pilgrimage to Sydney Olympic Park. If you're attending on the Friday or Saturday, leave yourself some extra time — Blink-182 is performing at Qudos Bank Arena on both these days, so there will be two lots of music lovers travelling to the same spot. Everyone's journey in will be a little different, of course, but if you head to Central, Redfern or Strathfield Station, you'll be able to get a direct train. While there are a couple of spots to eat near Accor Stadium, it's not exactly a cornucopia of food and drinks. Consider hitting up a venue near one of these key stations for an early dinner or a couple of celebratory cocktails. City Oltra is a perfect pitstop for a few slices of some of the city's best pizza and a glass of orange wine just metres from Central Station. If mimosas on a rooftop are more of the vibe, consider stopping over at The Old Clare Hotel. As for Redfern, The Sunshine Inn, RaRa Ramen, Redbird and BrewDog are all stellar options for a pre-gig feed. Or, if you're just after a few top-notch drinks, Arcadia Liquors always does the trick. Plus, Strathfield is filled with plenty of standout dining options. Our picks for a cheap and cheerful meal: Korean fried chicken and a bottle of soju from the no-frills CC Train, or a big brothy bowl from Hansang. Not Going? How to Play Along Elsewhere Look what you made Australia do, Swifties: put on Taylor Swift-themed festivities everywhere and anywhere, to prolong the lavender haze swirling not just around Melbourne and Sydney, but Brisbane as well. From candlelight tributes and colourful cocktails to painting pottery and showing off your knowledge of Swift trivia, you have options. Sydney: Sydney well and truly has Swift fever, so if you're a Lover lover but you're not heading to Accor Stadium, there are plenty of Taylor-themed events happening all across the Harbour City. There's Taylor Swift bottomless brunch at both Harry's by Giuls and Above 319, Eras-themed doughnuts at Miss Sina, and limited-edition cocktails at Moxy Sydney and Alibi Bar and Dining. Crown Sydney is hosting a Swiftie High Tea at Teahouse until Sunday, February 25. The extravagant afternoon activity features a lineup of sweet treats representing some of Swift's most beloved albums — like the 1989, a lavender ganache with yuzu and almond streusel — as well as some savoury mouthfuls like whisky teriyaki wagyu and Sichuan miso-baked toothfish. If you want to flex your knowledge, Taylor Swift Trivia is popping up across Western Sydney, including Guildford on Sunday, February 25 and Penrith on Wednesday, February 28. The Argyle is getting in on the action with a Taylor Rave on Thursday, February 22 and, if you think you'll be full of energy after the show and you're looking to kick on with some more big TS sing-alongs, Oxford Art Factory is hosting a series of unofficial afterparties on the nights of the Friday, Saturday and Sunday shows. [caption id="attachment_940473" align="alignnone" width="1920"] Paolo Villanueva via Wikimedia Commons.[/caption] Melbourne: While most of the Taylor Swift-themed parties and events in Melbourne took place just before or during her time in the city, there is one way to still join in the fun in the week following: Candlelight: A Tribute to Taylor Swift. The hour-long concert features Swift's music played by a string quartet. It's running at Collingwood Town Hall on Saturday, February 24 at 6.30pm and 8.30pm. The moody candlelit performance is a brilliant chaser for any Swiftie who went to the shows, or even those who couldn't nab the hotly fought-over tickets. Brisbane: Every Brisbane Swiftie, and most Brisbanites in general, is well aware that T-Swift isn't bringing Eras to the Queensland capital. To commiserate, you can calm down in a number of ways — including at Fritzenberger South Bank's Swift-themed trivia night on Wednesday, February 21, then at a tribute party on Saturday, February 24 at Fortitude Valley's The Sound Garden, where a DJ will be spinning all the requisite tunes. Also on Saturday, February 24, head to Clontarf's The Craft Haven to make and paint Taylor Swift-inspired pottery. Then, on Sunday, February 25, Fluffy is taking its cues from the singer back in Fortitude Valley. And, come March and April, Candlelight: A Tribute to Taylor Swift will help you embrace your Swift love story at Grand on Ann, too. [caption id="attachment_922251" align="alignnone" width="1920"] Trafalgar Releasing[/caption] How to Enjoy Eras Whenever You Want Back in October 2023, singing and dancing along to the Eras tour without actually attending the Eras tour became possible. That's when Swift released concert film Taylor Swift: The 'Eras' Tour, which took in over $260 million at the worldwide box office when it hit the big screen. It also got everyone excited when it arrived on digital. Its next stop, if you're ready for it: Disney+ from Friday, March 15, complete with five extra tunes — 'cardigan' and four acoustic tracks — that haven't featured in other versions of the movie. You don't need to be a Swiftie to enjoy the film. In fact, watching it might turn you into one no matter how you feel about the pop superstar going in. There's no denying that the singer knows how to put on a helluva show — and the cinematography on display, plus the energetic direction by Sam Wrench (Billie Eilish Live at the O2), gives viewers an intimate experience across 169 minutes while also stressing how massive the Eras tour gigs are. The feature was shot over three concerts at Los Angeles' SoFi Stadium in August 2023 — so, not at Swift's largest-ever gigs of her entire career at the MCG across Friday, February 16–Sunday, February 18, 2024 — and everything about it is dazzling. That includes the costume changes, choreography and setlist, and the fact that the tour and the film both exist as an ode to Swift's knack for reinvention. Check out the trailer for Taylor Swift: The 'Eras' Tour Concert Film below: Taylor Swift's Eras Tour plays Australia until Monday, February 26. Head to the tour website for further details. Taylor Swift: The 'Eras' Tour will stream via Disney+ from Friday, March 15, 2024. Read our review. Taylor Swift Australian Eras tour images: TAS Rights Management.
Unless you've spent the past few years north of the wall, you'll know that House of the Dragon is coming — the long-in-the-works prequel series to Game of Thrones, that is. HBO wasn't going to completely say goodbye to its huge fantasy hit when the original show wrapped up, of course, and plenty of other spinoffs are under consideration (including a Jon Snow-focused sequel); however, the first of the bunch starts airing on Monday, August 22 in Australia. House of the Dragon is set 200 years before the events of GoT, and focuses on House Targaryen. Yes, that means that dragons are obviously part of the series, and so is a Succession-style battle over who should sit on the Iron Throne. Always thought that you should park your butt on the hefty chair yourself? Thanks to Binge, which'll stream House of the Dragon when it starts, that's about to become a reality. No, you won't be making a trip to the show's sets — rather, the Iron Throne is coming Down Under. And yes, you really will be able to sit on it when it makes its way to your city. [caption id="attachment_864676" align="alignnone" width="1920"] Ollie Upton[/caption] House of Dragon's version of the Iron Throne looks a bit different to the OG — newer, you'd expect, given it exists two centuries before the seat seen in GoT — and is covered in 1000 swords. This full-scale replica isn't small, either, measuring 3.7 metres wide, 2.8 metres high and 3.3 metres deep, and weighing 226 kilograms. Sydneysiders will get to live out their House Targaryen dreams first, with the throne first appearing at Sydney Town Hall, from 9am–5pm on Friday, August 19. It'll also head to the University of Sydney, in front of The Great Hall, from 9am–4pm on Wednesday, August 31–Thursday, September 1. Melbourne dates have been locked in as well, at Westfield Southland, on level one near Brioche by Philip, from 9am–5pm on Saturday, September 10 and 10am–5pm on Sunday, September 11. [caption id="attachment_864683" align="alignnone" width="1920"] Ollie Upton[/caption] If you're a Game of Thrones fan elsewhere around Australia, start hoping like Arya crossing off her list that the Iron Throne will come your way — we'll update you when further dates are announced. And if you've forgotten the throne's backstory, it was forged from the blades of Aegon Targaryen's defeated foes, which were melted together by a dragon — of course — after he conquered Westeros. Check out the full House of the Dragon trailer below: IRON THRONE AUSTRALIAN TOUR DATES: Friday, August 19 — Sydney Town Hall from 9am–5pm. Wednesday, August 31–Thursday, September 1 — University of Sydney, in front of The Great Hall, from 9am–4pm. Saturday, September 10–Sunday, September 11 — Westfield Southland from 9am–5pm on Saturday and 10am–5pm on Sunday. House of the Dragon's Iron Throne will tour Australia from mid-August. House of the Dragon will start airing on Monday, August 22 Down Under via Foxtel and Binge.
With a distinctly Chinese club culture only emerging in relatively recent times, acclaimed Chinese photographer Chen Wei's first Australian solo exhibition captures the enigmatic scene. The end of the country's Cultural Revolution saw many western influences and pastimes begin to flow into China, with the 1980s and '90s seeing the rise of nightclubs and electronic music. This brought young artists and intellectuals together in a previously unknown expressive environment — one that, at the time, was considered to be rebellious and progressive. While nightclubs are commonplace in China nowadays, Chen Wei set out to document the unique subculture and comment on societal changes that are taking place across the country. As nightclubs have become widespread, through his photo series, Wei argues that nightclubs reflect a culture that has accepted western influence and is now unsure of what the future holds. Running until May 7, The Club is presented at Fitzroy's Centre for Contemporary Photography. Image: Chen Wei In The Waves #5 (2013).
Whether you're in desperate need of some extra brownie points, or you're letting someone know they're pretty ace, flowers are a sure-fire way of imparting some warm and fuzzy feelings. After all, there's nothing like a big, vibrant bunch of freshly-cut blooms to turn a frown upside down. We've rounded up some of Melbourne's finest floral artists — six studios creating swoon-worthy bouquets and show-stopping arrangements for all occasions. Next time you want to say it with flowers, check out this lineup of Melbourne floristry stars — from the sustainability-focused to the downright luxurious and every kind in-between. And most of them can deliver those blooms with just a few clicks of your mouse.
1806 is Melbourne's old world gem where cocktail is king. Think 1920s prohibition theatricality to envisage a boozey sanctuary home to approximately 60 cocktails. Red velvet chairs accent the dark wooden decor and from anywhere you sit you'll see strapping bartenders, waistcoat included, shaking and stiring for your viewing pleasure. There's a mezzanine level, too, for those wanting an aerial view. With capable staff, table service and an unassuming entrance, 1806 is a small bar drenched in classic Melbournian charm. 1806, the year that the cocktail was first defined in print, is a fitting name for a bar where cocktails take centre stage. Fast forward to 2012, the year bar manager Nick Reed and bar owner Lisa Kelly released their new cocktail menu and book, and it's clear we've certainly come a long way. The extensive menu is categorised into theatrical themes, such as Kabuki, Broadway, comedy, and the like. We've the classics, Whisky Toddy, Georgia Julep, Old Fashioned and Negroni all on offer as well as contemporaries like Gin Fizz Tropical, Mai Tai and Cosmopolitan. As you peruse the menu, don't be surprised if you find yourself happily lost in the history of the cocktail itself, forgetting the all-important decision of what to order. While cocktails can take their time when the bar is at capacity every Friday and Saturday night, they are well worth the wait. Book ahead if you know you'll be heading their way. If after a tipple that will be delivered much quicker, opt for a beer or wine from the small but considered selection. Both selections are heavily Australian, and Hawkers, focused. 1806's food offerings are ideal for late-night cocktail-fuelled snacking or the essential pre-boozing lining of the stomach. IPA Korean fried chicken with honey mustard and pickled radish is a must order, while chilli garlic prawns, pulled pork sliders and caviar bumps will all satisfy your cravings. 1806 is a must visit for cocktail lovers. Images: Arianna Leggiero.
Melbourne's cocktail scene is about to heat up this winter as popular Spanish liqueur Licor 43 is partnering with five top South American and Spanish restaurants to introduce the Carajillo 43. This twist on the classic Carajillo (kah-rah-HEE-yoh) cocktail combines fresh espresso with the Spanish liqueur, known for its sweet, citrusy flavours, which come from a secret blend of 43 ingredients. For a limited time, from July 19, the first 43 amigos to order a meal can score a complimentary Carajillo 43 at each venue when they mention this promotion. Keep reading to find out where and how you can join the fiesta.
Fans of outdoor art, scenic walks and excuses to mosey around Sydney have spent the past few weeks rejoicing about the upcoming return of Bondi's Sculpture by the Sea. But it's not the only event set to give locals and tourists alike an excuse to soak in the Harbour City's waterside splendour, and soon — and see a heap of impressive creative pieces in the process. Slated to run between Thursday, August 11–Saturday, September 24, Waterfront Whale Tales is a new addition to the New South Wales capital's arts calendar. Yes, that name is a big clue. The free outdoor exhibition will feature 30 two-metre-tall whale tail sculptures, as created by 30 Australian artists, with each piece inspired by its location and the land. Creatives set to do the honours include 2022 Archibald prize winner Blak Douglas, illustrator and animator Chris Yee, and artist, author and illustrator Sha'an d'Anthes, aka Furry Little Peach. Curated by prolific curatorial group Art Pharmacy, the full range of sculptures will span a six-kilometre trail along Sydney's Western Harbour waterfront, reaching from Barangaroo to Sydney Fish Market. That means that it'll stretch past Crown Sydney, King Street Wharf, Darling Quarter, ICC Sydney, the Powerhouse Museum, the Australian National Maritime Museum and The Star. While visitors will be able to walk the full trail in a single stroll, there'll also be mini trails for shorter walks. And, there'll be an app that'll provide details of each, plus stories about the waterfront's past, present and future. Also available via your phone: freebies, discounts and prizes from local businesses along the trail, as well as a major prize for checking out all 30 tails. As well as aiming to get folks checking out the waterfront — attempting to attract up to 500,000 visitors, in fact — the trail has enlisted Indigenous Curatorial Advisors Uncle Graham Toomey and Aunty Joanne Selfe to help connect the artists to the Whale Story, as well as to the Gadigal and Saltwater Country that the exhibition will grace. "Traditionally, the whale holds within it intricate Aboriginal knowledge systems, a complex tapestry of science, of knowledge that interweaves with cultural and social practice," said Aunty Joanne. "The sculptures will feature the ancient tracks that connect the clans to each other and the sharing of stories and culture," said Uncle Graham. [caption id="attachment_804445" align="alignnone" width="1920"] James Horan; Destination NSW[/caption] After the event's six-week run, the sculptures will be auctioned, with net proceeds given to The Kids Cancer Project. If you're keen on one while you're taking the walk, you can also put in an expression of interest during the trail's dates. Sydney's Waterfront Whale Tales will run between Thursday, August 11–Saturday, September 24 along the city's Western Harbour waterfront from Barangaroo to Sydney Fish Market. For more information, head to the exhibition's website.
Warwick Thornton, Cate Blanchett, Deborah Mailman, Nick Cave and Warren Ellis: name a better Australian quintet. The director of Samson & Delilah and Sweet Country, the two-time Oscar-winner and recent Tár tour de force, the local screen mainstay, and the Bad Seeds bandmates and seasoned film composers all combine not for the ultimate Aussie dinner party, but for The New Boy. None are debuting in their jobs. All are exceptional. They're each made better, however, by the luminous and entrancing Aswan Reid. As well as playing the titular part, the 11-year-old first-time actor lives it among such a wealth of acclaimed and experienced talent — and he's such a find in such excellent company, while saying little in words but everything in every other way, that Thornton's third fictional feature owes him as much of a debt as its applauded and awarded household names. There's a spark to Reid from the moment that he's first spied grappling with outback law enforcement under blazing rays as Cave and Ellis' (This Much I Know to Be True) latest rousing score plays. His sun-bleached hair couldn't be more fitting, or symbolic, but it's the confident way in which he holds himself as New Boy, plus the determined look on his face, that sears. Wily and wiry, the feature's eponymous figure is toppled by a boomerang, then bagged up and transported to the remote Catholic orphanage doted on by Sister Eileen (Blanchett, Nightmare Alley) in the 1940s. The cop doing the escorting notes that the kid is a bolter, but the nun is just as fast in her kindness. She sees what Thornton wants his audience to see: a boy that beams with his presence and through his sense of self, even though he's been snatched up, taken from his Country and forced into a Christian institution against his will. Sister Eileen is as drawn to him as the movie, but — and not just due to the red wine she likes sipping and the subterfuge she's keeping up about the resident father's absence — she isn't as certain about what to do. The path that any new arrival at the monastery is supposed to follow is preordained: uniforms, a dorm bed, porridge, helping in the fields, obedience and church. New Boy barely subscribes, donning only shorts, sleeping on the floor and cutting in front in the food line, which Sister Eileen permits. The abbey's two other adults, the nurturing Sister Mum (Mailman, Total Control) and farmhand George (Wayne Blair, Seriously Red), are welcoming yet know the reality that's facing all of the boys in their care, particularly the First Nations kids. In the priest's name, Sister Eileen might write letters to the government urging them not to send her charges away when they're considered old enough to work — the endgame to the state, especially with the Second World War impacting labour — but Sister Mum and George are lived proof that acquiescing and assimilating is the only outcome that will be accepted. There's a spark to the new boy, too, and literally. He's meant to pray away his Indigenous spirituality in the name of dutiful conformity, and in favour of Christianity, but the faith and culture that's as old as Australia's Traditional Owners glows. He's curious, though, including about the ornate, life-sized wooden cross that's sent from France for safekeeping during the war. He wants to undo its nails, free Jesus from crucifixion and give it the property's snakes as gifts. As Thornton peppers in religious imagery, New Boy displays more in common with its carved figurine than Sister Eileen knows how to handle. This is a tale of survival and, while always its namesake's story first and foremost, it also sees two sides to it: the First Nations lad ripped away from all he knows, as well as the nun that's gone renegade within a system that sees her as lesser because she's a woman. Writing and directing — as he did with Samson & Delilah, but not Sweet Country — Kaytetye man Thornton takes inspiration from his own experience as a child sent to a missionary boarding school ran by Spanish monks. In the process, he makes a moving and needfully blunt statement about the clash that's too often been enforced upon the country's First Peoples since colonisation. Indeed, simmering with anger but also hope, The New Boy is a clear, unshakeable rebuttal of the perennially ridiculous idea that only one faith, culture or way of life can exist. And, crucially, it feels as personal as Thornton's work gets; he isn't in front of the lens as he was with the also-remarkable The Beach, where he charted his own escape away from the incessant hustle and bustle of modern life, but the sensation that emanates from the screen is overwhelmingly the same. Thornton works as his own cinematographer on The New Boy, another trademark touch — see also: anthology film The Darkside, documentary We Don't Need a Map, plus the episodic Mystery Road and Firebite — which allows him to load every inch of every immaculate frame with deep and blistering emotion. There's no such thing as a passive image anywhere in any film by any director, but Thornton's beautifully shot movies ensure that his viewers can't evade the landscape that's been forever changed by white settlement. Here, he roves over the plains outside of South Australia's Burra, where every structure for the feature was erected from scratch, and where shimmering yellow fields of wheat grow atop the ochre earth that's been inhabited by Indigenous Australians for thousands of years. He sees how the terrain has been reshaped, but never forgets who was there first. With his oh-so-perceptive eye, Thornton's visuals stunningly do what New Boy does: expresses everything with little speaking necessary. In her first on-screen role in a solely Australian film since 2013's The Turning, Blanchett talks, of course. Where much of the picture around her bubbles with loaded patience, and Reid's innate naturalism, The New Boy's biggest star is the storm amid the deceiving calm. Consumed by her struggles with her own faith while tasked with instilling it into her charges, and also now challenged by the new boy that defies her sense of logic, Sister Eileen rarely stops moving, fretting, surveying, asserting, preaching and confessing — and Blanchett is magnetic to behold. That said, it's a performance with a needed counterbalance. Without Reid's serenity, Blanchett might've come on too strong. Without Reid, too, the fact that the eponymous character's quest to endure is tinged with hard-won optimism amid its palpable fury mightn't have shone through. No matter what happens, or how rarely he's accepted for who he is, New Boy always persists.
Over the past decade, streaming has become a firm part of every film and TV fan's life — providing more viewing choices, more places to find movies and television shows, and more excuses to spend hours and hours on the couch. But, it has also sparked a familiar dilemma. Too often, thanks to all of the options available, it's easy to while more time deciding what to check out next than actually watching something. Netflix is planning to release a solution to this problem in 2021, via a new feature. Due to rollout globally across the platform in the first half of the year, it's basically a shuffle function — and will automatically pick something for you to watch, rather than letting you keep scrolling and scrolling (and scrolling) trying to make a decision. The streaming platform revealed the news as part of its latest update to investors about its 2020 earnings, noting that the feature "gives members the ability to choose to instantly watch a title chosen just for them". Chief Operating Officer and Chief Product Officer Greg Peters said that the function would allow Netflix subscribers to indicate "that they just want to skip browsing entirely, click one button and we'll pick a title for them just to instantly play". Obviously, it seems that Netflix will be drawing upon its algorithm — as aided by your past viewing choices — to take your viewing choices out of your hands. It won't be called "I'm feeling lucky", Peters also noted, but that's the approach it'll be asking subscribers to go with in terms of finding something to watch next. The company has been testing this type of functionality in various forms over the past few years — and the concept is hardly new, as users of music streaming services know. In France at the end of 2020, Netflix also trialled a linear channel, which just played films and shows one after the other in the way that broadcast television does; however, Peters said that it is currently "unclear how that's going to work out". The idea behind these new features — whether they're just being trialled, or they're due to become permanent — is to keep people watching and encourage more folks to join up as subscribers, of course. More and more new streaming services pop up all the time, all vying for your eyeballs, or so it feels at least. That's also the reason that Netflix introduced its Top Ten lists in 2020, if you've been wondering why the platform started telling you that everyone was watching Tiger King, The Queen's Gambit and The Midnight Sky. Netflix's new shuffle feature is due to launch sometime in the first half of 2021 — we'll update you when more details are announced.
Capers can be one of many different things depending on when you visit. On weeknights, it's a wine bar and restaurant suitable for parents. On Friday and Saturday nights, it morphs into the place to be for Gen Zs, which makes sense when you consider that cousins and co-owners Christian Evripidou and Anastasios Konnari opened it as a youthful alternative to old-school Greek tavernas. The interiors have the cosy, lived-in feel of a house, while the sun-dappled courtyard is a dreamy in summery months. The homestyle food menu is divided into 'meze' (small plates that comprise things like marinated olives, grilled halloumi and Cypriot sausages) and 'piata' (larger plates that include the likes of spanakorizo, pastitsio and the famed dakos salad). In a nod to its inner north patrons, there's a vegan moussaka with dairy-free bechamel and mushrooms in place of mince. Wines from Greece and Cyprus occupy primacy alongside a few local varieties, while cocktails incorporate Greek liqueurs and ingredients like traditional spirit skinos mastiha, plomari ouzo and Anglias Cypriot brandy to spin magical numbers like the Greek Salad Martini, a combination you didn't know you needed but won't regret trying. There are also beers, speciality spirits and non-alcoholic options.
It was only in the '90s that the sage Cher Horowitz said "So, okay, I don't wanna be a traitor to my generation and all, but I don't get how guys dress today. I mean, c'mon, it looks like they just fell out of bed and put on some baggy pants and take their greasy hair (ew) and cover it up with a backwards cap and, like, we're expected to swoon? I don't think so!" Although these were years with many charms (grunge, Yoho Diablos, etc), we feel blessed to now be into the 2010s, where men are free and willing to shower, blow the occasional pay cheque on dapper duds and experiment with wacky sartorial choices, like colour. There are plenty of shopping destinations in Melbourne to encourage your haberdashery habit, but a few do it more stylishly than others. These are our picks of the best menswear boutiques fit for a new-age dandy, an old-fashioned brute and something in between. Incu If you live in Melbourne you're probably already a frenzied Incu evangelist, likely to froth at the mouth and start speaking in tongues at the very mention of twin brothers Brian and Vincent Wu, the men behind the myth, who as it stands are actually far too normal and nice to be cult leaders in the weird, non-fashion sense of the word. What might come as news to you is that late last year the Flinders Lane store was joined by a new outpost that took up residence right across the way from the QV women's store. Now the two siblings can stare out lovingly at one another all day as numbed office workers walking by shovel sushi into their mouths and drool at the window displays featuring the likes of A.P.C, Norse Projects, Saturdays Surf and Incu's in-house label, Weathered. Shop 6A, 247 Flinders Lane, Melbourne, 03 9663 9933; Shop ACL9, QV, Albert Coates Lane, Melbourne, 03 9662 3730; incuclothing.com Up There This one might not be number one, but it's, you guessed it, Up There! Calling a clothing store what you say when you see sky writing made sense for the original store, which was situated above ground on McKillop Street, but since the South Melbourne sibling, which opened late last year, lies firmly on street level amidst the steaming dim sim enjoying locals, it’s just downright silly. Forgive them that small oversight and the charming shop boys (who also double as fashion bloggers) will woo you with literal fancy pants (and other items of clothing) by Yuketen, Norse Projects, Bleu De Paname, Monitaly and more. Heck, they'll even repair your pants when you inevitably split them in a humiliating fashion. Level 1, 15 McKillop Street, Melbourne, 03 9670 6225; 224 Clarendon Street, South Melbourne, 03 9690 5226; uptherestore.com Customer Just like Incu's Wu brothers, Alexander and Tim Britten-Finschi are super-stylish siblings who live, socialise, design and run a menswear store together. Heck, they may as well have been born conjoined, although that may have hindered the sewing process somewhat. The duo's Flinders Lane store is filled with a hi-lo blend of wares by Pageant, Christopher Esber, Song for the Mute and the boys' own label From Britten, which recently received the coveted L'Oreal Melbourne Fashion Festival's National Designer Award. We presume that as children, their mum, fashion designer Linda Britten, dressed them in threads so fine they'd make Suri hang her head in shame — fashion's in their blood. Level 6, 289 Flinders Lane, Melbourne; customerstore.com.au Aussie Disposals Although it's not exclusively a menswear store, there is something that really gets the pheromones going about a chap decked out in a military jacket who looks like he could yield a Swiss army knife like Bear Grylls whilst pitching a tent with his spare hand. Approach this store with caution though, as the overzealous shopper is likely to emerge wearing a legionnaires hat, zip-off pants and a high-visibility vest that screams 'unhinged' rather than the desired 'doing camo with aplomb'. You have been warned. Multiple locations; aussiedisposals.com.au Handsom According to their website, Handsom "make nice clothes" — plain and simple. While that statement is true, it kind of sells the label's artfully speckled chambray shirts, slim-cut woollen slacks that cannot be described as anything less than dapper and delightful cardigans that look fit for Paddington Bear himself and make you want to snuggle into them and breathe in the wearer's presumably oaky scent short. They make flipping fantastic clothes (for the fairer sex, too) is more like it! 163 Gertrude Street, Fitzroy, 03 9078 7306; handsom.com.au Someday Store Stumble into Someday and you could be forgiven for thinking you've teleported to a leading flagship concept store in Tokyo or New York, until you wander to the nearby stairwell to be slapped in the face with the heady scent of fish and stale beer wafting upstairs from the Toff. No such luck, you're in Curtin House, princess. That doesn't seem so bad when you’re surrounded by a superbly curated selection of wares by the likes of Neighbourhood, White Mountaineering, Visvim and of course PAM, the fashion label by the store's co-owners and real-life partners in crime and covetable items, Misha Hollenbach (Perks) and Shauna Toohey (Mini). Not a pair to be limited in anything they do, alongside menswear the duo has filled Someday with girls' get-up, rare books, music and miscellaneous collector's items. Level 3, Curtin House, 252 Swanston Street, Melbourne, 03 9654 6458; somedaystore.com Images via incuclothing.com, uptherestore.com, From Britten, handsom.com.au, somedaystore.com
It's with vibrant detail that Coco bursts onto cinema screens. A tale of following your heart while honouring your family, Pixar's latest effort is both a colourful sight to behold and an exuberant journey; a film exploding with dazzling visual and emotional fireworks. Within frames heaving with intricacy, there's never a dull moment as the movie sashays from modern-day Mexico to the Land of the Dead during the country's Dîa de los Muertos celebrations. Often it's the little things that stand out, from the grain of the many flowers never far from view, to the weathered skeleton bones that literally dance through the streets, to the melancholy look on an old woman's face. That's the animation studio's forte, of course. It's the reason their talking toys filled us with joy, that their rodent chefs charmed us, and their feelings with feelings left us in tears. As Toy Story, Ratatouille and Inside Out all demonstrated, their films might paint with pixels rather than living people, but they vibrate with the texture of reality. Coco fits the mould perfectly, at once a lovingly realised venture into several new worlds and a familiar mosey through Pixar's usual terrain. What if the dead had feelings is just one of the questions it asks. What if we confronted our own feelings about death is another. Helmed by studio veteran Lee Unkrich (Toy Story 3) with writer and first-time co-director Adrian Molina at his side, Coco takes its name from the grandmother of 12-year-old Miguel (Anthony Gonzalez). While she sits quietly through the last phase of her life, still yearning for the father she lost when she was a girl, he dreams of being a musician, but is forbidden by his music-hating family. Their reasons for this stem from personal tragedy, but it's not enough to stop Miguel from strumming his guitar. His desperation to retrace the footsteps of his entertainer hero (Benjamin Bratt) eventually leads him beyond the mortal coil, on a quest to find his great-great-grandfather and win his musical blessing. If Alice in Wonderland had followed a Mexican boy chasing his dreams, or if Marty McFly had taken the DeLorean through the barrier between life and death, Coco might very well have been the end result. The spirit of these youthful adventures seeps through this film, in a manner that proves delightful rather than derivative. Indeed, this is a story about remembering your past even as you step into the future. As well as following Pixar's own tried and true template, the script weaves its influences into a moving escapade bearing the expected touches, but never failing to surprise. That remains true even if you've seen The Book of Life, the outwardly similar 2014 animated effort that also sees its characters frolicking through the Mexican afterlife. It mightn't be the first family-friendly feature to play in this territory, or the first to explore the conflict between ambition and responsibility. Nevertheless, Coco enchants with warmth and authenticity from start to finish. In fact, as bright as its images shine, as high as its heartfelt emotions soar, and as perfectly as its voice cast fill their roles — including Gael García Bernal stealing scenes as a dead prankster — it's the film's embrace of its setting and culture that truly makes it sing. This isn't Pixar playing tourist south of the border, but paying tribute: to people, songs, lives and beliefs. The gorgeous detail that infuses every frame is a testament to seeing what others often don't, and it couldn't encapsulate Coco's beauty better. https://www.youtube.com/watch?v=7DIm1PyBSwc
One tells of a woman seeking passion instead of a loveless marriage. The other follows star-crossed lovers held back by their respective families' long-simmering feud. Beloved on the page, and rarely far away from a screen or stage, they're two of the most famous stories of the past few centuries. And, both Anna Karenina and Romeo and Juliet are among the big highlights of the Australian Ballet's just-announced 2022 season. Anna Karenina will kick off the Australian Ballet's year with stints in Melbourne (from February 25–March 9) and Sydney (April 5–23). Here, in a co-production with the Joffrey Ballet that had its world premiere in Chicago in 2019 and then debuted locally in Adelaide this year, Leo Tolstoy's masterpiece comes alive with ex-Bolshoi Ballet dancer Yuri Possokhov's choreography. The story remains the same, with its eponymous figure seeking happiness but finding ruin — but you can expect quite the sweeping and sensuous production. Dancing with the Bard, the Australian Ballet's version of Romeo and Juliet will then close out its 2022, with Shakespeare's most famous duo also taking to the stage in Melbourne (October 7–18) and Sydney (December 1–21). Clearly, there's nothing like bookending a year with two stone-cold classics. John Cranko's production has been regular in the company's repertoire ever since it premiered back in 1974, in fact, and will again turn medieval Verona into a sumptuous onstage realm — all set to a score by Sergei Prokofiev that dates back to 1935. [caption id="attachment_830095" align="alignnone" width="1920"] Pierre Toussaint[/caption] Both Anna Karenina and Romeo and Juliet were originally meant to be highlights of the Australian Ballet's 2021 season, but we all know how this year has turned out. Also in the same camp: Harlequinade, a comedy by Marius Petipa, who choreographed Swan Lake and The Sleeping Beauty. It'll bring its story of young lovers Harlequin and Columbine to Melbourne only (from June 17–25). As well as this rescheduled trio, plenty of other highlights will pirouettes across the stage, including Kunstkamer, which was created at Nederlands Dans Theater and has never before been performed by another company; and triple bill Instruments of Dance, which includes a nine-part ballet designed for 25 dancers and set to a score by Sufjan Stevens. And, there's also Counterpointe, which'll take its focus on ballet's extremes to Adelaide only — plus a regional program that'll tour Tasmania, Victoria, New South Wales and the Northern Territory. [caption id="attachment_830092" align="alignnone" width="1920"] Pierre Toussaint[/caption] THE AUSTRALIAN BALLET 2022 SEASON: Anna Karenina: February 25–March 29 at Arts Centre Melbourne; April 5–23 at the Sydney Opera House. Kunstkamer: April 29–May 15 at the Sydney Opera House; June 3–11 at Arts Centre Melbourne. Harlequinade: June 17–25 at Arts Centre Melbourne. Counterpointe: July 7–13 at Adelaide Festival Centre. Instruments of Dance: September 23–October 1 at Arts Centre Melbourne; November 10–26 at the Sydney Opera House. Romeo and Juliet: October 7–18 at Arts Centre Melbourne; December 1–21 at the Sydney Opera House. Season packages for the Australian Ballet's 2022 Sydney and Melbourne performances go on sale from 12.01am on Wednesday, October 27. For further details, head to the Australian Ballet website. Top image: Simon Eeles.
If your sandwich obsession is rivalled only by your love of a top-notch cuppa, you'll find plenty to like about one recent culinary addition to Melbourne Arts Precinct. Having made its home on Kavanagh Street at the end of last year, OlMate's is a new sanga and coffee joint that's already earned itself a loyal following of brekkie and lunch fans. This one's the brainchild of Reverence Coffee Roasters' Andreas and Annie Martinu, along with Martin Mcevoy and Nicholas Tan. And with Palermo Head Chef Michael Dalton helping steer the menu, it's got some chops. Decked out in fresh green and white, OlMate's is celebrating the beauty in simplicity with a short-but-sweet food offering matched to quality Reverence coffee. Sandwich fiends can expect well-crafted, refreshed classics like the Big Tuna — a riff on the tuna melt featuring nori aioli and provolone on Tuscan-style flatbread — plus the plant-based roast cauliflower roll with green chilli sauce, and a hot egg salad brekkie muffin. The roast beef sanga heroes spice-crusted meat, mint and coriander chutney, and comes paired with a rogan josh dipping sauce. And a hefty salad sandwich teams beetroot, sprouts and other goodies with either lemon roast chicken or vegan-friendly crushed chickpeas. Sips by Reverence showcase the roaster's Lion Tamer blend alongside a rotating single-origin batch brew, with a fun illustration of co-owner Andreas gracing the statement green takeaway coffee cups. Otherwise, you can match your feed with an icy beer from the likes of Bodriggy, Hop Nation or Balter. Find OlMate's at 20 Kavanagh Street, Southbank — open from 7am–2.30pm weekdays and from 8am–2.30pm Saturdays.
With international borders regulated — and looking to stay that way for a while — a trip to Europe is a pipe dream at this point, but you don't actually need to leave Australia to feel like you've left the country. Right here in our own backyard, we have white sand beaches rivalling those on the Mediterranean, wineries that wouldn't be out of place in the rolling hills of Tuscany, quaint fishing towns similar to port villages you'd find in Ireland (and Normal People) and hotels in underground caves like those in Turkey. Go ahead and start dreaming, these trips may not be as far off as you think. [caption id="attachment_720252" align="alignnone" width="1920"] Vasse Felix by Tourism WA[/caption] FOR TUSCAN WINERIES, VISIT MARGARET RIVER IN WESTERN AUSTRALIA While Australia is home to heaps of wine regions, one of the most idyllic is Margaret River. Located a three hours' drive from Perth, it's one of the most isolated wine regions in the world. And, its maritime-influenced climate and rich soils make it perfect for grape growing, as well as feel like the old-world vineyards of Italy and southern France. Margaret River's principal grape many varieties you'd find in French terroirs, include cabernet sauvignon, shiraz, chardonnay, semillon and sauvignon blanc; while a number of wineries also use Italian grapes such as vermentino, sangiovese and fiano. The region is home to over 90 cellar doors and has wineries ranging from the well-established Vasse Felix to the rule-breaking Blind Corner. To add to the European atmosphere of your trip, rent a villa set among those rolling vineyards. [caption id="attachment_782264" align="alignnone" width="1920"] Adam Bruzzone via SATC[/caption] FOR TURKEY'S CAVE HOTELS, VISIT COOBER PEDY IN SOUTH AUSTRALIA The desert surrounds of Coober Pedy are best known for two things: opals and villages located underground. After the discovery of opals, many miners descended on the outback town and dug their homes into the landscape to escape the heat. It's unlike anything else you've ever seen — unless, of course, you've been to the Turkish region of Cappadocia. Also known for its cave dwellings and impressive rock formations, Cappadocia bears an uncanny resemblance to this South Australian counterpart. Which makes a lot of sense — approximately 60 percent of Coober Pedy's tiny 2500 population has southern and eastern European heritage. To this day, about half of the opal capital's population live in homes that are excavated into hillsides. When you visit, you can stay in one, too, thanks to plenty of underground cave accommodation, including this Airbnb stay. [caption id="attachment_782390" align="alignnone" width="1920"] Robert Blackburn via Visit Victoria[/caption] FOR QUAINT IRISH VILLAGES, VISIT PORT FAIRY IN VICTORIA Live out your Normal People fantasies at the charming fishing village of Port Fairy. Think old stone churches, cottages built in the 1800s and greenery abound. Set along the Great Ocean Road, this coastal town reminds you of Ireland for a reason. The town's original name was actually Belfast, named after the hometown of one of the early European settlers. Many Irish immigrants settled here in the mid 19th century and their influence is still evident today thanks to over 50 heritage buildings that are protected by the National Trust. And, much like the Republic of Ireland's coastal town Sligo, the filming location of Normal People, you'll find rolling green hills, quiet beaches and buildings rich in history. [caption id="attachment_784301" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] FOR GREEK ISLAND BEACHES, VISIT GRANITE BAY IN QUEENSLAND Warm turquoise waters, secluded swimming holes and long stretches of sand await you at Granite Bay, located within Noosa National Park. You could easily use that exact same description to depict the stunning coastal beaches of Greece, but since you can't make it to the likes of Zakynthos or Milos right now, opt instead for Noosa's fairy pools. These natural tide pools lie between basalt rock and are as dazzling as any you'll find on the Greek Islands. There are also sandstone caves, walking tracks and lookout points to enjoy here. Granite Bay has one perk over Greece, too: its renowned surf. [caption id="attachment_784203" align="alignnone" width="1920"] Tilba Festival[/caption] FOR OLD-WORLD UK TOWNS, VISIT CENTRAL TILBA IN NEW SOUTH WALES The National Trust-classified village of Central Tilba is nestled in the foothills of Mount Gulaga and will transport you back in time — or to the many old-world villages that dot the rural areas of the United Kingdom. The lush backdrop is matched by the town's heritage-listed cottages, artisan shops and quaint growers markets. The region's architecture and bucolic landscapes will make you think you're road tripping around Scotland, not New South Wales. And it also has the added benefit of striking coastal views. FOR BAVARIAN BIER HALLS, VISIT HAHNDORF IN SOUTH AUSTRALIA Few Aussie locations hit the European vibes as on the nose as the South Australian town of Hahndorf. It's Australia's oldest German settlement, made rather obvious by the Bavarian name. Settled in the 1800s by Lutheran migrants, the small town's German-style architecture is matched by its many German pubs, restaurants and shops. If you want to learn more about the town's history and culture on your visit, head to the Hahndorf Academy, which houses the German Migration Museum. Or travel a bit north of town where you can find the artist studio of German-born painter Sir Hans Heysen. The entire region feels like something out of a folktale. [caption id="attachment_797856" align="alignnone" width="1920"] Vijay Chennupati via Flickr[/caption] FOR PROVINCIAL BLOOMS, VISIT BRIDESTOWE LAVENDER FARM, TASMANIA You don't need to travel to Provence, France to explore the famed lavender fields found there. Tasmania is home to its very own bucolic lavender offering, and it was founded with proper French blossoms at that. That's thanks to London perfumer CK Denny, who migrated to Tasmania in 1921 with a packet of French Alps lavandula angustifolia seeds in his pocket. Bridestowe Estate is set on 260-acres of Nabowla farmland, about 45-minutes' drive northeast of Launceston. The region's climate is rather similar to Provence, and now produces some of the finest lavender the world has to offer. If the expansive, bright purple views aren't enough to draw you here, the soothing bath products will. FOR THE AZURE WATERS OF MALTA, VISIT FOR COCOS KEELING ISLANDS OFF THE COAST OF WESTERN AUSTRALIA Why go to the blissful Mediterranean archipelago of Malta when you can find true paradise right here in Australia? The Indian Ocean boasts its own group of islands that you'll never want to leave. Instead of overlooking the North African Coast, embrace the azure waters of the Cocos Keeling Islands, an Australian territory roughly a six hours flight from Perth. Both locations offer some of the best diving in the world, with abundant marine life unique to the area. Not to mention plenty of other water sports to choose from and, in Cocos Keeling's case, 25 uninhabited islands to explore. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Top image: Vijay Chennupati via Flickr
Melbourne's summer might not last forever, but you can bank on some year-round tropical feels at The Luwow's new CBD tiki bar. After five years shaking colourful cocktails and playing retro tunes on Fitzroy's Johnston Street, followed by a bit of a hiatus, the much-loved venue moved into new digs in the city late last year. It's now bringing the party vibes to Little Collins Street, in a space that's a little more intimate, but every bit as lively as the original. Here, owners Skipper Josh Collins and Barbara Blaze — also behind Perth's Hula Bula Bar and Devilles Pad, and new Sunshine Coast resort The Luwow Lodge — have created yet another high-voltage, kitschy hideaway. It's filled with hand-carved totem poles, jungle plants, leopard print and bamboo, as well as treasures picked up from across the South Pacific. Vintage sounds plucked from the duo's own collection of vinyl deliver a toe-tapping mix of rock 'n' roll, ska, surf, exotica and 60s garage, while DJs work the decks each weekend. [caption id="attachment_762096" align="alignnone" width="1920"] Tracey Ah-kee[/caption] Following in the footsteps of its predecessor, The Luwow 2.0 is whipping up a bold cocktail menu of rum-heavy drinks, many crafted with natural sweeteners like organic coconut blossom nectar. You'll find concoctions like a gutsy mai tai, the flaming share-sized Voodoo Volcano and the Don Zombie — a blend of rum, pink grapefruit, star anise, pomegranate and cinnamon. Fancy some holiday-style drink prices? The daily happy hour (4–6pm) offers a slew of $10 tiki cocktails, along with pints of Red Stripe lager for an easy $7 a pop. Like the space itself, the food offering here comes chock full of pan-Pacific flavour. Try corn tortillas topped with the likes of slow-roasted pork shoulder and salsa verde, an Oaxacan cheese quesadilla or the mulitas — a crispy corn taco sandwich loaded with cheese, guacamole and your choice of fillings. [caption id="attachment_762095" align="alignnone" width="1920"] Tracey Ah-kee[/caption] Of course, the tiki bar concept isn't without controversy. With cultural appropriation, colonial nostalgia and exploitative use of First Nations peoples' iconography and tradition at its core, the concept is often seen as exploitative, offensive and problematic. In many Pacific Islander communities, a tiki is a deity. In tiki-themed bars, it's a kitschy drinking vessel. Others insist, however, that tiki bars aren't meant to be taken too seriously — that we should instead focus on its fun side and drink that mai tai. Perhaps 2020 will be a turning point for how we view tiki bars, collectively. Find The Luwow at 212 Little Collins Street, Melbourne. It's open 4pm—midnight Monday—Thursday and 4.30pm–1am Friday–Saturday. Images: Tracey Ah-kee
It has finally happened, Melburnians. After two prolonged periods spent empty this year, with projectors silent, theatres bare and the smell of popcorn fading, Melbourne picture palaces are back in business. 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 over the past three months, including new releases, comedies, music documentaries, 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 from this week. https://www.youtube.com/watch?v=j_jjELPpKkk HAPPIEST SEASON Heading home for the holidays and stepping into a sea of interpersonal dramas is a familiar on-screen set-up, as a new movie every Christmas or so reminds us. By now, then, we all know the formula. Adult children make the pilgrimage to their parents' place, rivalries and animosities flare up, secrets are spilled, chaos ensues and, by the end of the film's running time, everyone has learned something. Happiest Season fits the template perfectly. With the merriest time of the year in full swing, the Caldwells converge on the Pennsylvanian family home, with their celebrations given an extra edge due to patriarch Ted's (Victor Garber, Dark Waters) mayoral campaign. His fastidious wife Tipper (Mary Steenburgen, The Book Club) insists on snapping every moment for his Instagram feed, all as stern eldest daughter Sloane (Alison Brie, GLOW) arrives with her husband (Burl Moseley, Crazy Ex-Girlfriend), two children (Asiyih and Anis N'Dobe) and plenty of unspoken tension in tow; zany middle sister and aspiring fantasy writer Jane (Mary Holland, Between Two Ferns: The Movie) is largely ignored; and Pittsburgh-based political journalist Harper (Mackenzie Davis, Irresistible) returns with the girlfriend, Abby (Kristen Stewart, Charlie's Angels), that none of her relatives know about because she hasn't come out to them yet. If someone other than The Faculty, Girl, Interrupted, Veep and The Handmaid's Tale actor-turned-filmmaker Clea DuVall had made Happiest Season, the above paragraph would accurately reflect the feature's character hierarchy — because Sloane would take centre stage, and Harper and Abby would hover around the narrative's edges. But DuVall did make Happiest Season and, with co-writer Holland, she flips the movie's focus, even while still sticking with a well-worn general premise. Accordingly, this festive flick resembles a comfy sweater that often gets a wear, but seems welcomely different on this particular occasion. It shouldn't be so subversive to take an overused genre that's heavy on recognisable tropes, then strip away the engrained heteronormativity, but it is. Amid the sibling struggles, the re-emergence of old flames both male (Jake McDorman, What We Do in the Shadows) and female (Aubrey Plaza, Parks and Recreation), and the always hectic whirlwind that surrounds every seasonal family affair — and every attempt to run for political office, too — Happiest Season also explores two crucial themes in a meaningful way. First, it unpacks the performative nature of human existence, where too often we're all trying to match other people's perceptions and expectations without consistently remaining true to ourselves. And, it also interrogates how coming out isn't a simple or straightforward act, even in seemingly loving circumstances. Read our full review. https://www.youtube.com/watch?v=97nnV0fNd30&feature=youtu.be AMERICAN UTOPIA There may be no catchier lyric in music history than "same as it ever was", the five words repeated in Talking Heads' 1981 single 'Once in a Lifetime'. As uttered again and again by the band's inimitable frontman David Byrne, it's a looping phrase that burrows into your skull and never leaves. So when American Utopia opens with the musician sat at a table holding a brain and talking about what its various parts do, it feels as if Byrne is acknowledging what everyone already knows in the deepest recesses of their consciousness: that Byrne long ago got cosy in our craniums and has been nattering away to us ever since. As he stares at grey matter while wearing a grey suit — a perfectly fitting one, unlike the famed big number he wore in iconic 1984 Talking Heads concert film Stop Making Sense — he has something else on his mind, however. American Utopia starts with the part of our bodies where we all mentally reside, but slowly and smartly evolves from the cerebral to the communal. It segues from one man alone on a stage lost in his own thoughts to 12 people singing, dancing, playing instruments and connecting, and also pondering the state of the world and how to better it in the process. And it takes its titular concept seriously along the way, confronting America's political and social divisions in Byrne's witty, wise and impassioned between-song chats, but never satirising the idea that the US could be improved to the benefit of everyone. American Utopia is a concert film like its predecessor but, as that masterpiece proved, the whole notion means more to Byrne than merely standing in front of a camera and busting out well-known hits.From the sublimely soothing 'This Must Be the Place (Naive Melody)' to the punchier 'Burning Down the House', plenty of Byrne's best-known songs do grace American Utopia. 'Once in a Lifetime' is among them, of course, as are 'Road to Nowhere' and 'Everybody's Coming to My House', with the film's playlist spanning his career with Talking Heads and solo. Across a range of styles and tempos, each track is a wonder, and not just in the way that fans already know. As should be obvious from the way in which Byrne has conceptualised this stage performance — which he toured in 2018, then adapted for Broadway in 2019, and has now turned into this standout movie directed by Spike Lee — this is a meticulously crafted work. Basking in the glory of Byrne and his band is inevitable and would happen regardless, but soaking in everything that American Utopia does is another marvel entirely. Before the film forces you to do so, you probably won't have realised how enlivening, wondrous and cathartic it is to see the act of connecting so firmly thrust to the fore. It takes an incredible amount of work to make something so tightly constructed seem so loose and natural, and that's just one of the reasons that American Utopia is yet another of the star's masterpieces. Read our full review. https://www.youtube.com/watch?v=kFqCTIdF7rs&feature=youtu.be POSSESSOR In Possessor, technology permits assassins to hijack the bodies of people close to their targets, letting them assume not just their identities but their physical presence to fulfil their murderous missions. Tasya Vos (Andrea Riseborough, The Grudge) is one such killer, and she is so exacting and accomplished at her job that her no-nonsense boss and handler Girder (Jennifer Jason Leigh, Annihilation) keeps trying to push her further. Such work comes with consequences, though, with Tasya slowly estranging herself from her husband (Rossif Sutherland, Catastrophe) and young son (Gage Graham-Arbuthnot, Becky). During the luridly shot undertaking that opens the movie and the assignment that the often neon-hued flick spends the bulk of its time on, Tasya also begins to realise that separating herself from the folks she's temporarily inhabiting is becoming difficult. In the first job, Tasya's consciousness takes over a woman called Holly (Gabrielle Graham, On the Basis of Sex) to gun down a high-flying lawyer at a swanky hotel party. Every mission should end with extraction via suicide — the possessed person's, as forced by the possessor, who then returns to their own bag of bones, flesh and blood — but Tasya can't pull the trigger on her host body. When she's later sent into Colin (Christopher Abbott, Vox Lux), the fiancé of the daughter (Tuppence Middleton, Mank) of a ruthless business mogul (Sean Bean, Snowpiercer), she similarly struggles to retain control. As depicted in gory detail, being able to stick a probe into your head and mind-hop into someone else's may be pure science fiction, but writer/director Brandon Cronenberg intentionally apes The Matrix when he shows how the tech behind his premise operates. Our present analogues to Possessor's body-jumping concept exist in the online world, virtual reality, avatars, catfishing, trolling and even just anonymous commenting while you're tapping at your keyboard or phone, and this film makes it ferociously clear that it all has a significant cost. Cronenberg isn't just taking cues from his father David — whose 1999 film eXistenZ, also starring Jason Leigh, toyed in somewhat similar territory — or from a beloved sci-fi franchise. As many works that reflect upon humanity's true nature via dystopian futures tend to, the writer/director adds an entry to both the body horror and science fiction canons that seems like it might've appeared in a feverish dream after a life spent consuming those exact types of tales. But Possessor also always feels like a unique creation, and never a film puppeteered by its influences in the same way that Tasya pulls the strings of her marks. Cronenberg's feature boasts far too much of its own chilliness, daring and determination, as well as the filmmaker's fondness for particularly gruesome imagery, to merely be the sum of its various sources of inspiration. Possessor also has its own wellspring of nihilism pumping through its veins, not only tackling big notions in a bold and ultra-violent way, but proving deeply, gut-wrenchingly, existentially dark. Read our full review. https://www.youtube.com/watch?v=cp3WjuJJYB8 MISBEHAVIOUR The fact that it took 50 years to bring Misbehaviour's true tale to the screen is nothing less than remarkable. Following the protests staged by the women's liberation movement at the 1970 Miss World Pageant in London, it harks back to a noteworthy and important chapter of history — so much so that you would've expected filmmakers to have been clamouring to give it the cinematic treatment. A plethora of compelling topics are baked into this story, after all, including calling out the gross sexism inherent in objectifying women and ascribing their worth according to their looks, questioning society's narrow view of beauty and making plain the racial prejudice that's also frequently in play. But you don't need a movie about all of the above to tell you the obvious, and also the reason that a film about this incident hasn't existed until now. Much may have changed in the past half-century, but the feminist quest for recognition, fairness and equality in every way isn't over yet. Indeed, it's galling how many of Misbehaviour's observations about the way women are treated — and how women of colour fare on top of that — continue to ring true in 2020. Director Philippa Lowthorpe (Swallows and Amazons) and screenwriters Rebecca Frayn (The Lady) and Gaby Chiappe (Their Finest) are eager to pay tribute to pioneering feminists, but they're also very keen to make a feel-good, cheer-inducing movie that fits a clear formula. So it is that a seemly mismatched group comes together, united by the shared goal of improving how women are regarded by society, and decides to target the giant, glitzy and televised spectacle that is the Miss World Pageant — which 100 million people will watch. The two main instigators, aspiring history academic Sally Alexander (Keira Knightley, Official Secrets) and graffiti-spraying anarchist Jo Robinson (Jessie Buckley, I'm Thinking of Ending Things), are initially worlds apart, but squaring off against a common enemy has a way of bringing people together. Also earning the film's attention: contestant Jennifer Hosten (Gugu Mbatha-Raw, Farming), pageant founder Eric Morley (Rhys Ifans, Berlin Station) and the year's host Bob Hope (Greg Kinnear, Strange But True). The result is a rousing, overt and easy movie that ticks all the boxes it has placed on its own checklist, but doesn't do anything more — and it definitely could. Getting caught up in Misbehaviour's plot, purpose and impressively staged climax is almost a foregone conclusion. Being happy that it's hitting screens and telling this tale at all after all of these years is as well. But so is knowing that this is the most standard and clearcut rendering of this story possible. Read our full review. https://www.youtube.com/watch?v=tibarzGOUSk LET HIM GO Hell hath no fury like a grieving mother and grandmother in Let Him Go, an involving drama that shows that few actors can convey quiet anger and unflinching determination quite like Diane Lane. The Unfaithful and Under the Tuscan Sun star plays Margaret Blackledge, a Montana rancher with a way with horses, and with strong, silent ex-sheriff George (Kevin Costner, Yellowstone) for a husband. Soon after the family's rural idyll is first established, she not only loses her adult son (Ryan Bruce) to a tragic accident but, just a couple of years later, is shocked to discover that her newly remarried daughter-in-law Lorna (Kayli Carter, Bad Education) has left the local town in a hurry one night with Margaret's three-year-old grandson Jimmy (Bram and Otto Hornung). Determined not to see more of her family members ripped away, she convinces George that they should set off on their trail. Complicating their plans is he fact that Lorna has wed into the Weboys, who hold significant — and criminal — influence over their patch of America's north. As the Blackledges learn after finally tracking down their new relatives-via-nuptials, brash Weboy matriarch Blanche (Lesley Manville, Misbehaviour) isn't keen to relinquish her claim on the only link Margaret has left to her dearly departed child. Adapted by writer/director Thomas Bezucha (screenwriter of 2018's The Guernsey Literary and Potato Peel Pie Society) from the novel of the same name, Let Him Go follows a straightforward narrative with a smattering of hits and misses — but its two main female roles are so superbly cast, and the film's handling of tension so finely tuned, that it proves gripping for the bulk of its running time. The last time that Bezucha dabbled with complicated family antics, in 2005's The Family Stone, he was in far lighter territory; however, he's more than adept at handling the fierce confrontations, simmering and overt suspense, and pulpy revenge-fuelled setpieces that are pivotal here. And, he does so in a fittingly pared back but forceful manner; Let Him Go takes its time and doles out only the necessary details, butt does so with maximum emotional impact in mind. While Costner is also solid as a man trying to deal with his own heartache and disappointment in his own way, and Booboo Stewart (The Twilight Saga) leaves a lasting impression as a Native American teen the Blackledges cross paths with on their journey, Let Him Go is at its best when it cedes the screen to the potent Lane and the gloriously overt Manville. https://www.youtube.com/watch?v=EU-Z90SEqGQ&t=20s CORPUS CHRISTI No one wants to live in a world where Parasite, the best movie of 2019, doesn't exist. But if it didn't for some reason, it's highly likely that Corpus Christi would've been this year's Best International Feature Film Oscar winner, rather than just a nominee. This Polish drama also focuses on people pretending to be something they're not. As directed by Warsaw 44 and The Hater's Jan Komasa, and written by the latter's screenwriter Mateusz Pacewicz, it casts a wry eye over much about life in its homeland today, too. And it isn't afraid to call out hypocrisy, societal divisions and greed, either — literally, in the latter case, with its protagonist making a speech about it at the local sawmill. There are few other similarities between Corpus Christi and the movie it lost to, but perhaps the only one that really matters is how blisteringly and rousingly it unfurls its on-screen gifts. Well that, and how striking every second of the film looks, pairing its grey, hazy aesthetics with its complicated account of an ex-juvenile delinquent who poses as a small-town priest. The imposter's name is Daniel and, as played with soulful intensity by Bartosz Bielenia, he's a complex figure. First seen serving out the final days of his reform school sentence, he has made a fan out of the facility's head priest Father Tomasz (Lukasz Simlat). In fact, if his criminal record didn't preclude it, he'd follow in the elder man's footsteps and join the seminary. Instead, he's released to work in a sawmill. Through a series of events that never feels convenient or strained, however, he's soon welcomed by the locals as their new spiritual advisor. Daniel genuinely has faith and believes in his task, so the jump from playing lookout as his fellow inmates dispense a brutal beating to endeavouring to help his congregation is easy. Loosely inspired by real-life details, Corpus Christi gifts its young protagonist an unexpected second chance — and an unlikely opportunity to follow his heart and make a difference to an insular community — but he's not the only figure within its frames with a troubled past to overcome. As a film about a masquerading cleric, tension and foreboding seethes through every second, but it's the bubbling and brooding movie's contemplation of what redemption and benevolence really means that hits the most potent notes. Read our full review. https://www.youtube.com/watch?v=THXebxAFCzY THE TRANSLATORS Like Agatha Christie and Knives Out before them, the makers of The Translators know that a good whodunnit serves up two major joys. That'd be the puzzle and the journey — because whichever intriguing narrative is being thrust their way, audiences want to sleuth along with the characters, piecing clues together in their heads; and, they want to enjoy each and every one of the story's many ins, outs, twists and turns as all the details unravel, too. In fact, this French film embraces those truths heartily. Writer/director Régis Roinsard (Populaire) and his co-scribes Romain Compingt and Daniel Presley even go a little heavy on convoluted minutiae and attempts to keep everyone guessing. Still, they mostly deliver an entertaining thriller — and, as always proves the case in this genre, if you enjoy the game and the ride enough once, it doesn't really matter if you won't be clamouring for a second helping The Translators' premise is killer — in a film that doesn't shy away from a body count, but is actually more concerned with stolen pages from the yet-to-be-released last book in the bestselling The Man Who Did Not Want to Die series. The latest novel has only been seen by its secretive author, arrogant French publisher Eric Angstrom (Lambert Wilson, The Odyssey) and the nine translators the latter has assembled to prepare the text in multiple languages for a simultaneous worldwide debut. The enlisted team of experts are working in a bunker under stringent conditions, however, so when Angstrom receives an email threatening to leak the new book unless a huge ransom is paid, he's both perplexed and angry. Also starring Olga Kurylenko (The Man Who Killed Don Quixote) as a Russian translator who purposely dresses to resemble the fated heroine in the novel the group is working on, as well as Alex Lawther (The End of the F***ing World) as a noticeably young Brit, The Translators isn't big on depth but still keeps viewers engaged. Hurtling forward like someone furiously thumbing through an airport novel, and offering a slick, swift-moving affair that ticks all the whodunnit basics (even as it gets a little too carried away with the exaggerated drip-fed clues, surprise reveals and reversals) will do that. Read our full review. https://www.youtube.com/watch?v=rTxobgjD3hE CITY OF LIES It has been almost a quarter-century since Tupac Shakur and Christopher Wallace (aka the Notorious BIG/Biggie Smalls) were gunned down in separate incidents within six months of each other — and, over that time, fewer films about either or both have reached screens than one might expect. Known not only for their music but for being the focal points of the supposed East Coast-West Coast hip hop feud, the pair's plights have inspired exactly zero worthwhile movies, though, and that includes the long-delayed City of Lies. Based on the non-fiction book LAbyrinth by Randall Sullivan, this conspiracy thriller views the deaths of two of the 90s' biggest stars through the efforts of LAPD detective Russell Poole. There is real-life grounds for that angle, and the on-screen Poole (Johnny Depp) is constantly noting and fighting against the racial prejudice that existed in the Los Angeles police department at a time just after the Rodney King assault, trial and riots, as well as the OJ Simpson case. But there's no escaping the fact that the film approaches some of the most momentous events in rap history through a white cop. In 1997, Poole is assigned to another shooting — of a black officer by a white officer — just days after Notorious BIG's death. Soon, however, his investigation of the former leads him to the latter, and to the conclusion that the LA police were involved in killing Biggie, all as his superiors demand he ignore the evidence. Decades later, long after he has resigned from being a cop, a journalist (Forest Whitaker) wanders into Poole's apartment for a 20-year piece on the rapper's murder — and the writer might've been accused of dredging up the past if Poole's walls weren't covered in case details and materials. Where director Brad Furman turned legal thriller The Lincoln Lawyer into a slick and entertaining affair, almost everything about City of Lies is misjudged, and it drags on rather than drawing viewers into its theories or even the cases it covers. Depp plays crusading but hard done by with little discernible effort, and the decision to film the movie's 90s scenes with the same type of hues and lighting usually reserved for 70s-set features smacks of the same. And while Whitaker is the best thing about City of Lies, his determined performance isn't enough to salvage the film. If you're wondering what else is currently screening around Melbourne, we've also picked the 12 best flicks that started gracing the city's silver screens when indoor cinemas were given the green light to reopen. When outdoor cinemas relaunched before that, we outlined the films showing under the stars, too. And, we've run through all the pictures that opened in the city on November 12 and November 19 as well. You can also read our full reviews of The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Les Misérables, Bill & Ted Face the Music, An American Pickle, On the Rocks, Antebellum, Kajillionaire, The Craft: Legacy, Never Rarely Sometimes Always, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon and Ellie and Abbie (and Ellie's Dead Aunt) all of which are presently showing in Melbourne. And, you can check out our rundowns of the new films that released in other cities over the past few months — on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5 — as a number of those movies are now showing in Melbourne as well.
By the beard of Zeus, everyone's favourite TV newsman is back — in podcast form. Not content with his regular job at KVWN Channel 4, or with being the star of Anchorman: The Legend of Ron Burgundy and Anchorman 2: The Legend Continues, Ron Burgundy is giving another medium a whirl. Announced late in 2018, The Ron Burgundy Podcast is now staying classy on the iHeartRadio platform. His new show released its first episode on February 7, and will drop new instalments each Thursday. In total, two 12-episode seasons on their way, with the second batch due to hit mid-year. Yes, it's kind of a big deal, as is the fact that Will Ferrell reprises his role as the fictional San Diego newscaster. The entire show is co-produced by Funny or Die, which Ferrell co-founded, so it was always likely that he was going to be involved. While The Ron Burgundy Podcast could've just featured the anchorman chatting while sipping scotchy scotch scotch and talking over his beloved dog Baxter, that's not the finished product. Rather, the character tackles a different topic each week, starting with a subject that no one can get enough of: true crime. https://www.youtube.com/watch?v=0u_jcTy3JHM Serial, this isn't — but If you've ever wanted to unlock Burgundy's glass case of emotion about the Zodiac Killer, all of your favourite true crime binges and whether obsessing over the genre is a little bit creepy, now you can. In true Ron Burgundy style, he had some words about his new venture. "Listen, I don't know what a podcast is, but I currently have a lot of time on my hands and a lot to talk about. I am also broke. Therefore, I am very excited to do this podcast. It is literally saving my life." The first episode of The Ron Burgundy Podcast is now available on iHeartRadio, with new episodes dropping every Thursday.
Across four seasons of Stranger Things so far, entering a rift to the Upside Down hasn't transported anyone Down Under. But jumping into the hit Netflix series' world keeps proving a reality in Australia — first via one of those portals popping up in Bondi back in 2022, and next courtesy of Stranger Things: The Experience, which has just locked in its Aussie debut at Luna Park Sydney as part of Vivid's just-unveiled 2025 program. Luna Park Sydney and immersive experiences based on Netflix shows keep going hand in hand of late; since the end of 2024, the Harbour City tourist attraction has been hosting Squid Game: The Experience, letting small-screen fans dive into another streaming smash. At the time of writing, playing Red Light, Green Light with Young-hee in Luna Park's big top is on the agenda until late April. Stranger Things: The Experience will run from Friday, May 23–Saturday, June 14. The must-attend event falls into the Ideas portion of Vivid's lineup. Get ready to visit 1986 — and also Hawkins, Indiana, of course — in what promises to be an interactive stint of Stranger Things-loving fun. Locations from the show are part of the setup, as is a supernatural mystery. And yes, you can expect to feel nostalgic, even if you don't have your own memories of the 80s because you hadn't been born yet. Stranger Things: The Experience isn't just about visiting recreations of settings that you've seen while watching Eleven (Millie Bobby Brown, The Electric State) and the gang. The installation features its own storyline, where playing along means trying to save Hawkins from yet another threat. And yes, you will take a trip to the Upside Down. You'll also be able to drink themed cocktails. Based on its time in other cities, Demogorgons and/or Vecna might await, too, along with Christmas lights, Scoops Ahoy and Surfer Boy Pizza. The experience initially opened in New York in 2022, and has enjoyed dates with Los Angeles, San Francisco, Atlanta, Seattle, Toronto, London, Paris and São Paulo since, with a Rio de Janeiro stint also on the way. "The rift is open and we're excited that our Stranger Things fans will get to jump into the magic once more," said Greg Lombardo, Head of Experiences at Netflix, back when the New York iteration launched. "This time they will take on the challenges themselves and work alongside Eleven, Mike, and the rest of the gang to fight the evil monsters plaguing Hawkins. As Dustin would say, you always say we should never stop being curious, to always open any curiosity door we find," Lombardo continued. Hanging out for new Stranger Things back in your Netflix queue? That's due to happen in 2025, when the show's fifth and final series arrives — although there's no exact release date as yet. Stranger Things: The Experience arrives at Luna Park Sydney, 1 Olympic Drive, Milsons Point from Friday, May 23. For more information, head to the Vivid Sydney website. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information. Images: Netflix.
Joining Melbourne's recent burst of rooftop bar reveals this winter is Lonsdale Street Spanish haunt Bomba, with its revamped upper level. Reopening last week after a hefty three-month makeover, the space now boasts a fresh fitout, a gin-inflected drinks list and a standout new Spanish jaffle. The rooftop is sporting an all-weather retractable roof and a second terrace space. The space, refitted by Ola Architecture Studio, is complete with a central copper bar, lots of high tables and a projector screening 70s Spanish flicks onto the building opposite. The reimagined drinks list shows lots of love for gin, featuring a careful selection of Australian and Spanish distilleries and a gin-centric lineup of house cocktails — like the Dewy Dilligence, crafted on dill gin, fino sherry, beetroot and apple cordial, and lemon. You'll also spy Central Victoria's Animus Gin starring in a few of those signature sips. A bigger, eight-strong tap list throws its weight behind indie Melbourne breweries, while the wine selection's focused both on organic and small Aussie producers, and lesser-known Spanish gems, brought in by the owners' Armada Imports. There's also a range of tap cocktails, including a classic sangria and a spiced wintery blend of Melbourne Moonshine Apple Pie, brandy and pear, dubbed All Things Nice. Meanwhile, the food situation leans to the snacky, featuring a tapas menu of old favourites and new creations, a covetable selection of Spanish cheeses, and the soon-to-be-legendary 'bikini' — a Catalan riff on the toastie, stuffed with fillings like jamón ibérico and truffle, or smoked ham hock, mahón cheese and mozzarella. Find Bomba Rooftop at 103 Lonsdale Street, Melbourne, open daily from 3pm. Images: Peter Tarasiuk and Fiona Hamilton
Carlton North's Babajan Eatery has become a local go-to over the past two years, and the cafe has even been given an international nod by The New York Times. Now, the Turkish and Middle Eastern restaurant is opening for weekend dinner service, too. Friday and Saturday will see the cafe reopen from 6pm with both a la carte and set menu options. The latter will cost just $40 per person and centres on barbecued dishes — think 12-hour braised lamb shoulder and crispy skinned snapper with tomato, kalamata olives and tahini. If you opt for a la carte, there's also the pickled and barbecued octopus ($15) and lamb kofte ($24) on mains. Or guests can go for small shared dishes, including barbecued sucuk (spicy dried sausage) and shaved pastrami snacks ($6 each), plus Turkish bread and olives ($8); or small plates like the pan-fried keflagraviera (hard Greek cheese) and oven-baked eggplant with garlic yoghurt ($14 each). To accompany your meal, Babajan offers booze from 11am each day. The drinks menu includes local and European wines by the glass and bottle, locally brewed beer from Moon Dog and Two Birds and a range of middle eastern-themed cocktails for $16 a piece — from the Lady Sultan (Turkish raki liquor, black raspberry liqueur, ruby red grapefruit, blueberry and rose) to the Grand Bazaar (gin, pomegranate molasses, cinnamon, ginger and lime). Of course, the brekkie everyone loves is still available, with a focus on Turkish pastries and egg dishes like the baked eggs with pistachio dukkah ($22), and the crab and halloumi omelette ($26). The cafe slings Brunswick's Code Black coffees and a specially-made tea blend from Tea Drop, too. Images: Ben Christensen.
The northern suburb of Preston is set to farewell four of its existing railway level crossings as part of the government's extended Level Crossing Removal Project. In their place, locals will score a giant green gift: an additional 60,000 square metres of public open space, equivalent to the same size of three MCGs. Removing the four crossings by creating an elevated train line over the roadways will make way for this new green space. The designs for the additional space were unveiled this week, featuring two new nature-based playgrounds, more than 700 trees, and an infusion of around 150,000 shrubs, grasses and groundcover plants. Locals can also expect a shared walking and cycling path linking the new Preston and Bell stations, and a new fitness zone with outdoor exercise equipment to be installed near Preston Oval. A range of other planned multipurpose facilities includes a barbecue area, casual seating and an amphitheatre located close to Bell Station. [caption id="attachment_825516" align="alignnone" width="1920"] Render of the new amphitheatre — artist impression only, subject to change, supplied by the Level Crossing Removal Project.[/caption] The designs were created in collaboration with the Preston Open Space Advisory panel, off the back of community feedback and consultation that was undertaken last year. Construction on the project is currently underway, though it'll be a while before residents can enjoy their suburb's new green addition. The removal of the boom gates and opening of the new stations are both slated for completion by the end of 2022, with the open space set to be ready for use sometime in 2023. The Level Crossing Removal Project has already seen similar green upgrades launched in other parts of metropolitan Melbourne. Find out more about the Preston Level Crossing Removal Project and the program as a whole at the website. Renders: Artist impression only, subject to change, supplied by the Level Crossing Removal Project.
They're the stories we all lapped up as kids, telling us about enchanted creatures, magic and more. They're behind plenty of movies that still grace our screens, too. And, they're the focus of a huge Australian-exclusive exhibition at Brisbane's Gallery of Modern Art (GOMA) across the summer of 2023–24. Yes, we're talking about fairy tales. The entrancing showcase is indeed called Fairy Tales and, taking over GOMA's entire ground floor, it explores how these folklore-, myth- and legend-related narratives have fascinated audiences through art and culture over not just years and decades, but centuries. If creepy woods have influenced sculptures, or tales of princes and princesses have inspired painters, expect to see it here, in a blockbuster showcase that runs from Saturday, December 2, 2023–Sunday, April 28, 2024. [caption id="attachment_758872" align="alignnone" width="1920"] Yayoi Kusama[/caption] Also included: everything from drawings and installations through to fashion, as well as films and filmic elements, such as props, and costumes. There's also an accompanying movie program in GOMA's Australian Cinematheque, of course, so you don't need to wish for big-screen wonders as well. Wicked witches, magic animals (fierce and friendly alike), coming-of-age tales, shifting gender roles, bravery, loyalty, castles, coaches, pumpkins — they all feature. Artists involved include GOMA favourites Yayoi Kusama and Patricia Piccinini, plus Jana Sterbak, Kiki Smith, Abdul Abdullah, Ron Mueck and Charles Blackman. The list goes on, like breadcrumb trails. And, if you like huge site-specific installations, the South Brisbane gallery has commissioned something special from Henrique Oliveira. The Brazilian artist has transformed the exhibition's first piece into a stunning gnarled and twisted woodland that you won't want to stop wandering through. Exhibition images: Sarah Ward.
2025 is a shaping up to be a big year for Netflix finales — and it will end that way, too. First, Squid Game is coming to a conclusion in June 2025. Then, Stranger Things will begin following suit with its fifth and last season. You'll be tuning in not once, not twice, but three times for this farewell trip to Hawkins, Indiana, however — starting in November 2025, then checking in again twice in December this year. Those specific dates: Wednesday, November 26 for the first four-episode volume of season five, then Thursday, December 25 for its second three-chapter volume, followed by Wednesday, December 31 for the finale. Netflix locked in the release schedule as part of a date-announcement video which also provides an initial glimpse at how everything will wrap up. Included in the clip: looks backwards at the tale that Stranger Things has told so far, which means peering at how young the cast was when the show premiered in 2016. From what's to come, comas, bedside vigils, the military, exploring via torchlight, shaking floors and a key piece of advice — "run" — all feature. Season five makes finding and killing Vecna (Jamie Campbell Bower, Emmanuelle) its main aim, all while the town has been placed under quarantine and Eleven (Millie Bobby Brown, The Electric State) has been forced into hiding We know already that the year is 1987 and the time is autumn, jumping forward from the fourth season's spring 1986 timing. We're also aware that one way or another, the residents of Hawkins that viewers know and love will have their last experience with the eeriness that's been plaguing their town for years. That's the promise that accompanies saying goodbye to Stranger Things, of course, even if the hit Netflix show's end won't be it for the franchise's broader universe. If it feels like there's been a lengthy wait for more — even with the series no stranger to long delays between seasons — that's because there has been. When November rolls around, it will have been almost three-and-a-half years since season four, a gap extended due to 2023's Hollywood strikes. Before that, just under three years elapsed between seasons three and four, and just under two between the second and third seasons. The 13-month gap between seasons one and two seems positively short, then. Late in 2024, Netflix revealed the titles of Stranger Things' eight season-five episodes. If you feel like obsessing over the monikers for clues, you've had eight hints for a while, then. The season will kick off with 'The Crawl', then deliver 'The Vanishing of ...', 'The Turnbow Trap' and 'Sorcerer'. Next comes 'Shock Jock', 'Escape From Camazotz' and 'The Bridge', before it all ends with the enticingly named 'The Rightside Up'. Fans also already know that this season features Terminator franchise icon Linda Hamilton, jumping from one sci-fi hit to another. Season five brings back all of the usual faces, too — so, alongside Brown and Bower, Winona Ryder (Beetlejuice Beetlejuice), David Harbour (Thunderbolts*), Finn Wolfhard (Saturday Night), Gaten Matarazzo (Please Don't Destroy: The Treasure of Foggy Mountain), Caleb McLaughlin (The Deliverance), Noah Schnapp (The Tutor), Sadie Sink (O'Dessa), Natalia Dyer (All Fun and Games), Charlie Heaton (The Souvenir: Part II), Joe Keery (Fargo), Maya Hawke (Inside Out 2), Priah Ferguson (The Curse of Bridge Hollow), Brett Gelman (Lady in the Lake) and Cara Buono (Things Like This). As for more Stranger Things-related antics after season five, when creators Matt and Ross Duffer revealed that their sci-fi show was working towards its endgame back in 2022, they also said that they had more stories to tell in this fictional realm. Instantly, we all knew what that meant. Netflix doesn't like letting go of its hits easily, after all, so the quest to find a way to keep wandering through this franchise was about as surprising as Jim Hopper's (Harbour) usual gruff mood. Check out the date-announcement video for Stranger Things season five below: Stranger Things season five will arrive in three parts, on Wednesday, November 26, Thursday, December 25 and Wednesday, December 31, 2025. You can stream the first four seasons now via Netflix — and read our review of season four. Images: Netflix.
Lovers of bibimbap and KBBQ already know that Melbourne's CBD is home to a vibrant hub of Korean restaurants. Now, Koreatown has a permanent spot on the map. As part of the City of Melbourne's latest project to create more pocket precincts across the city, the Healeys Lane site has been adorned with a hand-carved, three-metre-high jangseung to celebrate its opening. "Officially unveiling the jangseung at Koreatown fills me with so much jabusim — pride," said Melbourne Lord Mayor Nick Reece. "By formalising Koreatown, we aim to attract more visitors and businesses to the area — positioning it alongside Melbourne's legendary streetscapes like Degraves Street, Chinatown and Hardware Lane." The jangseung, created by Master Jong-yeon Kim, is designed to replicate the totem poles that watch over daily life at the entrances of rural villages in Korea. The four totems honour this national tradition and create a photo opportunity that can be shared worldwide. Joining Chinatown and the Greek Quarter on the city's multicultural hub roster, Koreatown now houses 25 Korean businesses — from restaurants and karaoke bars to retail stores. View this post on Instagram A post shared by Nick Reece (@nickreecemelbourne) Over 25,000 Koreans now call Victoria home, making them one of the City of Melbourne's top ten diaspora communities. City Economy and Business Portfolio Head Councillor Kevin Louey explained that the formal opening of Koreatown would "not only support the growth of Korean-owned businesses, but also establish a vibrant destination that celebrates Melbourne's multicultural identity, attracts visitors and drives economic activity in the precinct." Melbourne joins Los Angeles, Toronto, New York and Sydney in having its own Koreatown. The City of Melbourne's budget for 2025–26 is expected to invest a further $150,000 in pocket precincts across the city, with Little India and a new seafood precinct in Docklands next on the list. [caption id="attachment_953449" align="alignnone" width="1920"] Image: supplied by Woo399[/caption] Koreatown is located in the Melbourne CBD's Healeys Lane, at the west end of Little Lonsdale Street and part of Spencer Street. For more information, head to the City of Melbourne website. Images: City of Melbourne.
Moon Dog's new 800-person wild west-themed bar in Footscray's former Franco Cozzo building has not had an easy run. The size and ambition of the new Melbourne bar led to a few delays in building, but the worst came when the Moon Dog team had to cancel the launch party mere minutes before it was meant to begin. They blamed the council. The council said it had nothing to do with it. It was chaotic. But the rogue fire hydrant that caused the main kerfuffle has now been sorted, and the huge new Moon Dog Wild West is officially open as at Friday, April 26. So, it's time to don your favourite pair of cowboy boots and start exploring the huge saloon. Guests will now find bars on each level pouring Moon Dog beers and seltzers from over 100 taps. Three-time Australian Bartender of the Year Chris Hysted-Adams has also been brought in to design the cocktail list and shots menu. This includes an old-school pickleback shot, a regularly changing old fashioned that'll be served in a barrel for four people and a layered tequila sunrise slushie. A mechanical bucking bull takes centre stage down on the ground floor, where people can compete in actual tournaments with prize money. There's also a secret little Pianola Bar, an arcade, pool tables, a private dining space, a barrel-ageing room, and a stunner of a dog-friendly rooftop that's littered with cacti and fake dessert rocks. The Moon Dog crew has completely packed this space out. Then you've got the food, which is all Tex-Mex-inspired. The team is pumping out sizzling fajitas, buffalo chicken ribs, double-decker tacos, Mexican twists on prawn cocktails and a big ol' one-kilogram t-bone steak. "We're so excited to join the vibrant Footscray community in such an iconic location; the support has been overwhelming, and we can't wait to finally throw open the doors and welcome everyone in for a cold beer," said Moon Dog co-founder Karl van Buuren. Everything at the new Moon Dog Wild West in Footscray just screams unabashed fun. It's one of the brand's three planned new venues for 2024, too, alongside upcoming Docklands and Frankston sites. Moon Dog Wild West is located at 54 Hopkins Street, Footscray, operating from 3pm–late Monday–Tuesday and 11.30am–late Wednesday–Sunday. For more information, head to the venue's website. Images: Arianna Leggiero.
Come 2026, almost a decade will have passed since Qantas proposed changing the way that Australians travel to two of the world's biggest cities — and most-popular holiday destinations — from the east coast. That plan: Project Sunrise, the initiative that's making non-stop flights from Sydney to London and New York a reality. It was first announced in 2017, ran trial flights in 2019 and has undergone delays since, including moving a 2025 start date to mid-2026. With its launch date now just two years away, Qantas is speeding ahead with the lengthy journeys, which'll join the Perth-to-London flights that began in 2018. (From Western Australia, the carrier also boasts straight-to-Rome routes, and just implemented Perth-to-Paris legs as well.) If spending all of that time on a plane sounds like it'll be an experience — the aircrafts are capable of staying in the air for up to 22 hours — the airline understands. Indeed, part of the Project Sunrise development process has been dedicated to ensuring that passenger wellbeing doesn't suffer, and also working out how to combat jetlag. Here's one solution, or at least a tactic to help: Qantas has revealed that its 238-person Project Sunrise A350-1000 planes will feature cabin lighting inspired by the Australian landscape, which will cycle through phases to help travellers adapt to the ultra long-haul voyage — and to the time zone when they disembark. The airline has been making the most of Hamburg's Airbus Customer Definition Centre, using a mockup of the A350 cabin to test lighting patterns and sequences, after the University of Sydney's Charles Perkins Centre conducted research during the Project Sunrise test runs on the inflight experience and reducing jetlag. Those learnings noted that some light spectrums work better to get circadian rhythms adapting. Cue plenty more testing, resulting in 12 lighting scenes for Project Sunrise's trips. Among them: using a broad-spectrum glow enriched with blue hues as an awake setting, which can also be softened; cycling through the tones of the sunset as it turns into a moonlit night, complete with clouds, to get travellers ready to go to sleep; and replicating an Aussie sunrise, starting at the front of the aircraft and rolling out to the back, when it's time to greet either London or NYC. Boarding, taxiing, take-off, sleep, landing and disembarking also have their own lighting modes. The planes will feature wellbeing zones that'll sport the colours of a daytime sky, clouds and all, when the flight is in its daytime setting. The same space will move to moonlight and water rippling during the journey's evening phase. And for those flush with cash, the enclosed first-class suites will let passengers fully customise their own lighting. As advised back in 2023, those wellbeing zones on the stopover-free hauls will sit between the 140-seat economy and 40-seat premium economy cabins. Inside, stretch handles and an exercise program guided via screens will get you active, while refreshments will be on offer at the hydration station. As for the cabins themselves, every seat will have free wifi, USB-C charging ports and also wireless charging and bluetooth connectivity so that you can use your own headphones — and, they'll feature in good news for your body, Qantas' most-generous seat pitches yet, plus ergonomic leg and foot rests. Qantas' direct flights from Sydney to London and Sydney to New York are set to take to the air in mid-2026. For more information, head to the Qantas website.
Australians under the age of 40, it's time to roll up your sleeves — because the country's slow-moving vaccine campaign is finally opening up the Pfizer jab to all Aussies between 16–39. If you're in that age group, you don't fall into the high-risk or high-priority categories outlined by the Australian Government and you'd prefer to get Pfizer's COVID-19 vaccine, you've been spending all of this year waiting to get vaxxed; however, come Monday, August 30, it'll now be your turn. In a press conference today, Thursday, August 19, Prime Minister Scott Morrison announced that "the cabinet met today to affirm that we will be moving to opening up 16–39-year-olds for the balance of the program and intend that to commence on 30 August." That doesn't mean you can book just yet, though. "I want to stress, do not make a booking yet. We will advise when bookings can be made. It isn't today. We will advise when the time will come over the course of the next week," the Prime Minister continued. The Pfizer jab is the recommended COVID-19 vaccine for all Australians under the age of 60, but the country's vaccination rollout has been targeting high-priority and high-risk groups first, and then working backwards in terms of age range. In New South Wales only, folks aged 16–39 who live in Greater Sydney's 12 Local Government Areas that are currently under tighter lockdown conditions have been able to get the Pfizer vaccine since today, but that's the only part of the country that's been giving that specific jab to adults under 40 that aren't considered high-risk. So, before the month is out, around 8.6 million Australians will get their chance to receive the Pfizer shot, which will obviously give the nation's vaccination numbers a considerable boost. At the time of writing, 21.9 percent of Aussies are fully vaccinated, which includes 27.29 percent above the age of 16. And, as announced by the Prime Minister, 50 percent of Australians have now had their first dose. The AstraZeneca vaccine has been available to Australians of any age since late June, and will still be available — but, until the end of this month, Pfizer has only been open to under 40s if they're of of Aboriginal and Torres Strait Islander descent; work in quarantine, border or healthcare roles; work or live in an aged care or disability facility; work in a critical and high-risk job such as defence, fire, police, emergency services and meat processing; have an underlying medical condition or significant disability; are pregnant; or participate in the NDIS, or care for someone who does. From September, there'll also be a third type of COVID-19 shot available to Aussies, with the Moderna jab just getting local approval this month. If you're eager to look for vaccination clinics — to plan ahead for when you can get vaxxed — you can check out a handy online map that collates vaccination hub, clinic and GP locations. It covers all Australian states and territories, including New South Wales, Victoria and Queensland. Australia's Pfizer vaccination rollout will open to all Aussies aged between 16–39 from Monday, August 30. For further information, head to the Australian Government Department of Health website.
Gracie's Wine Room is one of Melbourne's latest hospitality success stories. In an industry full of shuttered venues, price hikes, and quiet nights, at Gracie's Wine Room in South Yarra you can find bottles being popped, a bustling golden hour courtyard, and bread always being broken with friends. For owner Kelsie Gaffey, whose TikTok videos showing her process of opening a venue from scratch amassed hundreds of thousands of views, the current climate of people spending less and staying in more was one her concerned family warned her of. [caption id="attachment_1036436" align="alignleft" width="1920"] Gracie's Wine Room[/caption] "Before opening Gracie's, our more conservative relatives warned us that people are spending less. [Gracie's] hasn't experienced this." According to Kelsie, Gracie's Wine Room's main demographic of 23–33 year old women are actually spending more on nights out with their girlfriends than anyone else. New data from Visa backs Kelsie's observation up. Melbourne is Australia's Number One Night-Time Hot Spot The Visa Australia Night-time Economy Index 2025 is a new in-depth analysis that measures data such as spending, vibrancy, and venues open in cities across the country. According to the index, Melbourne has been crowned the number one night-time hot spot. This doesn't come as a surprise to Kelsie. "Melburnians really know how to have a good time," Kelsie tells Concrete Playground. "The city has such a vibrant culture around wine, food, and spending quality time with mates, and we're genuinely spoilt for choice. There's always something happening, and that energy makes working in hospitality here incredibly dynamic and inspiring." [caption id="attachment_1028074" align="alignleft" width="1920"] Gracie's Wine Room[/caption] The Visa Vibe Economy report, also commissioned by Visa and conducted by McCrindle, found that venues like Gracie's Wine Room have hit the sweet spot when it comes to the reasons Australians love to go out. The main motivation for getting off our couches post-work is to enjoy a meal, catch up with friends and unwind from our busy schedules. Gen Z in particular are factoring night-time activities into their budgets with over half of them considering this type of social spending "essential". In fact, Kelsie has already seen an increase in patrons on weeknights as the weather has begun to warm up as well as a jump in their average spend per head. Kelsie recognised this cultural sweet spot within her demographic and created a curated menu of share plates for friends to split over a bottle of wine. Customers can enjoy freshly shucked oysters, focaccia, and a snack plate of cured meats, cheese, and lavosh. [caption id="attachment_1036434" align="alignleft" width="1920"] Gracie's Wine Room[/caption] "I wanted Gracie's to be known as a place where you connect with mates, drink some good wine and eat some good bread. I didn't want the frills and price tags that come with fine dining, and I really do believe that staying true to this is what has kept people coming back," says Kelsie. With 73 percent of Gen Z's going out once or more a week, tapping into her own peers has helped to increase revenue and patrons through the door — even on weeknights. How to Spend A Night Out in Melbourne What does a dream night out in Melbourne look like for the 25-year-old founder? Kelsie shares that it always starts with a sunny afternoon. "I'm definitely starting at Gracie's and then making my way down to Republic Economica before ending the night at HER Rooftop in the CBD." Data from the Visa Vibe Economy Report found that of all the generations, Gen Z is the most adventurous, choosing to stray away from their local haunts and try new things, and just under half plan two activities in the one night to make the most of their city after dark. Half of Gen Z also believe that nights offer more new experiences than the daytime. Kelsie agrees. "I love being able to experience something new every single time I leave the house for a night out. It's so exciting, and has unlocked some of my greatest memories with friends." Gracie's Wine Room hasn't yet operated for a full calendar year, but Kelsie is feeling optimistic about the state of hospitality and business projection. At the heart of her success lies the Gen Z community that she built through TikTok. "I never imagined it would grow into what it is today, but the community that's formed around Gracie's has been the most rewarding and unexpected part of it all." Discover the vibe near you. Lead image: Gracie's Wine Room
Ian Pidd and Sue Giles started out performing theatre cabaret in the '90s under the moniker Shaken and Suspicious. Since then, the couple have made their names as some of Australia’s top directors — Giles with acclaimed international children’s theatre company Polyglot and Pidd with Men of Steel and Snuff Puppets, as well as Falls Festival fixture The Village. This year’s Melbourne Fringe Festival sees them return to where it all began: Dead Set at La Mama was one of their most successful shows. Pidd plays a shy maths teacher with a hidden double life as a musical writer. After turning to the internet for a writing partner, he meets a compulsive liar Verity Charity (Giles). The two go on to collaborate on the next Great Australian Musical, but Charity’s fondness for lies threatens to overwhelm the pair. 20 years ago Dead Set played to packed houses around Australia on a five-star tour, so Melbourne audiences should get cracking on snapping up tickets now; it’s a venue that’s as cramped as it is iconic.
The Workers Club is a classic Northside pub in front and a rollicking music party out the back, with a band room that's been known to jump with live gigs most nights of the week. The pub was formerly the iconic Rob Roy Hotel, and while the interior has had a makeover, the exterior retains its old-time charm. This one's long been a champion of emerging Aussie acts, especially those of the rock, punk and hip hop persuasion, and has played host to Australia-wide tours and more intimate local EP launches alike. These days, it churns out great food from the kitchen, which means if you arrive early enough, you can plan to have dinner and a show. On the menu, you'll find classic pub grub such as eggplant parmas, fish and chips, beef burgers and veggie burgers. If you want to branch out a bit, it also offers some upmarket fare including chargrilled roo fillets with braised brussels sprouts and red wine jus, seafood bisque with salmon, prawns, scallops, calamari and garlic prawns, a Korean platter with pork belly, fried chicken, kimchi and dumpling soup and a vegetarian risotto with almonds and parmesan. There are cheap lunch deals, too, as well as sharing platters. There are gigs on most nights out the back of The Workers Club, including Mondays and Tuesdays, with a special focus on local acts.
Backing up a wildly successful first restaurant with another cracker is never an easy feat, and yet the names behind cult favourite Tipo 00, have managed to hit it out of the ballpark with their new wine bar, Osteria Ilaria. Taking over the Little Bourke Street space next door to its legendary pasta bar sister, this chic newcomer complements rather than competes, steering away from Tipo 00's pure Italianness to take an even bigger bite out of Europe. The warmly-lit space nails that modern rustic feel; it's all white-painted exposed brick, with an open bar and kitchen down the length and a suave private dining room sitting up the back. And then there's the menu. It's clever enough to pitch this newbie among the Melbourne's contemporary wine bars, yet there's an easiness to the delivery that's primed for that more casual, snack-happy, after-work crowd. Here, you're invited on a journey across the continent, no matter how deep you fancy diving. Dabble happily in the shallow end, with some oozy porcini croquettes ($3.50 each), and the baby octopus on 'njuda ($8), or settle in for some proper feasting. One of just a couple of pasta appearances, robust folds of paccheri are an expected win, matched with a gutsy tumble of Crystal Bay prawns, tomato, and sorrel ($19). Others in the seafood-heavy lineup of smalls are equally memorable — namely. the sashimi-style kingfish teamed with smoked eel and a lively watercress sauce ($18), and the Pollock-esque plate of baby squid, splashed with a palette of squid ink, saffron and creamy salted cod ($19). There's a thoughtfulness that carries right through to the pointy end, from the rich roasted duck for two — with a honey-sweet jus balanced by bitter radicchio and the crunch of hazelnuts ($46) — to a textural side dish of creamed corn, pepped up with the addition of grilled turnip tops ($15). Stick around for the grand finale and you'll discover the incredible things that can happen when someone crafts a chocolate mousse on olive oil ($14). Of course, the drinks list is just as big a drawcard at this joint, equally well-travelled and geared towards exploration. It'll just as likely to find you quaffing a La Soeur Cadette Chardonnay out of Burgundy ($17 glass, $46 carafe), as a single vineyard Xinomavro from Greece ($16 glass), or an elegant drop from Melbourne's own La Sirene Brewing ($16). It might be an entirely different proposition to its pasta-slinging sister next door, but Osteria Ilaria does what it does extremely well. If you're looking for something a little more casual and accessible, it's the preferred option. You don't have to dig too deep to realise that Osteria Ilaria's got all the makings of another instant classic. Images: Kristoffer Paulsen.
Sometimes, the best gifts are the ones that are practical, keep you busy or get you feeling crafty. We're talking gardening, tools, all things arts and crafts and the latest gadgets. Finding things to keep you occupied and using your hands is super important, especially over the holiday season, when most people have more time on their hands than they know what to do with. Luckily, Amazon has heaps of cool stuff to support your DIY era over the summer break. Here are some of our top choices. 1. Self Watering Pots Gardening can be harder than you think, so starting off with these SpringUp Self-Watering Pots is a good way to beat the summer heat. These pots come with a detachable saucer and a water storage system that automatically keeps your plants hydrated. Plus, drainage holes prevent plants from being overwatered. Made from sleek white, durable, recyclable plastic, they can be used indoors or outdoors — the perfect gardening gift for your green-thumbed friends and family. [caption id="attachment_840175" align="alignnone" width="1920"] Markus Spiske (Unsplash)[/caption] 2. Sewing Starter Pack If you can't afford expensive new clothes as a gift, sewing clothes yourself is a great backup. Gifting the Sew It Yourself with DIY Daisy kit will not only give your friends some cool new threads (eventually), but it'll also provide them with endless hours of fun DIY-ing. This colourful, size-inclusive book is perfect for sewers of all stages and abilities, from beginner to master, with guides on everything you need to get started, including equipment, materials, basic techniques and step-by-step projects. 3. Beer Cooler There is nothing worse than warm beer, and if you've noticed your dad's still using the scruffy stubby he has had since the 80s, maybe it's time for an upgrade. Enter the Huski Beer Cooler. Made from marine grade 316 stainless steel and triple insulated, this little thing means business. Our favourite thing about this beer cooler, however, is that it adjusts to fit differently sized cans or bottles – so no matter what you're drinking, it will fit. 4. Gardening Gloves These PHIRAH Gardening Gloves are everything we've ever dreamed of. Cute, practical and comfortable, we'd wager anyone with these will be inspired to spend much more time out in the garden. Offering full protection from dirt and bugs (no dirty fingernails with these gloves,) they're made from breathable and sweat-absorbent canvas material, which means they actually feel good to wear. Our favourite thing about them has to be the ergonomically designed thumbs, which make it easy to grip those pesky garden tools. Say no more. 5. Storage Rack Organizer Don't quote us, but organising the home and pantry has to be one of the most common things to do over the Christmas and New Year's break. After a year of putting it off and with no more excuses, the time always comes. Here, to make it all a bit easier is the HuggieGems 4 Pack Magnetic Spice Storage Rack Organizer. For the fridge, it's got a strong magnet attachment that allows you to store extra items on the outside, which is especially useful for those who live in small spaces. It is also super easy to adjust when needed. 6. Candle Making Kit Why buy candles when you can make them yourself? This candle-making kit has everything you need. Follow the step-by-step instructions to make your very own soy candle using natural soy wax, pure spices and easy-to-use tools. Not only do you get to make a candle, but you can also have fun doing it. It also comes in a cute gift box, so you don't even have to wrap it. 7. Origami Kit A cute gift for kids or origami beginners, the Complete Origami Kit is bound to provide hours of fun. The kit includes clear and easy-to-follow instructions for creating 30 projects, including step-by-step diagrams, as well as 96 sheets of origami folding paper and two sheets of gold metallic paper. [caption id="attachment_978071" align="aligncenter" width="1920"] Kicia Papuga via iStock[/caption] 8. Jewellery Pliers Apparently, making jewellery isn't actually that hard, you just need the right pliers for the job. Enter the Shynek Jewellery Pliers. Coming in a set of three including needle-nose pliers, round-nose pliers and wire cutters, the kit is not only great for jewellery making but is also handy for jewellery repair, wire wrapping and other DIY crafts. 9. Gardening Tools Another idea for the green thumbs, this Grenebo Gardening Tools set has it all. Made from stainless steel, the set includes eight tools, including pruning shears, a weedier, a transplanter, a cultivator and more, all in a cute little bag so you can carry your tools wherever you go. The bag also doubles as storage, so it's a win-win. 10. Cross Stitching Kit Embroidery is well and truly trendy again. So the AUTOWT Beginner Cross Stitching Kit may be the ideal gift for anyone looking for a new hobby. The kit includes all the gear you need, as well as needle art illustrations for instructions. Once finished, the embroidery can be hung on the wall for decoration, or can also be embroidered on pillowcases, towels and backpacks. Images: Supplied by Amazon. Disclaimer: This article contains affiliate links, Concrete Playground may earn a commission when you make a purchase through links on our site.
If eating at one of the world's best restaurants — and Copenhagen's most acclaimed — has long been on your bucket list, achieving that feat now has a time limit, with René Redzepi's Noma announcing that it's closing its doors. It isn't saying farewell forever, thankfully, but it is ending its current operations, transforming instead into a test kitchen and food laboratory. Redzepi's globally renowned, three-Michelin-starred, five-time World's Best list-topping eatery has shut up shop in the past, back in 2016, before reemerging in 2017 as Noma 2.0. Redzepi and his team have already badged the venue's next phase 3.0, and it'll kick off in 2025 — after Noma's present setup says goodbye in 2024. "Winter 2024 will be the last season of Noma as we know it. We are beginning a new chapter; Noma 3.0," said Redzepi in a statement on the restaurant's website and social media channels. "In 2025, our restaurant is transforming into a giant lab — a pioneering test kitchen dedicated to the work of food innovation and the development of new flavours, one that will share the fruits of our efforts more widely than ever before," Redzepi continues. "Serving guests will still be a part of who we are, but being a restaurant will no longer define us. Instead, much of our time will be spent on exploring new projects and developing many more ideas and products." View this post on Instagram A post shared by noma (@nomacph) If you can manage to nab a highly coveted reservation between now and Noma's 2024 closure, you'll experience the restaurant's last days in its 2.0 guise. After that, it will host pop-ups as part of being a food lab, and will also do a season in Copenhagen. Travelling the globe to share its cuisine has long been a part of Noma's remit anyway, complete with an upcoming ten-week residency in Kyoto from March–May 2023. In the past, the eatery has done the same in Tokyo, Down Under in Sydney as well, and in Tulum, Mexico. "In this next phase, we will continue to travel and search for new ways to share our work. Is there somewhere we must go in the world to learn? Then we will do a Noma pop-up. And when we've gathered enough new ideas and flavors, we will do a season in Copenhagen," added Redzepi. "Our goal is to create a lasting organisation dedicated to groundbreaking work in food, but also to redefine the foundation for a restaurant team, a place where you can learn, you can take risks, and you can grow!" Noma 2.0 will close at Refshalevej 96, 1432 Copenhagen K, in 2024, during winter in Europe, before relaunching in 2025 as a test kitchen and food lab. Head to the restaurant's website for reservations. Top image: Amy Tang.
Never underestimate the importance of casting, or its influence. When a famous name barely appears at the beginning of a film, you can bet they'll turn up again later. When someone notable doesn't seem to have all that much to do, they'll likely become not just noticeable, but crucial. And when two actors best known for recent memorable roles are cast opposite each other, bringing some baggage with them might just be part of the plan. The latter proves the case with Angel of Mine, which pits The Girl with the Dragon Tattoo's Lisbeth Salander against The Handmaid's Tale's Serena Joy. Kim Farrant's film isn't related to either the Swedish crime franchise or the huge dystopian TV hit, so that's not what literally happens— however with Noomi Rapace playing an unstable woman called Lisbeth, and Yvonne Strahovski portraying someone fighting for her family, the obvious springs to mind. Such comparisons aren't to Angel of Mine's detriment. While the Melbourne-shot movie is actually an English-language remake of 2008 French picture L'Empreinte de L'Ange, which is based on a wild true tale, both stars remain in their element. Rapace's career hasn't ever soared beyond the heights of her Dragon Tattoo days, but she's always been at her best playing complicated characters who are driven to exorcise their internal demons. Strahovski's fame took off when she became a resident of Gilead, and grappling with the complexities of womanhood and motherhood definitely suits her. Unsurprisingly, the two make a formidable duo, which is exactly what the story calls for. Adapted into English by Oscar-nominated screenwriter Luke Davies (Lion) and seasoned TV scribe David Regal (Rugrats), the psychological thriller not only unravels the ties that bind women and their children, but also explores how societal expectations can be a stumbling block for the fairer sex. When Angel of Mine introduces Rapace's Lizzie Manning, she's hardly anyone's ideal mum. Still grieving the loss of her infant daughter, she's separated from her husband Mike (Luke Evans) and shares custody of the primary school-aged Thomas (Finn Little), although her son would rather spend all of his time with his father. Things don't improve when, following a birthday party for one of Thomas' friends, Lizzie becomes obsessed with seven-year-old Lola (Annika Whiteley). Haunted by the girl, who looks just like her own daughter might if she had survived, Lizzie tries to befriend Lola's well-off parents (Strahovski, as well as Richard Roxburgh) to immerse herself in their lives. Just a few decades ago, the thriller genre was filled with tales about feverish fixations: by one-night stands (Fatal Attraction), vengeful nannies (The Hand That Rocks the Cradle) and over-enthusiastic friends (Single White Female), to name a few examples. Angel of Mine fits the same mould, to a point. Just how it deviates from that trend is part of the film's twists and turns, and therefore best discovered by watching — but as she demonstrated with her debut movie Strangerland, Farrant doesn't trade in standard narratives. Instead, the Australian filmmaker is fascinated by women's reactions to traumatic situations, how the world wants them to act during their most upsetting moments, and what happens when they stick to their guns. While saying anything more about the storyline is saying too much, how this idea ties into Angel of Mine proves one of its strongest elements. That said, the movie's ending is saddled with a hard task. Before its revelatory finale, the film sometimes struggles, relying so heavily on its leading ladies that it can miss the mark elsewhere. There's an uneasy air about Angel of Mine, which is wholly by design, however there's a difference between framing that's purposefully tense and unsettling, and scenes that become clumsy rather than disquieting. Still, given that Rapace and Strahovski turn in such stellar performances, no one can blame Farrant for pushing the pair, the characters' thorny friendship and their differing responses to a difficult situation firmly to the fore. https://www.youtube.com/watch?v=Hui0KpDzAwY
The history of street photography is generating more interest than ever, now that street style blogs influence high-end brands, everyone has a spy camera (read: iPhone), and documentaries like Bill Cunningham: New York have charmed DSLRs into the hands of the populace. But what about when it wasn't just about fashion, but about documenting a moment in cultural history? A new look at the origins of the movement, Everybody Street, gathers a group of seminal New York-based street photographers to examine the method and motivation behind this most candid and telling style of documenting the human race. Street photography takes balls. Imagine approaching a total stranger, even a pretty rough-looking one, to ask for their picture — as Brandon Stanton of Humans of New York (with almost a million followers on Facebook) does dozens of times every day. Henri Cartier-Bresson similarly knew how to be bold and keep in the thick of the action, and that's why his opus includes so many arresting images of the major events of the 20th century. Nowadays the rising generation of street photographers in New York, including Le 21-eme, I'm Koo and An Unknown Quantity keep busy chasing down Soho's trendsetters. Everybody Street, on the other hand, asks veteran photographers Bruce Davidson, Elliott Erwitt, Jill Freedman, Bruce Gilden, Joel Meyerowitz, Rebecca Lepkoff, Mary Ellen Mark, Jeff Mermelstein, Clayton Patterson, Ricky Powell, Jamel Shabazz, Martha Cooper, Jeff Mermelstein, Max Kozloff and Luc Sante all about how they managed to transgress social boundaries to capture iconic images of their milieu. Jamel Shabazz alone is a phenomenal force in the street photography scene, whose chronicling of the '80s hiphop style movement can be seen in the influential monographs Back in the Days and A Time Before Crack. Shabazz — a former corrections officer with a photographer father — used street photography to perform a type of social work: mainly capturing images of African Americans, he helped to spread pride and self-confidence among young men and women who were at risk of getting mixed up in crack culture. By reminding them they were worth being photographed and admired, and taking the opportunity to talk with them about their lives and share his experiences as a corrections officer, Shabazz hoped to steer people away from drugs and crime. In Everybody Street, documentarian Cheryl Dunn honours Shabazz's story and those of other snap-happy New York street-crawlers who dared to step in and chronicle what was happening every day on the street, and make a difference along the way. Everybody Street will be making its world premiere at the Hot Docs International Film Festival in Canada. Further distribution is TBC. Images by Jamel Shabazz. More on his website.
There shouldn't have been a dry eye in the house, or watching on from around the world, when Ke Huy Quan took to Hollywood's Dolby Theatre stage in March 2023 to collect the Best Supporting Actor Oscar for Everything Everywhere All At Once. His performance in the multiverse-hipping hit, which was only his second stint in front of the camera in two decades, thoroughly earned the coveted accolade on its merits. Just as with the feature's fellow Academy Award-winning actors Michelle Yeoh (The Brothers Sun) and Jamie Lee Curtis (The Bear), the sci-fi-, comedy-, fantasy-, drama- and martial arts-mashing film wouldn't have been the success it was without him. It's always moving to see a well-deserving talent get their time to shine. Quan's off-screen story was responsible for some of those tears, however. Thirty-nine years ago at the time, he was also all over the silver screen as a child actor in Indiana Jones and the Temple of Doom. Quan will always be the film's Short Round — and, in his next high-profile part afterwards, The Goonies' Data as well. After a handful of other roles, including TV's Head of the Class and 90s comedy Encino Man, he then stepped away from acting. Quan didn't farewell the screen industry, though. Off-camera, his credits include assistant fight choreography and stunt rigging on the first X-Men, action choreography assistant director on The One and first assistant director to iconic filmmaker Wong Kar-Wai on 2046. What's followed since Everything Everywhere All At Once wasn't something that he could've ever foreseen — as a teenager hitting it big, when he gave acting away and even when he was cast in the movie that changed his life. Neither was his upcoming part leading action movie Love Hurts. As Martin Gable, Quan steps into John Wick territory. He's also in Nobody terrain a touch, too. As seen in the feature's just-dropped trailer ahead of its February 2025 release, Love Hurts' protagonist is a real-estate agent who is devoted to his job, and has a Regional Realtor of the Year Award to show for it. He's also dedicated to helping people find their dream house. His slogan: "I want a home for you". His motto: "every day is an opportunity to change your life". But before this ordinary existence, Martin was in a completely different line of work as an assassin. [caption id="attachment_976823" align="alignnone" width="1920"] David Nguyen, ©AMPAS[/caption] In a film that boasts another Oscar-winner on-screen in West Side Story's Ariana DeBose (Argylle), of course that history finds its way back into Marvin's present. If Love Hurts sounds like classic David Leitch territory, that's because the stunt performer-turned John Wick, Atomic Blonde, Deadpool 2, Fast & Furious Presents: Hobbs and Shaw, Bullet Train and The Fall Guy helmer adds it to the producing side of his resume, where Nobody also sits, courtesy of his production and action design company 87North. Another former stunt professional makes his directorial debut with the movie, with Jonathan Eusebio also a fight coordinator on the first three John Wick flicks (and on plenty others, such as Iron Man 2, The Avengers, The Bourne Legacy, Doctor Strange, The Fate of the Furious, Black Panther and The Matrix Resurrections). Quan hasn't ever been a real-estate agent and obviously was never a hitman, let alone an ex-assassin turned realtor. Still, playing someone being drawn back into a line of work that they'd moved away from has clear synergy with his own path since 2021's Finding 'Ohana brought him back to the screen, then Everything Everywhere All At Once worked its magic, leading to TV's American Born Chinese and Loki season two, voice acting in Kung Fu Panda 4 and now this. We chatted to Quan about that synchronicity, doing something that he never imagined he'd get to in being number one the call sheet for an action film and his 'no compromise' approach to the feature's fight scenes — and about the last few years, capitalising upon and celebrating second chances, and becoming an inspiration to anyone who has ever thought their dream was out of reach. On Reflecting His Own Recent Experience by Making a Movie About Someone Drawn Back Into Their Old Line of Work "Oh, my god, what a great question. You made the connection that I didn't even make. The only difference is Marvin Gable is trying to get away from his past, and it hurts him so much that he can't — versus I want to get back to my past where I am an actor, and I'm very fortunate to be able to do so and have this incredible second chance. One of the things that I love about the character Marvin Gable is that he knows what he's done in the past, and he's very ashamed of it, and he's doing everything he can to redeem himself. And that's why he's a real-estate agent, because he has destroyed so many homes in the past and now all he wants to do is to help people's dream of owning a home come true. He wants to help build homes and not destroy them. And there is beauty in that, and there's that question: are we able to get away from the past that we don't like? That's what the movie is trying to answer." On Leading an Action Film — and Jumping Into John Wick Territory "I always loved the action genre. So John Wick and any action movies, I love, because they're just really fun to watch. And they're a great escape for you to forget about all your problems and just have a good time for 90 minutes. That's what we try to do with this movie. There's no agenda. There's nothing else that we're trying to do, just to entertain the audience for 90 minutes. One of the biggest differences with this movie is what David Leitch and our producers in 87North and Universal Studios try to do to create a new kind of action star. We have seen action movies for the longest time and they always have a certain type of action hero. This one is very different. He doesn't look like an action hero. He doesn't look bad-ass. But he's truly a bass-ass when the situation calls for it. And because of that element of surprise, I find that very refreshing, and I love it. [caption id="attachment_892688" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] Also, one of the things that I was adamant about when I came onboard was that I wanted to do everything myself. I'm not talking about stunts. Stunts is jumping off a building, getting hit by a car or being set on fire. That is a very specific skill. What I mean by doing everything myself with all the fights, all the punches that I threw myself, all the kicks — and I trained very hard for it with 87North's action team for this. And mentally and physically, it was exhausting. But it was also very gratifying, because I finally got to do it." [caption id="attachment_884620" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] On How Quan's Stunt and Action Choreography Background Helped Him with Love Hurts "Oh my gosh, it was so advantageous to have that experience and that knowledge. And I did it for a long time. But the only difference is I was behind the camera, and one of my responsibilities was to train actors to do that. For example, like on X-Men, I was helping Hugh Jackman to learn those moves. So to have that knowledge and to be able to utilise all of that in this movie was incredible. And it was a big, big help. I don't think I could have done this had I not worked as an action choreographer. The only difference is I haven't done it for a long time so it's really bringing my muscle memory back to forefront — and also getting myself mentally and physically prepared for it. It was a lot of fun to do." On the Preparation Process for Starring in an Action Movie — and Giving the Genre a Different Type of Hero "I trained for almost three months with our action team, and the training didn't stop when we started production. It carried on till the end of the movie. It was very intense. There was a lot of weights, a lot of core training, muscle training — and, most importantly, a lot of stretching. Because not only you don't want to hurt yourself, but also doing those kicks, you need to be flexible. So there was a lot of stretching involved as well. And I've got to tell you, when we were shooting making this movie, one of the most-difficult things was the time constraint. Actions take time. And ever since day one, I told everybody, I said 'please, there's no compromise. If we don't get it, please do not move on. It doesn't matter how many takes we do'. [caption id="attachment_976827" align="alignnone" width="1920"] American Born Chinese[/caption] Because this is an 87North movie and the audience who watches this movie expects a certain level of action. There was a certain demand from them, expectation from them. So I didn't want to disappoint them. And what that entailed is sometimes shooting 15 hours 16, 17 — I think one day we shot 18 hours. Now 18 hours shooting a dialogue scene is exhausting. But can you imagine what shooting a fight scene is like? And as the hours progress, your muscles get tired. Your mental capacity goes down. But when you do a fight, it takes tremendous focus. One, you have to remember the choreography. And second, you don't want to hurt the person you're fighting with and you certainly don't want to get hurt by them, so you have to remember the choreography. It was really demanding and at the same time, like I said, I didn't want us to compromise. In fact, our action team, at the end of the shoot they printed a shirt that says 'no compromise' and gave it to everybody." [caption id="attachment_976825" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] On What Quan Learned From Wong-Kar Wai That He Still Draws Upon Today "Nobody makes a movie the way Wong Kar-Wai makes them. He can spend an entire day finessing one shot. And what I learned from that is the dedication, the perseverance, the determination to achieve your goal, and I applied that to this movie. That's why I said 'let's not compromise it. If we don't get it, let's keep on doing it. If we don't have the time, then let's be creative. How can we find time and how can we make it work?'. And Wong Kar-Wai was part of that training that I had. It was seeing him go ' if it's no good, let's go again, and if there are problems, okay, then let's take a step back and let's find out what the problem is'. We applied that to the fight scenes that we did. There are five big action sequences in this movie. When it's just a fight scene, the audience gets tired of watching it very quickly. So what we try to do, what I learned from my experience on those action days was that you have to put a story behind those fights. All the characters, they fight a little bit differently, because that's who they are, that's their personality, that's their character — and we tried to apply that to this movie. And it was fun, but also at the same time it was very challenging to do it in the one movie for five scenes. You understand that the audience has a very sophisticated eye nowadays. They've seen everything already. So it's hard to throw them. I'm going to give you a great quote from Steven Spielberg. He says it's very hard to throw an audience with spectacle, but it's easy to do it if you give them a good story. And that's what we try to do with this, with the fight sequences in this movie." [caption id="attachment_851369" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] On What the Last Couple of Years, From Everything Everywhere All At Once Onwards, Have Been Like for Quan "It's incredible. Like Marvin Gable the character, it's about redemption and about second chances. When you talk about second chances, I really resonate with that. I got this incredible second chance to be an actor again and everything that has happened since 2022, when Everything Everywhere came out, has just been incredible. And Love Hurts is another proof that I didn't think I would ever get — being the lead actor in a major motion studio film, being number one on the call sheet, I didn't think that would ever happen. And one of the things that I really enjoy and love that came out of all of this is so many people have come up to me and said 'wow Ke, I've also struggled and seeing what you're going through, what happened to you, leaves me a lot of hope. And it gives me a lot of strength to keep on fighting, to continue to struggle, because it can happen'. I keep saying to everybody 'if it can happen to me, it can certainly happen to anybody'. This incredible opportunity to be in Love Hurts, it's kind of my answer to all those questions that they are asking themselves: 'if I put in the work, if I'm patient enough, if I'm determined enough, will one day my future get better? Will one day my dream come true?'. It's a great feeling to have, to be able to do that." [caption id="attachment_921343" align="alignnone" width="1920"] Loki. Photo by Gareth Gatrell. © 2023 MARVEL.[/caption] On Becoming a Source of Inspiration Thanks to His Glorious Comeback "It's amazing, because I have been inspired by so many people, so many wonderful actors that I've enjoyed, so many filmmakers — and not only that, also people outside of our industry. When I watch the news and I see people do incredible charity, I'm very inspired by that. I never thought I would ever be in a position to inspire others, and to be able to do that is one of the greatest feelings I ever had. It just gives me this really warm feeling inside that, I don't know what to say. I know I've been saying a lot of the same things for the last years, where you hear me say it all the time — grateful or it's a great blessing and I'm lucky, and certainly those are true adjectives." [caption id="attachment_976824" align="alignnone" width="1920"] Phil McCarten, ©AMPAS[/caption] On Not Knowing What Was Set to Come When Quan Was Cast in Everything Everywhere All At Once "I didn't think in terms of how much it was going to change my life, and I certainly didn't expect the incredible response that we got, all those incredible accolades that the movie has received. I just thought it was a great script, and I thought the Daniels were incredible filmmakers, and I just wanted to be on that journey with them. So I didn't expect this, but I knew that I would be proud of the movie. Because when I saw Swiss Army Man and it was such an absurd premise, but they were able to move me to tears, keep me at the edge of my seat and have me totally immersed in the story — and I said 'oh my god, if they can do that with that, that's their promise, I cannot imagine what they could do with this incredible script'. And surely they did exactly that and more. And, of course, in the process they changed my life. I didn't expect them to change my life. I was just very grateful that they believed that I can act again after such a long hiatus." Love Hurts releases in cinemas Down Under on Thursday, February 6, 2025.
Bound by a lighthearted mandate to "find beautiful things that make people smile", the Woodsfolk store in Hawthorn is just as charming as it sounds. Colourful vintage suitcases, lush plants, and a wide variety of local and international homewares are artfully strewn throughout the shop. The front half of the store serves as a traditional retail space, while the back half is set up like the kitsch bedroom of your dreams, complete with bright yellow school lockers. While the interior may look chaotically eclectic, there's definitely a method to the madness — from rustic but chic wooden stools by Rokha to Woodsfolk's own trendy neoprene bags, there's something for everyone. Images: Tracey Ah-kee.
HER is here. The HQ Group (the hospitality crew behind Arbory and Arbory Afloat) has set up residence at 270 Lonsdale Street to introduce five storeys of drinking, dining and deftly-designed good times to the neighbourhood. On the ground level is HER Bar, where you're invited to disappear into the gorgeously sleek fit-out at any time, day or night. Yes, this is a bar that also does breakfast. The morning menu is short but clever, offering wholesome options like granola with poached stone fruit or avocado cashew cream and broad bean pesto on sourdough, alongside the less virtuous poached lobster omelette with soft herbs and gruyère. And the breakfast service at HER comes with its own drinks menu. This is a bar, after all. Try an Aperol Sour on tap or the signature HER French 75 made with MGC gin, HER Marionette blood orange and hibiscus. But dinner is when you can really pull the ripcord. The menu, designed by Arbory's Executive Chef, Nick Bennett and Head Chef, Josh Rudd, is described as "French-inspired" and it sure stands pretty true as a tribute to Parisian bistro culture. Escargots à la Bourguignonne and sourdough, a great-looking duck frites with aged duck breast, herb jus and fries, and a cheeseburger with raclette, pickles, Dijon mayonnaise and Julienne Fries give you a sample of the snack-or-stay-all-night approach to the food. As Nick Bennett explains it: "The food at HER BAR is simple and accessible — European fare with a French lean but delivered with a modern lens... The menu is made to snack, share or settle in for the long haul, at any time of the day." The drinks program brings a similar mix of classic meets contemporary, with an any-time-of-the-day cocktail list curated by HQ Group's General Manager, Tom Byrne, and wine program from Marcus Ellis (formerly of Melbourne Wine Room and Mr Wolf) that mixes French and Italian makers with an eclectic lineup of local Australian wines. Big night out, working lunch or buzzy breakfast? HER Bar is hoping to help you do it all. HER Bar is open for business at 270 Lonsdale Street in Melbourne's CBD. You'll find HER Bar on the ground floor of HER.
"I never expected that my work would amount to anything," says celebrated Australian Chinese artist Lindy Lee in conversation with Concrete Playground. "One dreams, but I never dreamed that I would ever have a proper career in art," she says. It's a humbling statement from the artist whose retrospective Lindy Lee: Moon in a Dew Drop opened at MCA Australia earlier this month. Celebrating her dynamic and often experimental 40-year practice, with more than 70 works including paintings, flung metal pieces and immersive installations, the exhibition is one of the most exciting events in Australia this summer. If you're not familiar with Lee's art, she says her work is never about giving off a message or trying to explain something. "But rather [to create] an experience for the viewer where they find themselves whittling out questions and curiosities," says Lee. "Art exceeds what anyone can say about it. When viewing it, it is almost self-reflective." The multidisciplinary artist has a playful approach to her art in which process is as important as the finished piece. There are Lee's early photocopy works from the 80s, wax paintings and whole-room installations. And there's the dazzling steel sculpture 'Secret World of a Starlight Ember', made up of thousands of tiny perforations and located in the Museum's forecourt, which you'll want to catch at night — and undoubtedly take a selfie. But there are also six artworks that are particularly close to Lee's heart, which, according to the artist are not to be missed. For Lee, they represent different points of her practice, direction and philosophies — and they're pretty great to look at, too. [caption id="" align="alignnone" width="1920"] Anna Kucera[/caption] 'NO UP, NO DOWN, I AM THE TEN THOUSAND THINGS' Lee's practice is deeply rooted in Daoism and Ch'an (Zen) Buddhism philosophies, with her works often examining the connection between humanity and the cosmos. But it wasn't always so, which is why her work 'No Up, No Down, I Am the Ten Thousand Things' is such a seminal piece. "[It] was the first work that I ever created with a direct intentional relationship with Zen philosophy," says Lee. 'No Up, No Down, I Am the Ten Thousand Things' takes over an entire corner of the Museum, with approximately 1200 colourful photocopies, marked with flung ink (an ancient Chinese art form), scattered across the walls and floor. The bold work first exhibited at the Art Gallery of NSW in 1995 and has been recreated by Lee thanks to the MCA's Director and exhibition curator Elizabeth Ann Macgregor — her first curated exhibition since the MCA's 2012 Anish Kapoor show. [caption id="" align="alignnone" width="1920"] Ken Leanfore[/caption] 'MOONLIGHT DEITIES' This massive, immersive piece of art was commissioned especially for the exhibition and is made up of 31 perforated paper discs, varying from two to ten metres in diameter. So expect the wow-factor when walking through this one. Predominantly black and white with "the silvery light you get on a full moon night", 'Moonlight Deities' has a sense of otherworldliness to it. On the surface, it's all about dark and light, silhouettes and shadow, with moon crater-like projections dancing across the room. There's little difference between the discs and the shadows they cast, which, as you walk through the room, create a sense of liminality — all connecting back to Ch'an buddhism. "I have a fascination with time. In Zen philosophy, the thing I find immeasurably fascinating is the notion that time is actually an ingredient of what we are," says Lee. "We're all impermanent. And in the universe everything changes." [caption id="" align="alignnone" width="1920"] Anna Kucera[/caption] 'BIRTH AND DEATH' 'Birth and Death' is Lee's most personal work in the exhibition. "It remains one of the most important works I've ever done," says the artist. Created as an homage to her late nephew Ben after he passed away aged 22 from cancer, 'Birth and Death' touches on political and cultural themes such as migration, Chinese culture and the White Australia policy. "But the essential purpose of this piece was to honour Ben and give him his place in five generations of family," she says. "It's about paying honour to someone I cared very much about." The work is made up of 100 accordion books, with books dedicated to members of Lee's family at various stages of their life. Using red, the work evokes an association with blood as much as it does with China. It is as visually impactful as it is evocative. [caption id="" align="alignnone" width="1920"] Anna Kucera[/caption] 'STRANGE CONDENSATIONS' Lindy Lee is no stranger to experimentation in art. In fact, it is a major part of her process and with 'Strange Condensations' she surrenders to it. Her flung bronze works came about from seeing accidental bronze drippings on a foundry floor and, naturally, she wanted to turn it into art. By taking molten bronze and flinging it at surfaces, the artist creates almost cosmic constellations — in a hazmat suit, no less. Again stemming from her Buddhist beliefs, 'Strange Condensations' — and its making — is symbolic of the universe as an infinite net, constructed and dependent on everything within it. "What I love about [flung bronze] is that it's uncontrollable. Everything that exists in that moment makes that mark," says Lee. "Each shape is unique and it is absolutely about the conditions of the time that creates them. And thus it is with life." [caption id="" align="alignnone" width="1920"] Anna Kucera[/caption] 'OPEN AS THE SKY' AND 'UNNAMEABLE' If you thought splashing 1200-degree metal around was experimental, think again. Wanting to make her flung bronze works three-dimensional, Lee turned to a litre of Pauls custard — as a cooling substance to drop molten metal into. With the metal rolling into itself while cooling, it creates spontaneous forms that Lee then scales up. The end result is a series of gnarled, pitted sculptures like 'Open As the Sky' and 'Unnameable'. As well as being the product of a cool science experiment, these works are the artist's own version of gonshi (ancient scholar's rocks) and, in turn, celebrate her Chinese heritage. "It takes an immense energy of geological transitions and force over thousands of years to make [gonshi]. That's why they're admired; they literally contain the movement of the universe through them. So, you know, I wanted to make my own." 'Lindy Lee: Moon in a Dew Drop is showing at MCA Australia until February 2021. The gallery is currently open 10am–5pm, Tuesday–Sunday, with COVID-19 measures in place. Entry is free and unticketed. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively. Top images: Anna Kucera.
Summer is here and, with it, our desire to take a holiday from the constant hustle of work (and life) and treat ourselves to a relaxing evening out with our mates, dates or ourselves. This summer, we want to slow down, unwind and savour the moment — preferably with a good beverage in hand. Together with Diplomático Rum, we've compiled this list of luxe locations throughout Melbourne where you can chill and savour summertime with a luscious drop of premium dark rum. After all, Diplomático Rum is refined, balanced and smooth — perfect for those moments worth savouring.
Things are about to get loud at the Sidney Myer Music Bowl. Busy, too. Thanks to Melbourne's six lockdowns, the city spot hasn't been hosting gigs or welcoming in music lovers for most of the past 18 months or so — but come Saturday, October 30, that'll change when Play On Victoria takes over the venue. The site's first big event in months, this one-day music fest was first announced earlier in October, although it didn't have a name back then. A couple of weeks back, Victorian Premier Daniel Andrews revealed that Sidney Myer Music Bowl would host a gig for a solely double-vaccinated audience. The reason: to test the state's reopening settings in the period between hitting the 70-percent double-jabbed mark and coming out of lockdown — which is happening at 11.59pm on Thursday, October 21 — and relaxing even more restrictions at the 80-percent double-vaxxed threshold. Now, further details have been announced. If you're double-jabbed, get ready to see King Gizzard and the Lizard Wizard, Baker Boy, Amyl and the Sniffers, Grace Cummings, and Vika and Linda Bull all take to the stage. Everyone performing and working the event will be double-vaxxed, too, in a sign of how things in Victoria are expected to operate as the state opens back up. Play On Victoria will welcome in 4000 patrons, with tickets costing $29.90 each. You can nab yours from 3pm on Friday, October 22, with tickets limited to folks in metropolitan Melbourne. Attendees will need to wear masks at the gig, and will be allocated seats. You'll also be spread across the venue for social-distancing purposes, and to test how concerts can work safely moving forward. In terms of proving that you're vaxxed, you can display your COVID-19 digital certificate via the Service Victoria app, the Medicare app or your smartphone's wallet — or present a printed version of your certificate or immunisation history statement, or provide evidence of a valid exemption. [caption id="attachment_829284" align="alignnone" width="1920"] Tim Sabo via Wikimedia Commons[/caption] Top image: Piknic Electronik, Wade Malligan.
Although it certainly doesn’t feel like it, spring is just around the corner. So too is Melbourne Spring Fashion Week, and this year they're really pushing the boat out. Alongside the catwalks and usual fashion bonanzas around town, Emporium Melbourne have received the memo that we’re all just big kids in high fashion garb and are creating a multi-storey playground for us. The highlight? A freaking ball pit. Every level of the CBD's already fancy Emporium will be replete with unique activities and installations. As well as getting your guilt-free shop on (because it’s Fashion Week, duh) you can also dive head-first into a 3m x 3m chic ball pit without feeling like you might accidentally elbow someone’s child in the face with your enthusiasm. And while you’re in there, feel free to have a ANTM moment and pose for the cameras. And the fun won’t stop there. For hairy gentlemen, you'll find Whiskey + Whiskers on the lower ground level. While the ‘whiskers’ side things doesn’t mean a kitten-petting station, it does mean you can deposit yourself here for a bev and beard trim. Upstairs on the ground floor is where you’ll find the giant neon playground that spits out prizes every hour (yes, you read that correctly). One floor up, you'll find the beauty station for the ladies with a hair and beauty bar for makeup retouching, coloured contact lens trials and a braiding station (face it — there’s nothing more luxurious than someone gently braiding your hair). All this primping and preening will make sense during the evening when you make your way up one more floor to the party level. Hello, free prosecco on Friday. Hello, garden party and official MSFW photo booth, we'll be here for a while. And we’re not even done yet. If your weary legs can carry your shopping bags, new hair-do and booze-fuelled body up the stairs, make your way to level three to welcome spring with a snack in the cafe court while being serenaded by local live music. Melbourne Spring Fashion Week is taking over Emporium Melbourne, 287 Lonsdale Street, CBD from August 28-30 August. Free entry.
After a massive reno, Wyndham Cultural Centre is set to open in early July. And one of the first shows scheduled for the theatre is King Stingray and Electric Fields. The two bands, which, between them, have scored tonnes of awards and toured all over the world, will appear in a double bill on Saturday, July 5. Tickets are available online. King Stingray, which hails from the Northern Territory, put out its debut EP in 2022, straight away scoring five ARIA nominations and the prize for Breakthrough Artist of the Year. Since then, they've been touring internationally — right now they're making their way through Europe. Electronica duo Electric Fields had a similarly speedy rise to fame. After launching in 2015, they were touring China, Scotland and New Zealand within six months. 2024 saw them become the first duo to represent Australia at Eurovision with the song One Milkali (One Blood).
