Back in 2019, the thought of spending August in Melbourne doing anything other than sitting in a darkened room watching movie after movie would've sounded like flat-out cinephile blasphemy. Thankfully, after two pandemic-affected years that put Melbourne International Film Festival's in-person plans on hold not once but twice, that idea won't be a reality in 2022. Yes, the city's major cinema celebration is back in its best guise this year — and it'll have you making grooves in your favourite ACMI, The Capitol, Forum, Hoyts Melbourne Central, IMAX, Kino Cinema and Cinema Nova seats again. You'd better stock up on healthy mid-film snacks now, given you'll soon have a massive 371 features, shorts and extended-reality titles to watch. You'd best start training for all that time spent sitting down, too. Hitting cinemas for the first time in three years after pivoting online in 2020 and 2021 out of lockdown-fuelled necessity, MIFF is returning to Melbourne's picture palaces with a bang between Thursday, August 4–Sunday, August 21. That's already been obvious since back in June, when the fest unveiled its first 33 flicks for this year, its 70th event — and the full 2022 lineup proves that accurate again. Among the highlights, MIFF will boast the Australian premiere of The Stranger, a true-crime thriller starring Joel Edgerton (Obi-Wan Kenobi) and Sean Harris (Spencer), as directed by Acute Misfortune's Thomas M Wright; the local debut of Aftersun, another straight-from-Cannes pick led by Normal People's Paul Mescal; a big session of Three Thousand Years of Longing, the Tilda Swinton (Memoria)- and Idris Elba (The Harder They Fall)-starring latest from Mad Max: Fury Road's George Miller; and also David Cronenberg's Crimes of the Future, the iconic filmmaker's first feature since 2014's Maps to the Stars. Also massive: the Aussie premiere of documentary Moonage Daydream. As the title instantly makes plain to fans of David Bowie, it's all about the music icon, with Cobain: Montage of Heck and Jane filmmaker Brett Morgen creating a collage that steps through the singer's life using restored and never-before-seen footage. Or, there's also Decision to Leave, a noir romance that saw Korean filmmaker Park Chan-wook (Stoker, Oldboy) win Cannes' Best Director gong — and documentaries by Ethan Coen (The Ballad of Buster Scruggs), making his solo directing debut by surveying Jerry Lee Lewis; and Luca Guadagnino (Call Me by Your Name), about shoe designer Salvatore Ferragamo. In 2022, MIFF is debuting a new competition, too, which'll boast a $140,000 Best Film Award. Called Bright Horizons, it'll feature 11 movies vying for the prize — including the aforementioned The Stranger and Aftersun, Mexican drug trade drama Robe of Gems, cyber-musical Neptune Frost, Sundance Special Jury Award-winner Leonor Will Never Die, and Aussie filmmaker Alena Lodkina's (Strange Colours) second feature Petrol. The list of MIFF highlights also covers Palme d'Or winner Triangle of Sadness, which satirises the mega rich, is directed by Force Majeure's Ruben Östlund, and marks his second Palme win after The Square; and Broker, the latest from acclaimed Japanese filmmaker Hirokazu Kore-eda, who won the Palme d'Or back in 2018 with the sublime Shoplifters. This time, the latter has made a movie in Korea — his first Korean-language film, in fact, starring Parasite's Song Kang-ho, who won Cannes' Best Actor Award — with Broker again exploring the ties that bind and the connections of family. MIFF's genre selection is always a treat, and 2022 is no different. That's where you'll find standouts such as Bodies Bodies Bodies, the A24 horror-comedy starring Rachel Sennott, Amandla Stenberg and Pete Davidson; Canberra-shot social media-skewering delight Sissy; and Something in the Dirt, the latest mind-bender directed by and starring Justin Benson and Aaron Moorhead (The Endless). The fest is also dedicating its filmmaker retrospectives to Hungarian auteur Márta Mészáros and French-Bosnian writer/director Lucile Hadžihalilović — and, there's also opening night's coming-of-age feature Of an Age, a Hear My Eyes session of Chopper, the Aubrey Plaza (Best Sellers)-starring thriller Emily the Criminal, and horror-comedy Mona Lisa and the Blood Moon from A Girl Walks Home Alone at Night's Ana Lily Amirpour.
This modern Melbourne izakaya takes both its name and its culinary inspiration from bincho-tan – a top-quality white charcoal traditionally used in Japanese cooking. Bincho Boss has landed on Little Bourke Street, and it's teaming contemporary Japanese flavours with seasonal Aussie ingredients. Here, much of the menu is brought to life by the kitchen's konro grill, promising big flavours and plenty of heady aromas. A modern, neon-splashed space is the backdrop for fun, casual dining, for both lunch and dinner. Sure-fire hits include salt-crusted, charcoal-grilled wagyu beef matched with soy wasabi ($36), a two-person turkey hot pot starring meatballs in an aromatic broth ($26), and a pan-fried udon loaded with scallops, calamari and prawn ($18.50). Fresh, house-made tofu is reminiscent of the kind you'll find in Tokyo ($7), while a signature dessert teams espresso-flavoured creme caramel with a rich chestnut sauce. You can grab the seven-course 'bincho' set menu for $55, or drop $85 each to settle in with ten courses of 'The Boss'. In true izakaya style, the drinks offering has a little something for everyone, featuring imported brews, Asahi on tap, a largely local wine list and a strong selection of sake, including the smooth, umami-rich Kiku-Masamune koujo junmai-shu ($15.50). Meanwhile, a crafty cocktail list will see you sipping on clever concoctions like the Shimanchu Fizz blend of black sugar umeshu, grapefruit and prosecco ($17).
A cup of tea can't soothe all ills, solve any traumas of the past or smooth over centuries of systemic oppression; however, it is how the biggest New Zealand film of 2022 started to spring to fruition. That movie is Muru, writer/director Tearepa Kahi's (Poi E: The Story of Our Song, Mt Zion) take on the treatment of Aotearoa's Tūhoe community by the NZ government and law enforcement. It spins a story easily tied to one event, the October 2007 armed police raids of Rūātoki that were carried out under terrorism laws — acting on supposed suspicion of paramilitary training camps in the Urewera mountain range — but it gleans inspiration from multiple incidents that've blighted the country's history. "This film is not a recreation… it is a response," Muru tells its audience at the outset. That's an important statement. Kahi's approach is to work through the raids — and to draw upon the police shooting of Steven Wallace in Waitara in 2000, and from the arrest of Rua Kēnana in Maungapōhatu in 1916 — to offer a reply that might just prevent such horrors from recurring in the future. His feature lays bare how the community was impacted when police stormed in 15 years ago, and the distress it brought. An emotional film as well as an action-packed one, Muru doesn't hold back, whether it's confronting generations of prejudice, reckoning with its consequences or depicting what that kind of experience is like in shattering detail. When the cups of teas behind Muru began being poured, Kahi wasn't the only one doing the sipping. Also at the table: Tāme Iti, who was one of 18 people arrested during the 2007 raids. His off-screen input was always going to be crucial; his on-screen presence is as well. The activist and Rūātoki local plays himself in the film opposite fellow tea-drinker and NZ actor Cliff Curtis (Reminiscence), with Kahi bringing two famed Aotearoans together for a pivotal cause. Passion radiates from the end result: passion to tell this tale, to do it justice, to reflect the community's ordeal and to make a difference. It's no wonder that Muru has not only resonated on home soil, including opening the 2022 New Zealand International Film Festival midyear and its local box-office success, but also travelled further afield. Berths at the Toronto and Busan film fests, a cinema release in Australia, earning the Asia Pacific Screen Awards' Cultural Diversity Award: they've all followed. As Muru continues to share its story in NZ, in Australia and beyond, we spoke with Kahi and Iti about making a feature that history demanded, those cups of teas, the responsibilities of a film like this and more. ON DECIDING TO MAKE A FILM THAT RESPONDS TO THE TŪHOE RAIDS Tearepa: "Our first cup of tea together was in 2018, but my father and Papa Tāme, and my father-in-law and Papa Tāme, are friends, so the relationship predates 2018. You could almost say 'where did this film start?'. It probably started on the 15th of October 2007." Tāme: "I think those beginnings, it was really talking to people that we can trust. For me personally, it was: who do I need to talk to, and how do we do that, and the purpose? Who's the audience? And so forth and all that. For me, sharing my story, our story, the village's story to Tearepa is based on trust, connections and having those relationships with him and his family. So it has become a family collaboration or participation. It is really the timing too — it happened at the right time — and putting those layers of the story together. They came up with the magic." [Tāme points to Tearepa.] Tearepa: "The three of us — one, two and Cliff — we all started having cups of tea and plotting this chessboard out, really interrogating the themes, and pulling this chessboard of characters together." ON TĀME ITI PLAYING HIMSELF Tāme: "I mean, when Tearepa and I were talking about the character…" Tearepa: "I had a secret. And I kept the secret from him." Tāme: "It was all good. At the end of it, I did agree to it. There was a moment of anxiety, but I got over it and just moved along — it was fun, really." Tearepa: "We surrounded Papa Tāme with the best cast we could produce from NZ at the time of shooting. We were really proud — and the fact is that all of these people came on was because everyone was committed to wanting to bring Papa Tāme's story to life on-screen." Tāme: "And having the experience working with people like Cliff Curtis and Manu Bennett." Tearepa: "And Jay Ryan." Tāme: "And Jay Ryan. That was a new experience for me, working with people that have the craft and they're very good at it, and learning from that, too." Tearepa: "They learned a lot from you too, though. They learned a lot from you Papa." Tāme: "But it was great." ON FINDING THE RIGHT APPROACH Tearepa: "It's not what happened — it's a response to what happened. In that spirit, the spirit that guided us through here, is that this film, Muru, we hope is a prevention from this occurring to Tūhoe or to any Māori community ever again. Two times, our government has repeated their actions. And in many ways this is more than a reminder — it's a clear, strong message that the memory of the community is alive and well. It's saying: 'we know what you've done and we know what has happened, and here is our response. We've taken preventative measures to ensure the safety, the ongoing safety of our communities'. There was another version that was just much more Beehive and Wellington and police-focused, and a sort of very faithful chronological understanding of the machine and the system, and how it reached the moment of pushing the red button. But when we really held that script up and stress-tested it, there's no heart there, there's nothing to learn there. Why aren't we in the community? So we successfully screwed that one up and threw it into the basket, and put our story where it rightfully should be told." ON WORKING THROUGH REAL-LIFE TRAUMA WITH THE TŪHOE COMMUNITY Tāme: "That was my role, and others around us, to have those conversations with the community." Tearepa: "We had two years' worth of conversations. This was something that we carried with us every day, over the entire process. Is the commitment to telling this story going to enact more trauma, or retraumatise? Or, can we do this in a way where the point is so well-articulated, and the kaupapa is so well-understood and carried by everybody involved with this, that we do understand it as a prevention?" ON MAKING THE FILM WHERE THE RAIDS HAPPENED Tearepa: "What was it like staging an action film in Tāme's backyard? It was the most fun we've ever had as a full, experienced crew. We made many decisions from the outset, and one of them was not to shoot this in a West Auckland studio, or on a Lord of the Rings set. So we went to Tāme's backyard, and we spent our time conversing and communicating with everybody there so everyone in the community had an understanding of what was going to happen. It was an incredible amount of fun. It required an incredible amount of focus. Why it was easy was because it was all character-motivated and generated, so we're not imposing this external new worldview into the film — the film and the sequences are driven by the action of the characters. So that made it clear for everyone." ON SHOOTING DURING THE PANDEMIC Tearepa: "It was the best thing for us because it brought us much focus, and it brought us closer together. We're always trying to cast the lightest footprint in and amongst the community, but the amount of focus meant there was no third wheel to lean on. It was really up to us. It was like making an old-school 1980s film, you know, an old-school George Miller or an old-school Geoff Murphy film. It was just us and the crew, deep in the Valley, making this thing happen." ON THE PERSONAL IMPACT AMONG THE COMMUNITY, CAST AND CREW Tāme: "It was a whole new experience for the Valley, and bringing people into the space. Actually, that part was quite fun. After everybody agreed to participate in the making of the movie — it was a big thing for the village, to see something big is happening within our village — they were really excited, particularly my generation, the older folks, the ladies and the men there. And meeting Cliff Curtis and Manu Bennett, and all those guys — they really loved that." Tearepa: "There was an excitement factor, but then down inside each character, our cast members, there was a personal connection to the date, to the day that we're trying to bring to life as well. And that's what everyone was carrying — this personal connection. A lot of people were caught up inside this raid that day, and everyone had a personal story that connected them to someone who had been victimised or someone who had been caught up in this false net, so the personal stakes were really, really high." ON BRINGING THIS STORY TO THE WORLD Tearepa: "Everyone stays glued to their seats when the credits roll. We have been so specific with the Valley, in terms of the dialect, the language, the relationships — they are so specific. And I guess in committing to that level of specificity, you are universalising the story. There's a big undercurrent that's happening worldwide in terms of questions of authority, policing and how they should be protecting communities — there's always been a question mark there. So with that theme of loyalty and protection and authority, there is a lot of international resonance when they watch this specific valley." Tāme: "I had this conversation with Tearepa, sharing some of those experiences, those stories that come from within the village. The experiences we're covering come from well over 100 years — not just what happened in 2007, but what happened in 1916 to Rua Kēnana, what happened in the 1860s, right through that whole period of time. We survived here to tell the story, and to bring that story here and share it to the world really. And of course it resonated to many other Indigenous people, to other people that have been through the same experiences like our village." Tearepa: "To add to it, there is an overall awareness of the why we're making it — but really, in terms of the scriptwriting, it was about understanding and turning inwards. It was very inward-facing, to look into the Valley, to look into Papa Tāme's personal story. And with those themes, how we could bring those themes to life with characters within the village, within the Valley? Muru is screening in Australian and New Zealand cinemas. Read our full review. Images: Jawbone Pictures, Wheke Group Limited.
These days, you'll find yakitori all over the city. But skewers aren't the only thing Japanese people cook over coals. There's a huge branch of the cuisine, yakiniku, that covers barbecued eats, and the new Yakinau is here to show us exactly what that can look like. Chef Hugo Mai (ex-Nobu) is overseeing the food concept here, which is casual, fun and heavy on the DIY barbecuing. Like your usual KBBQ joints, every table has its own gas-powered grill where you'll cook up whatever cuts of wagyu — including a selection of M9-grade cuts from Victorian producer Blackmore — you desire. You can also supplement your wagyu with a selection of flame-kissed eats from the main kitchen — the a la carte menu includes eight different types of yakitori, as well as share plates like a tomahawk pork chop katsu, carbonara somen, and a spicy wagyu fried rice. Classic izakaya bar snacks also feature for those wanting to spend the night grazing while sipping on sake and knocking back beers. You've got chicken karaage, wagyu tartare, donburi bowls, deep-fried garlic wings and soft-shell crab tempura, just to name a few. Pair all this with Japanese whiskies, sake beer and cocktails to get the full izakaya experience. There's a lot going on at Yakinau, giving you the chance to choose your own delicious adventure. Images by Long Boy Media and Pablo Diaz.
There's not a souvlaki in sight at this Oakleigh eatery, which is a pretty rare occurrence — the area is generally dry of non-Greek eating options. Instead, Cote Terra is a beautiful café, tucked away from the hustle and bustle of the southeastern suburb's Eaton Mall. The establishment serves breakfast all day, with dishes coming in the form of chia and quinoa pudding with stewed apples ($12), and the hearty twice-cooked French toast with peanut butter mousse ($17). Not savoury enough? Then maybe the roasted button mushrooms with goats' curd, radish, dukkah and poached eggs on sourdough will satisfy you ($16). If you make it in time for lunch, you'll discover things such as a soft-shell crab burger with chips ($17) among other sandwiches and salads. And before you ask, serving sizes are generous here, so don't even think about having a bite beforehand — you'll regret it. As for coffee, the cafe serves pour overs of Proud Mary beans and also does a filter coffee using the AeroPress. If you've exceeded your caffeine count for the day, alternatives include Prana Chai, Dutch cocoa, juices and milkshakes. The cafe is also (surprisingly) licensed, serving beers and wines from both Europe and Australia. With a pared back fit-out — including cosy banquettes and warm lighting — and a relaxed vibe, Cote Terra lets the food speak for itself. On a beautiful day, you may want to relocate to the courtyard out back. It's also a stone's throw away from Oakleigh station, making it a prime option for a pre-commute meal or takeaway coffee. One thing to note before visiting though — the kitchen closes one hour before closing each day. So make sure you leave enough time to order. You don't want to be stuck with sub-par souvlaki.
Flight sales pop up all the time, which is excellent news for everyone that's obsessed with taking holidays. So, it's great for everyone. But Virgin Australia's latest batch of cheap fares is a once-in-four-years offering. It's doing big discounts for Leap Day, because February 29 is worth celebrating when it rolls around. For today, Thursday, February 29 only, then, more than 200,000 sale flights are up for grabs across a range of both domestic and international destinations. In other budget-friendly news, the cheapest starts at $35. As is always the case with these kinds of specials, that's the price from Sydney to Byron Bay — but Melbourne to Launceston will only cost you $39, too. Other options include Sydney to the Sunshine Coast from $55 and to the Gold Coast from $59, Melbourne to Uluru from $89 and to Hamilton Island from $99, and Brisbane to Cairns from $75 and to Hobart from $99. Folks in Adelaide can hit the Gold Coast from $85, while Perth residents can go to Cairns from $129. And they're just some of the one-way deals available. Internationally, the return deals start with Adelaide to Bail from $385, and also include Melbourne to Bali from $439, Sydney to Queenstown from $405 and Brisbane to Fiji from $479 — with more where they came from as well. If you're wondering when you'll need to travel, there's a range of dates from Monday, April 1–Sunday, June 30, 2024, all varying depending on the flights and prices. Getting in quickly is always recommended when it comes to flight sales — but when they only run for a day, finishing at 11.59pm AEST, you need to take that advice seriously. Virgin's 2024 Leap Day sale runs until midnight AEST on Thursday, February 29 — or until sold out. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
They're super compact and slimline enough to be stashed into even the most petite of purses, but memobottle's reusable, flat water bottles have achieved some very big things with their latest Kickstarter campaign, achieving full funding in a record-busting nine hours. The Aussie company first launched back in 2014 in an effort to help kick single-use plastic bottles to the curb, with co-founders Jonathan Byrt and Jesse Leeworthy taking to the crowdfunding platform to introduce and fund their two original, easy-to-carry, rectangular designs. Three years on, the pair have now unveiled their long-awaited second range, memobottle H2.0, completely blitzing their Kickstarter campaign in the process. The latest of these minimal designs include The Slim, which holds 450mL, and the extra petite A7, which can carry 180mL while taking up even less bag space than your phone. Admittedly, the bottles don't hold a heap of water, but they will get you through meetings or the journey from home to work. For anyone who's big on accessorising, there's also a range of interchangeable lids in copper and matte black, as well as copper desk stands and fitted leather bottle sleeves crafted by Aussie label Kinnon. The Kickstarter campaign for memobottle H2.0 is live until September 24, with one percent of all pledges donated to water.org. Jump on board to reduce your use of plastic, add to your minimalist aesthetic and help memobottle reach its goal of halving single-use bottle consumption by the year 2020. memobottle H2.0 is now being funded on Kickstarter. You can find more info and back the project here.
Call it the circle of cinema. Call it the movie that was always bound to happen once technology was rolled out to bring The Lion King franchise back to the screen with photorealistic visuals, too. After remaking its 90s animated hit with imagery that helps its animals to appear as if they've walked out of a documentary — well, almost — with 2019's The Lion King, Mufasa: The Lion King is hitting cinemas in 2024 to tell the story before the saga's beloved story. If you just can't wait to spend more time in the lifelike iteration of The Lion King's world, here comes a film about the lion that's king of the Pride Lands before Simba gets the job. As both the initial teaser trailer and just-dropped full sneak peek show, Mufasa: The Lion King is again styled to look like reality, not animation. It also shares Donald Glover (Mr & Mrs Smith), Beyoncé, Seth Rogen (Dumb Money), Billy Eichner (Bros) and John Kani (Murder Mystery 2) with its predecessor, reprising their roles as Simba, Nala, Pumbaa, Timon and Rafiki. As the feature's moniker makes plain, however, Mufasa: The Lion King isn't focusing on any of those characters' tales. Mufasa, aka Simba's father, sits at the centre of a picture directed by Moonlight Oscar-winner Barry Jenkins. The movie is presented as a story told by Rafiki, Timon and Pumbaa to Kiara, the daughter of Simba and Nala, who is voiced by Blue Ivy Carter. So goes a narrative about an orphaned cub who is taken in by a lion with royal blood, then set on a path that leads to the events of The Lion King. Among the voice cast, Aaron Pierre (Foe) does the honours as Mufasa. Kelvin Harrison Jr is Taka (Chevalier), the lion prince who takes Mufasa in like a brother. Tiffany Boone (Hunters), Mads Mikkelsen (The Promised Land), Thandiwe Newton (Chicken Run: Dawn of the Nugget), Lennie James (Genius), Anika Noni Rose (Pantheon), Keith David (Rick and Morty), Kagiso Lediga (The Umbrella Men) and Preston Nyman (A Small Light) also lend their vocals to the flick. As well as Jenkins, Mufasa: The Lion King boasts another huge off-screen name, with Hamilton great Lin-Manuel Miranda writing the movie's tunes. "Elton John. Tim Rice. Hans Zimmer. Lebo M. Mark Mancina. Beyoncé, Labrinth, Ilya Salmanzadeh. Beau Black, Ford Riley, the incredible music team on The Lion Guard, and so many musical contributors over the years. The Lion King has an incredible musical legacy with music from some of the greatest songwriters around, and I'm humbled and proud to be a part of it," said Miranda. "It's been a joy working alongside Barry Jenkins to bring Mufasa's story to life, and we can't wait for audiences to experience this film in theatres." Check out the full trailer for Mufasa: The Lion King below: Mufasa: The Lion King releases in cinemas Down Under on Thursday, December 19, 2024. Images: courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
When the sunny season descends on the beachside stretch of St Kilda, things will be looking a little different — or at least they will at 30 Jacka Boulevard. Pontoon, the downstairs beach club component of the Stokehouse precinct, is set to score a whole new lease on life, complete with a makeover, a new name and an entirely fresh direction. Already closed for renovations and slated to reopen during summer, the site's new incarnation is being steered by Hugh and Pete van Haandel, sons of Stokehouse precinct owner Frank van Haandel. It'll mark a return to the venue's roots and a nod to some of its previous lives, plating up fuss-free Euro flavours with a healthy dose of Aussie flair. While the specifics are being kept under wraps for now, we're told to expect a similar commitment to top-notch seasonal ingredients as Stokehouse above, yet with a simpler, more casual bent. [caption id="attachment_754106" align="alignnone" width="1920"] Pontoon, by Simon Shiff[/caption] Meanwhile, the space itself is aiming for a laidback aesthetic, while continuing to honour the precinct's strong sustainability focus — earlier this year, it achieved a covetable 5-Star Australian Excellence Green Star Design and As Built Rating. Pontoon is just the latest in a string of long-standing coastal venues to be revamped at the hands of new owners this year. Further south, you've got Mornington's newly reopened Bay Hotel, while Sorrento is home to both the reincarnated Stringers and the multiple venues of the Scott Pickett-led Continental Sorrento makeover. Pontoon's next incarnation will reopen at 30 Jacka Boulevard, St Kilda, this summer. We'll share more details as they drop.
When Princess Mononoke marked its 25th anniversary in 2022, the Studio Ghibli gem returned to cinemas. Because Hayao Miyazaki's movies should never be far from a picture palace, one his most-stunning features is making another big-screen comeback three years later. There's no milestone to celebrate this time, just an exceptional flick from a beloved Japanese animation house just because — as well as the fact that Princess Mononoke is getting both the 4K and IMAX treatment. This is also the first time ever that the 1997 film is being released in IMAX. So, no matter how many times you've seen it before, you haven't seen it like this. The date for your diary: Thursday, August 21, 2025. Language-wise, two versions of the movie are playing in both Australia and New Zealand: the original Japanese version, which is the one that every Ghibli fan should be flocking to, and the English-dubbed version as well. If you're a newcomer to this delight by the one and only Miyazaki — a film that only ranks behind Spirited Away and Nausicaa of the Valley of the Wind among the director's greats — get ready for a picture that makes a clear ecological statement. The iconic filmmaker has never shied away from doing just that; however, Princess Mononoke might just send his most forceful message about humanity's impact upon the earth. As set in Japan's Muromachi period (from the 14th to 16th centuries), the involving fantasy takes place among humans, animals and gods, all of which have been living in harmony until the movie starts. From there, the film charts the paths of a young prince with a curse and a young woman raised by wolves, as well as the conflict between a modernising town and the forest it's destroying. Every Studio Ghibli film is worth seeing — the animation house hasn't ever made a bad one, even if a few sit below the rest — but Princess Mononoke is a stone-cold classic. The highest-grossing Japanese feature of 1997, it's also the picture that helped bring the company's wonderful flicks to western audiences. If you do catch the English-dubbed version, the voice cast includes Gillian Anderson (The Salt Path), Claire Danes (Full Circle), Billy Crudup (The Morning Show), Minnie Driver (The Assessment), Jada Pinkett Smith (The Equalizer) and Billy Bob Thorton (Landman). Check out the trailer for Princess Mononoke below: Princess Mononoke returns to Australian and New Zealand cinemas from Thursday, August 21, 2025. For more information, head to the Crunchyroll website.
Come October, the $20 notes you'll be stuffing in your wallet will look a little different — a new design for the lobster has just been release, and it's hitting tills around the country in just eight months. Australia's banknotes have been getting a makeover since September 2016, when a different $5 note started doing the rounds. It was followed by a revamped $10 in 2017, then $50 in 2018 — and now a sparkling fresh $20, which will hit the streets in October 2019. The upgraded design will celebrate Mary Reibey, an Australian convict-turned-merchant, shipowner and philanthropist, as well as John Flynn, the founder of what is now known as the Royal Flying Doctor Service. They're both recognised in several ways on the new notes, with not only their portraits displayed prominently, but with images one of Reibey's Port Jackson schooners and Flynn's aircraft leaving a Broken Hill homestead, as well as microprint featuring an excerpt from Flynn's book The Bushman's Companion. As well as changed artwork (albeit keeping the same colour scheme and same celebrated Australians as old notes), the new $20 boasts the same improved security features as the new $5, $10 and $50 notes, which are largely aimed to stop counterfeiting. A clear window running from top to bottom is the most obvious, and contains a number of features such as a reversing number and flying kookaburra. And, in great news for the vision-impaired, the new series of legal tender has a tactile feature to help distinguish between different denominations. As happened with the other denominations, the rollout will happen gradually, as will the withdrawal of old $20s — which you can obviously still keep using. And as for the final Aussie banknote yet to receive a revamp, the new $100 is due to be released in 2020.
If you didn't see The Fall Guy, Twisters, Deadpool & Wolverine, Challengers, Inside Out 2, The Wild Robot, The Substance, Kneecap, It Ends with Us or Despicable Me 4 on the big screen already in 2024, here's the perfect way to catch up with them: under the stars, while sprawled out on a picnic blanket or sat on a bean bed, at the latest season of Moonlight Cinema. And if watching Christmas films is one of your festive traditions, here's a scenic way to do that, too, with this annual opportunity to enjoy a movie outside packing its just-dropped first lineup for this year with seasonal flicks. As it does every summer, Moonlight Cinema is returning for another run of films in the open air, locking in its dates, venues and first program details for its 2024–25 stints in Brisbane, Sydney, Adelaide, Melbourne and Perth. While the outdoor picture palace is synonymous with the warmest season of the year, it kicks off at the end of spring in most cities, and runs through to the end of the first month of autumn in some as well. The projector will start rolling in Brisbane first, with the River City's season taking place across Thursday, November 21–Sunday, February 16 in Roma Street Parklands. Next up is Sydney, in Centennial Parklands from Friday, November 22–Sunday, March 30. Then comes Adelaide and Melbourne a week later, the former from Thursday, November 28–Sunday, February 16, 2024 in Botanic Park and the latter across Friday, November 29–Sunday, March 30 in Royal Botanic Gardens. Perth movie lovers can get their fix in Kings Park and Botanic Garden from Thursday, December 5–Sunday, March 30. Lineup specifics always vary per location, so not all of the aforementioned titles — or the ones below — show in every city. But the program still gives patrons a mix of recent, new and classic fare wherever they're sitting on the grass while soaking in the evening, the fresh air and a movie. Among the brand-new titles, Gladiator II and Wicked are also on the bill, as are advanced screenings of the Hugh Grant (Unfrosted)-starring horror film Heretic and Robbie Williams biopic Better Man. When Paddington in Peru gets the same treatment, you'll want marmalade sandwiches in your picnic basket. The OG version of Mean Girls will grace Moonlight Cinema's screens, too, as will 2023's smash-hit Barbie. And for a merry time at the movies — a jolly one as well — the roster of Christmas fare spans the new Red One, as well as classics Elf, Love Actually, The Holiday, The Muppet Christmas Carol, Home Alone, Home Alone 2: Lost in New York and How The Grinch Stole Christmas. If you're wondering what else Moonlight will show across its full season, it now drops its program month by month, so watch this space for more announcements. As always, the films and the setting are just two parts of the cinema's experience. Also on offer: the returning Aperol spritz bar. Nosh-wise, the event will again let you BYO movie snacks and drinks (no alcohol in Brisbane, though), but the unorganised can enjoy a plethora of bites to eat onsite while reclining on bean beds. There'll also be two VIP sections for an extra-luxe openair movie experience, a platinum package with waiter service in Sydney and Melbourne only, and a beauty cart handing out samples. Plus, dogs are welcome at all sites except Perth — there's even special doggo bean beds. Moonlight Cinema 2024–25 Dates Brisbane: Thursday, November 21, 2024–Sunday, February 16, 2025 in Roma Street Parklands Sydney: Friday, November 22, 2024–Sunday, March 30, 2025 in Centennial Parklands Adelaide: Thursday, November 28, 2024–Sunday, February 16, 2025, 2024 in Botanic Park Melbourne: Friday, November 29, 2024–Sunday, March 30, 2025 in Royal Botanic Gardens Perth: Thursday, December 5, 2024–Sunday, March 30, 2025 in Kings Park and Botanic Garden Moonlight Cinema kicks off in November 2024, running through until March 2025. For more information and to buy tickets, visit the cinema's website — and we'll update you with further program details when they're announced.
Mud, moss and murky waters mightn't sound like dream Airbnb features, but they couldn't be more exciting if you're a fan of pop culture's favourite solitude-loving ogre. To celebrate Halloween with a fairy tale theme, the accommodation booking platform has added a unique Scottish Highlands stay that'll turn you green with envy if you don't score the reservation — and have you spending the weekend at Shrek's Swamp IRL if you do. Hey now, this is the nostalgic all-star of Airbnb listings, aka a recreation of a spot straight out of the Shrek movies. And the host? Donkey, although it's unlikely that that means that either Eddie Murphy or a domesticated equine will be there to greet you. Here's what is definitely included: two nights for up to three guests in a stumpy structure that goes rustic inside and out, all for free. You'll enjoy a parfait, fireside stories, waffles in the morning, "earwax candlelight" to set the mood (the listing's words, not ours), and having the whole place to yourselves behind the "danger" and "stay out" signs. Oh, and absolutely no torches and pitchforks. Whether onions are included hasn't been revealed. "Shrek's Swamp is lovely. Just beautiful. The perfect place to entertain guests," said Donkey, announcing the stay (well, said Airbnb giving the statement the appropriate themed spin). "You know what I like about it? Everything. The overgrown landscaping, the modest interiors, the nice boulders, all of it. I can't wait for guests to experience this muddy slice of paradise for themselves." If you're keen, you'll need to try to nab the booking at 4am AEDT / 3am AEST / 6am NZDT on Saturday, October 14 — and, if your wish comes true, you'll be off for a stay across the weekend of Friday, October 27–Sunday, October 29. As always, whoever gets the reservation is responsible for their own travel, including if they have to get to and from Scotland. This listing is also helping a good cause, with Airbnb making a one-off donation to the HopScotch Children's Charity, which helps vulnerable and disadvantaged children in Scotland, as part of the Shrek's Swamp promotion. Somebody once told us that the platform loves offering up once-in-a-lifetime spots to slumber, as its recent history shows. In the past, it has had nights at Barbie's Malibu DreamHouse, the Ted Lasso pub, the Moulin Rouge! windmill, Gwyneth Paltrow's Montecito abode, Hobbiton, the Bluey house, the Paris theatre that inspired The Phantom of the Opera and the Scooby-Doo Mystery Machine up for grabs. Also on the list: The Godfather mansion, the South Korean estate where BTS filmed In the Soop, Japan's World Heritage-listed Suganuma Village and the House of Sunny studio. Last Halloween, it similarly went with a movie theme, listing the Sanderson sisters' Hocus Pocus cottage. For more information about the Shrek's Swamp stay on Airbnb, or to book at 4am AEDT / 3am AEST / 6am NZDT on Saturday, October 14 for a stay across Friday, October 27–Sunday, October 29, head to the Airbnb website. Images: Alix McIntosh. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
After throwing open the doors to its new development in Brisbane earlier this month and announcing they'll be laying foundations in Sydney as well, the next destination on the horizon for luxe hotel chain W Hotel will be Melbourne. W Melbourne is slated to open in 2020 on Collins Street in the middle of Melbourne's shopping heartland. Following Brisbane's ten-gallon baths and Sydney's flashy pool deck overlooking the harbour, the Melbourne digs look to be no less indulgent. W Melbourne will encompass 294 rooms and suites, including an "Extreme Wow Suite", which we're guessing will be high on the list for very important wedding anniversary occasions or maybe a Tinder date you really want to impress. To be designed by New York-based SHoP Architects, global design firm Woods Bagot and interior designers Hachem, W Melbourne will house a bar, restaurant, spa, gym and a heated indoor pool. And, for those needing function space, W will have more of it than you can physically fill — a 13,000-square metre space for conferences, meetings, or holding lush balls. While there's no word yet on who will be running the restaurant, if Brisbane's W is anything to go by — it's headed up by Sydney's Three Blue Ducks — it'll be someone pretty good. Ben Shewry? Aaron Turner? David Moyle? We can only dream. Functioning, too, as the bottom 20-storeys of a towering new precinct called Collins Arch, W Melbourne will sit on Collins Street, with the hotel lobby located on Flinders Lane. The $1.3 billion new precinct will be comprised of two towers of commercial, residential and retail spaces, joined at the top by a dramatic sky bridge. W Melbourne and W Sydney will make three Australian branches for the W Hotel chain, adding to its existing 50 in the world, and helping reach its goal of 75 across the globe in the next two years.
Hanging out on Melbourne's rooftops could seem a little chilly this winter. But the team at Good Heavens have put together an attention-grabbing experience set to get you off the couch. Giving the city's largest rooftop bar a winter makeover, Heavens Above is the venue's cold-weather twist, featuring boundless fun in the clouds with the launch of a new-age curling rink. Offering a fast-paced, team-friendly spin on traditional curling, Good Heavens is primed for late-night thrills, as groups gather to chase bragging rights over a few drinks. Though not the full-scale affair, this easygoing game blends the likes of shuffleboard and lawn bowls for a satisfying sliding experience that puts your skills to the test. With the venue bringing a fresh look for winter, Good Heavens hasn't said goodbye to its Palm Springs-inspired vibe. Curated by local artist Georgia Harvey, she's lent her eye for openair spaces to the venue, decking out Heavens Above with warm tones, bold flourishes and a draped ceiling installation crafted by Melbourne textile artist, Oscar Lake. As for the drinks, the winter menu doesn't miss a beat. Bartender Matt Linklater (Black Pearl) has conceived an exclusive cocktail list, marrying creative combinations with winter warmth. The Frosé Tips features rosé, strawberry and coconut, while the Black Diamond Fizz blends Ardbeg Wee Beastie, Dubonnet rouge, blackberry and soda. Feeling extra indulgent? The S'mores Espresso Martini combines Belvedere, Kahlua, salted caramel and toasted marshmallow. Plus, winter's chill will quickly evaporate with a cosy glass of mulled cider in hand, with its mix of Mountain Goat cider, Hennessy, spices, honey and sage primed for the season. Heavens Above also features a seasonal food menu, with Head Chef Jarrod Di Blasi bringing a host of playful twists. Think devilled eggs topped with sturgeon Oscietra caviar; wood-grilled oysters brushed with smoked brisket fat and cayenne-watermelon hot sauce; and soft chocolate mousse with cold-pressed yuzu oil and fleur de sel. So, work up an appetite on the curling court, then slide into a comfy spot for drinks and nibbles at Good Heavens this winter. Good Heavens is open Thursday–Saturday from 12pm–1am and Sunday–Wednesday from 12pm–11pm at Level 2/79 Bourke Street, Melbourne. Head to the website for more information.
There's nothing like watching a film at the planetarium, but it's something that most of us mightn't do all that often. Daytime sessions cater to school groups, and Melburnians over 18 used to have to wait until MIFF's fulldome program came around. Thankfully, Scienceworks' Planetarium Nights series changed that. Every Friday evening, once the planetarium's usual working day is done, adults can have some after-hours fun in its impressive space. That means sitting in the reclining chairs, looking up at the 16-metre domed ceiling, listening to the 7.1 surround-sound system and soaking in the best that the fulldome video projection system has to offer. In July, two sessions happen each Friday — at 7.30pm and 9pm. The first timeslot is all about astronomy, and may also include a presenter-led tour of the heavens. But, for this month only, it's the late-night screening that's the big drawcard. The reason? Pink Floyd's The Dark Side of the Moon. The iconic album turned 50 in 2023, so Scienceworks is celebrating with stunning visuals set to 42 minutes of the record — views of the solar system and beyond. Each track gets a different set of images, with some pondering the future, others delving into the band's history, and all toying with space and time. Making this night at the planetarium even better is the fact that the whole thing is boozy, so you can grab a drink from the bar, take it into the auditorium and sip while you watch.
Early in We Live in Time — early in the film's running time for watching audiences, but not early in its central romance thanks to the movie's non-linear storytelling — Florence Pugh's Almut reacts to significant news about her health by delivering her own to Andrew Garfield's Tobias. Years after a meet-cute involving a hospital (and also a car accident, with her behind the wheel and him lightly struck by the car), they're again at one. Their relationship has never been much of a stranger to them, in fact. This time, however, as the chef and the Weetbix employee stand in the carpark after an appointment, they ponder a question that lingers over everyone but never as much as those forced to reckon with the knowledge that their future might not be guaranteed: is life best lived for quantity or quality? Charting a decade in its characters' existence, from a surprise encounter to falling in love, weathering heartbreak, starting a family, pursuing professional dreams, navigating challenges and facing mortality, We Live in Time isn't a strict two-hander in terms of casting. Still, it's so intimately a double act between Pugh (Dune: Part Two) and Garfield (Under the Banner of Heaven) that it feels like one. See: this crucial moment, which conveys everything about Almut and Tobias' dynamic. She speaks carefully but passionately. He listens devotedly. Nothing else could be more important to either of them. Pugh's performance simmers with raw emotion. This interaction isn't about him, but Garfield turns in some of cinema's most-moving reaction work as Tobias takes in what he's being told. Asked how important that scene is for him, Garfield is quick and decisive: "very pivotal," he tells Concrete Playground. It also cuts to the core of exactly what helps make We Live in Time so affecting. This is a heartfelt romance dealing with the fleeting nature of life — and in other hands than Garfield and Pugh's, and director John Crowley (Brooklyn) and screenwriter Nick Payne's (The Last Letter From Your Lover), it'd risk being dismissed as a weepie — but it's always about who Almut is regardless of anything that she can't control. It's about how people endure, create a life together and cherish their time together, while the hourglass empties, too. The impact that a person has beyond just being someone's parent, someone's partner or someone's child also sits at the centre of the film as much as Almut and Tobias' relationship. And, as it delves into weighty topics for its genre while stepping through Almut and Tobias' tale, We Live in Time firmly never falls into the common trap of heroing what Tobias is going through over Almut's experience — as a person, not just as someone with an unwanted diagnosis. It doesn't dream of defining her or them through the worst thing that they'll ever confront, either. In some features, letting time jump around can be a gimmick, but here it is done with touching purpose. As the movie flits between the duo's first weeks and months together, one specific day spent in the bathroom of a service station and also their well-established romance, the non-linear structure ensures that the full wave of life and love — not specific pieces of news, or coping with their aftermath — are always pushed to the fore in an immensely well-rounded narrative. For Garfield, Tobias is the role that brings him back to the screen. 2025 marks 18 years since his film debut in Boy A, another empathetic and sensitive film directed by Crowley — as well as a feature that earned its star a BAFTA TV award — and he's rarely been far away the viewers' gaze since, until 2022. Before half a decade had passed from his first movie, he'd made an imprint in three-time Oscar-winner The Social Network opposite Jesse Eisenberg (A Real Pain) and slung webs in a comic-book blockbuster in The Amazing Spider-Man. Another five years later, he had his first Best Actor Oscar nomination for Hacksaw Ridge. Before, in-between and afterwards, Garfield kept adding interesting projects to his resume, the page-to-screen Red Riding crime saga, dystopian romance Never Let Me Go, housing-crisis drama 99 Homes, the Martin Scorsese (Killers of the Flower Moon)-helmed Silence, LA-set neo-noir Under the Silver Lake and Lin-Manuel Miranda's (Hamilton) Jonathan Larson biographical musical Tick, Tick... Boom! — the source of his second round of Best Actor love from the Academy Awards — among them. Two more stints as Peter Parker also eventuated, including in the Marvel Cinematic Universe. Then, after television's Under the Banner of Heaven, he took some time off. One of the things that made We Live in Time a must-star for him: a memorable birth scene that Garfield likens to an action sequence. What did it mean to join forces with Crowley again after the filmmaker gave him his initial movie role? And to dive into the meaning of life and what truly matters in We Live in Time — and to create such a deep sense of intimacy with Pugh, too? Over a cup of tea, we chatted with Garfield about all of the above, the film's efforts to avoid the tearjerker label and two key instances, one off- and the other on-screen: the "this is it!" moment that made him know he wanted to make this movie, and that carpark scene. On Reteaming with John Crowley on We Live in Time After Boy A — and Collaborating with the Director on Empathetic and Sensitive Films "It's quite natural because John is naturally that, and I think I'm quite naturally that, and I think it just works. There's nothing better than on a film set feeling like you have room to take ownership over a moment, to breathe as the character, to not feel like you have to get it right — and it's an important thing for me to feel when I'm on a set. John is one of those filmmakers that provides that for his actors. He creates a lot of space for breath. He creates a lot of space for exploration and nuance, and interior life and subtlety, and for life to unfold. I felt that when I was first working with him and then it's remained now." On Diving Into Weighty Notions Such as How People Create a Life, Cherish Their Time Together and Have an Impact in a Romantic Drama "I love these ideas and I think that you said it perfectly — they are weighty and they are about the meaning of life, and they are about what matters and what doesn't, and how we keep our attention and our hearts trained on that which is nourishing and that which is mysterious and meaningful. So I love these ideas, and I love being able to hang out in them and to ask questions within them, within the question. And to explore these themes with great artists and collaborators is a dream, and with such great writing. I think that these are the questions that I ask myself on a daily basis anyway. So it felt very natural to slide into this character's skin, and all of the difficulty and beauty of the experience he was having." On What Excited Garfield About Starring in We Live in Time as His First On-Screen Project Since 2022's Under the Banner of Heaven "I think while I was reading the script, and I was reading how this dynamic was unfolding and how it built particularly to the birth scene, I thought 'my gosh, this is such an epic action sequence in domesticity'. I thought: 'oh, man, I want to see this, and how this plays out'. And there were a few scenes of just deep beauty and tenderness, and funny — they were just so sweetly funny within such pain. And I thought 'that just feels like a balm'. It feels like a balm for me, as a person that's been through his own grief. But also it will feel like a balm for other people in the audience who are going through their own version of what these people are going through in this film. So it felt like an act of service. It felt like a real act of service to make this film for myself, but also for an audience, hopefully." On Building Deep Intimacy with Florence Pugh as Tobias and Almut "So the writing is very good. The writing was the jumping-off point and thank god it was a great script, otherwise I don't think we'd be talking — I don't think the film would have been made. So that was the beginning. And then it was me and Florence just finding this natural trust and depth of intimacy and nakedness and vulnerability together. And joy and play together. We can go from being feeling like two childhood friends to feeling like parents. That's a really important thing, I think, for this film. That was rather easy for us to find together. I think we're both just up for it. We're both just two actors and two people who are just like 'what are we doing today, and how do we make it as fun and as silly and as real and as deep as possible?'. That's what we came into every day looking for — and not just for ourselves, but for the other, too. We were two actors who really, really loved being a part of the other person flying. And that's a really special thing." On Ensuring That The Film Tells a Well-Rounded Story That Reflects Life and Is Never a Weepie, Even as It Deals with Love and Mortality "We didn't want it to feel sentimental or saccharine. We didn't want it to feel imbalanced. We didn't want it to feel manipulative. We wanted it to feel, as you say, like life. We wanted it to be very, very rich, diverse experience that felt like watching life unfold for these two people — in all of the agony and all of the ecstasy and all of the complication. What's amazing about Florence's character is she's not this lionised, idealised survivor/victim. And I think the same thing with Tobias, he's not some overly soppy, wet, sympathetic, sentimental character. They both have flaws. They both have fallibility. And they're both deeply human. So that was very, very important for us to keep our eye on." On What Garfield Was Hoping to Express in the Movie's Pivotal Carpark Scene "I was hoping to convey just an impossible contradiction in impulses. I think there's no easy path in that moment for these two characters. And for Tobias, I wanted to convey a thousand things at once. I wanted to convey overwhelm. I wanted to convey being unable to offer anything concise or rational or useful. I wanted to convey deep understanding of where she was while also wanting to kick and scream — and I wanted to convey, on top of that, 'all I've got to do right now is not make this about me. I've just got to listen and I've just got to support and let this moment be this moment, not have an answer'. Just the humility of 'I don't have anything to say here and I'm not going to force it' — like I think most of us want to do in those situations, we want to have a fix-it answer. We want to have some kind final solution. But I think Tobias, in that moment, is humble enough or overwhelmed enough to be able just to stand there, not having anything to offer apart from comfort." We Live in Time opens in Australian cinemas on Thursday, January 16, 2025 and in New Zealand cinemas on Thursday, January 23, 2025.
In what might be the bravest marketing move of the decade, ice cream manufacturers Ben and Jerry's are rumoured to be creating a new flavour called 'Schweddy Balls' based on an incredibly popular Saturday Night Live skit from 1998 involving Alec Baldwin. In an interview last night former SNL cast member Anna Gasteyer said of the Schwetty Balls skit "It has this crazy, massive popularity that's kind have had a half life since I left the show. Ben and Jerry's is coming out with a Schwetty Balls ice cream for Christmas this year." Bowery Bogey claims this delicious dish will be available to consumers as soon as September. A Ben and Jerry's representative has refused to either confirm or deny the sweaty speculations, instead choosing to say "we like all our new flavours to have an element of surprise." Surprise indeed, one can only imagine what constitutes a Schweddy Balls flavour. And while this all might seem too be good to be true, it wouldn't be the first time that Ben and Jerry's have released a pop culture inspired flavour. Previous flavours include Stephen Colbert's Americone Dream, Cherry Garcia, in honour of Grateful Dead singer Jerry Garcia, and Yes Pecan in honour of Barack Obama's 2008 presidential victory. https://youtube.com/watch?v=yVChao15oDw [Via Gothamist]
Settling into a wellness experience shouldn't be a special reward; it should form part of your routine that keeps you feeling at your best. Now that EQ — South Melbourne's preventative wellbeing sanctuary — has been up and running since May 2024, they're introducing foundation memberships to make its mindful encounters a daily reality. EQ is jam-packed with holistic activities, offering everything from a hammam and saunas to a rain room, ice-cold plunge pools and a light and sound therapy dome. Meanwhile, its best-known experience, Signature Journey, is intended to foster a complete nervous system reset through a guided three-hour transformation. "Anyone can reset and feel rested once, but true transformation happens when you have the tools and structure to reset again and again and again — when you know exactly which tool to lean on, and when," says EQ Co-Founder and Director, Mia Basic. "We've launched memberships to make nervous system care a ritual, not a once-off treat." Alongside the full spectrum of bathhouse experiences, EQ hosts immersive breathwork sessions and movement-based classes like yoga and pilates. Plus, EQ Live offers a steady program of in-person workshops and events that deepen practice and connection. With two tiers of memberships up for grabs, dealing with daily stresses becomes much easier. Priced at $75 per week, the Foundation Silver Membership includes unlimited access to EQ's bathhouse, dome, breathwork and studio classes, while providing 50 percent off EQ Live sessions. Yet relaxation fanatics can upgrade to the Foundation Gold Membership for $105 per week, gaining unlimited access to all EQ experiences. "We believe wellbeing should be designed into people's lives, not left as an afterthought. These memberships are about making that possible at scale. They give our community the chance to integrate critical wellbeing practices into their day-to-day — to feel calm, energised and in control as a baseline, not a nice-to-have," says Basic. EQ is open Tuesday–Sunday from 8am–8pm at 5/22 Kings Pl, South Melbourne. Head to the website for more information.
Think about Byron Bay, and a quiet coastal town with stunning beaches is no longer the only thing that comes to mind. Hemsworths pop up, plus other celebrities. So does the New South Wales spot's stint backdropping TV shows. Fancy leaning into the locale's luxe side? Enter its first-ever five-star hotel, with Hotel Marvell opening its doors on Tuesday, August 1. It boasts Marvell in its name, but Marvel Cinematic Universe fans will have spotted the spelling difference. No, even with Chris Hemsworth virtually synonymous with Byron Bay of late, this new place to stay has nothing to do with superheroes. Instead, this new addition to Marvell Street features 24 rooms and suites, the town's first rooftop bar and pool, and onsite restaurant Bonito. Owners Scott Didier and Scott Emery have gone lavish, aiming to give holidaymakers a one-of-a-kind stay. "Hotel Marvell is designed to offer our guests an extraordinary experience like no other. From the exclusive rooftop bar and pool with breathtaking views to the Bonito restaurant showcasing the finest local ingredients, we have crafted a haven for those seeking refined luxury in Byron Bay," said Emery. "Our passion for Byron Bay and our belief in the potential of this incredible destination inspired us to create Hotel Marvell. We want to offer our guests an unparalleled experience that combines the beauty of the surroundings with the luxury of our accommodations," added Didier. The 24 spots to slumber include 16 hotel rooms, six suites and a pair of two-bedroom rooms, all equipped with private balconies. Guests will sleep on Bemboka & Eadie linens, hit up the mini bar stocked with locally sourced products, make coffee from their in-room Nespresso machine, and take in the Byron Bay vibe and surroundings. Keen on room service? That runs from 11am–8pm. For a dip, head to level three — and for a bite beyond your room, to Bonito, which features chef Minh Le (ex-Spicers Peak Lodge, The Byron at Byron, The Foraging Quail) at the helm. His menu heroes seafood and plant-based cuisine, as well as his own heritage. On offer: organic sourdough with house-cultured miso butter, oysters in a Japanese dressing and Hiromasa kingfish glazed with spiced soy sauce Harley Graham of Harley Graham Architects is responsible for the hotel's look, which skews tropical, warm and colourful — complete with plenty of greenery and a pedestrian laneway. Unsurprisingly, a night at Hotel Marvell doesn't come cheap, starting at $600 per night for a hotel room. If you're keen on a suite, that'll set you back at least $780. Find Hotel Marvell at 4 Marvell Street, Byron Bay from Tuesday, August 1 — head to the hotel's website for further details and to make a reservation. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Therry Street, on the southern end of Queen Vic Market's Dairy Hall, has become a mini food and drink hub of its own. It recently welcomed a St Ali outpost, Brick Lane Brewery's new site overlooking the market, and the Japanese-inspired brunch spot Operator San. It's a really short street, but more shops are still popping up — most notably, Romanello. This Italian takeaway spot is baking Tuscan-style bread (schiacciata) and pizza by the slice from Tuesday–Sunday. The schiacciata bread is similar to focaccia, but it's thinner, airier and crispier. When used to make loaded sandwiches, it's a whole lot easier to eat and isn't quite as heavy. It's also baked fresh every day on-site. Be sure to watch the bakers do their thing through the street-side windows before heading in. The schiacciata slabs are then sliced up and stuffed with a stack of produce that's mostly sourced from the Queen Vic Market. The cotoletta sanga is a fan-favourite, coming with breaded chicken, creamy red peppers, pistachio pesto, onions, spicy provolone and rocket. The Cheeky Beef is another winner, loaded up with handmade beef carpaccio, stracchino soft cheese, truffle paste and rocket. Then come the pizzas, served on a very similar base to the sandwiches. Instead of being really doughy like your usual pizza, these are on the crispier side (but not super thin). Our favourite has got to be the Mortazza, topped with mortadella, pistachio paste, crushed pistachios and a mini burrata ball — that you rip open yourself. This is so satisfying to eat. Other classic pizza toppings and seasonal creations also grace the cabinet each day. You can grab these bites to go or sit at one of the tables on Therry Street, right across from the busy market. These might be pricier than your $5 market boreks, but these fresh sandwiches and pizzas are generously loaded with top-notch produce. Check Romanello out next time you pass by QVM. You'll find Romanello at 93 Therry Street, Melbourne, open 8am–3pm on Tuesday–Thursday and 8am–4pm on Friday–Sunday. For more details, visit the venue's Instagram page.
For those following a vegan diet, plenty of obvious items are off the menu: meat, dairy products and eggs in particular. So is anything made with gelatine, given that the substance is derived from collagen from animal body parts — which rules out many a sweet treat, too. Gummy and jelly lollies are definitely usually made with gelatine; however, with its newest release, The Natural Confectionery Co is giving vegans an animal product-free alternative. Already known for completely avoiding artificial colours, flavours and sweeteners, plus high-fructose corn syrup as well, the company is now launching a gelatine-free, vegan-, vegetarian- and flexitarian-friendly version of its fruity jelly lollies. If that's your next snack taken care of, you'll find packs of Vegan Fruity Flavoured Jellies in supermarkets from mid-August — starting with Coles and independent stores, then hitting Woolworths from mid-September. They'll cost you $4 for a 200-gram packet, which boasts five varieties of lollies inside: apple, blackcurrant, peach, pineapple and raspberry. The new addition to The Natural Confectionery Co's range comes in response to demand. "We couldn't ignore the requests from Aussies asking for a vegan-friendly option," explains Lauren Fildes, the Cadbury-owned company's Marketing Director for Candy, Biscuits and Meals. If you're a fan of the brand's other types of lollies — its snakes, fruity chews and sour worms, for example — you'll have to cross your fingers that they eventually get a vegan version as well. [caption id="attachment_779206" align="aligncenter" width="1920"] Peter O'Connor via Flickr[/caption] Find The Natural Confectionery Co's Vegan Fruity Flavoured Jellies in Coles and independent supermarkets from mid-August, and in Woolworths from mid-September — costing $4 for a 200-gram pack.
Do you find yourself wondering what this existence is all about? How we came to be? What it means to live a short life in an expansive universe? Well, wonder no more, you curious beings. Professor Brian Cox is bringing his dazzlingly brilliant mind and science expertise Down Under with Horizons: A Space Odyssey, the live stage show that explores those very questions. ICYMI, Cox is a world-record holding (highest ticket sales for a science show) physicist, TV host and best-selling author. And this spring, the talent is fusing his planetary passions with showstopping production values for an entertaining, educational and thought-provoking journey through the cosmos. On Saturday, October 15, Cox will hit the stage at the Melbourne Convention and Exhibition Centre. Staggering visuals travelling through faraway galaxies, supermassive black holes and alien worlds will backdrop an inquisitive celebration of human life, philosophy and art. Expect deep questions, expert knowledge and Cox's optimistic eye examining the existentialism in all of us. To nab your tickets to the intergalactic stage show in Melbourne, head to the website.
In the space of a mere six months across the end of 2023 and beginning of 2024, Godzilla fans have enjoyed not one, not two, but three opportunities to see the now 70-year-old kaiju trample across the screen. Talk about a new empire. Not all of those projects are officially connected. Not all of them unleashed their giant creature upon cinemas. But just like standing at the foot of the lizard-like behemoth, there's been no avoiding the prehistoric reptile's footprint — in Japan's Godzilla Minus One, the film that finally won the Godzilla franchise an Oscar; in American streaming series Monarch: Legacy of Monsters, as led by Kurt and Wyatt Russell playing the same character; and now in Godzilla x Kong: The New Empire, the latest Monsterverse flick, which its TV predecessor also ties in with. Thinking about anything Godzilla-related seven decades into its life brings up a numbers game, then. The Gold Coast-shot Godzilla x Kong: The New Empire is the fifth Monsterverse movie and the seventh entry in the US-made saga that started with 2014's Godzilla. It's the 38th Godzilla film overall. Because King Kong is part of the equation, it's the 13th feature in that franchise, too. In other words, Godzilla x Kong: The New Empire is a flick with a massive history. Director Adam Wingard, who helmed 2021's Godzilla vs Kong first, knows the weight that such a hefty past brings to his second entry in all of the above sagas. That said, the filmmaker behind A Horrible Way to Die, You're Next and The Guest also knows the possibilities that can spring. One such opportunity: having its two titans join forces, rather than do battle. Godzilla vs Kong wasn't the debut picture to pit Japan's scaly icon and the world's most-famous towering simian against each other — that idea dates back to 1962's King Kong vs Godzilla — and Godzilla x Kong: The New Empire isn't the first feature to see how Godzilla can benefit from having friends to fight beside. But Wingard's sophomore Monsterverse film values its titular pairing, which arises to try to save the world from new threats. It also enjoys putting its characters in an action-adventure escapade in Hollow Earth, the titans' home world, as much as being a monster movie. And, it appreciates its human cast, such as the returning Rebecca Hall (Resurrection), Brian Tyree Henry (Atlanta) and Kaylee Hottle (Magnum PI), plus Wingard's The Guest lead Dan Stevens (Welcome to Chippendales) joining as a veterinarian equipped to do dentistry on Kong. Each of Godzilla x Kong: The New Empire's core quintet came to the movie via different paths, and with an array of backgrounds with the fictional creatures they're now linked with. "The origins of my memories of Godzilla and Kong go back as far as I can remember. I think the Godzilla films and the King Kong movies, specifically the original and the 76 one, they've always existed in my reality as far back as I can remember," Wingard tells Concrete Playground. "Specifically, I think that they were playing on daytime television all the time. That's how I would see movies in general, and that's how I got into them in the first place." In contrast, teenager Hottle, who plays Skull Island orphan Jia, is deaf, and made her acting debut in Godzilla vs Kong, notes that "I had heard of them, but that's about it." She continues: "I didn't know much more about either of them. And once I acted in the movie, I thought it was, of course, strange, but a great experience." [caption id="attachment_948230" align="alignnone" width="1920"] Eric Charbonneau/Getty Images for Warner Bros.[/caption] Hall's leap into the Monsterverse as "the Jane Goodall of Kong", aka Dr Ilene Andrews, slots in on her resume alongside the vastly dissimilar Vicky Cristina Barcelona, The Town, Christine and The Night House — and Tales From the Loop on the small screen — among other work, but also after featuring in Iron Man 3. Henry, who steps into the shoes of conspiracy theorist Bernie Hayes, boasts an Emmy nomination for Atlanta, an Oscar nomination for Causeway and a Tony nomination for Lobby Hero. His recent flicks include Bullet Train and Eternals. And Stevens has period drama Downton Abbey, playing the second half of Beauty and the Beast's title, superhero series Legion and giving German-language dramedy I'm Your Man its humanoid robot on his filmography. Ask them about their time with Godzilla and Kong, as we did, and Hall mentions always wanting to be in "big, iconic kind of movies", Henry says it's a "a place to have fun" and Stevens advises that having the part of Trapper written for him was "a huge honour". With Godzilla x Kong: The New Empire releasing in cinemas Down Under on Thursday, March 28, we also chatted with Wingard, Hottle, Hall, Henry and Stevens about the sense of responsibility behind any Godzilla or Kong entry, and the kind of preparation required for a Monsterverse team-up flick — plus ensuring that the movie was grounded in its human characters, subverting stereotypes, working together, the film's buddy scenario between its eponymous critters and more. On Swinging Into Godzilla and Kong's Huge On-Screen History Wingard is no stranger to entering well-traversed realms. Before hopping behind the camera with the Monsterverse, he directed 2016's Blair Witch, the third flick in the big-screen horror series that began with the low-budget sensation of 1999. Then, in 2017, he gave Japanese manga Death Note an American live-action adaptation. Still, there's no denying that making a Godzilla and Kong movie, and therefore working with characters that date back seven and nine decades, involves a feeling of duty. "It absolutely does," says the director. "And it's such an honour to be able to carry on their legacy, because they've been around since the beginning of special effects in cinema, to a certain degree. The original Kong was so groundbreaking in terms of its approach to stop-motion at the time." "So I don't take that lightly. And what's cool about Godzilla and Kong, those characters, is that there's been so many iterations over the years, and so many tonal takes and stylisations. Even Godzilla as a character, he's existed as a good guy, a bad guy, a metaphor, a character, all these kind of things and everything in-between, and sometimes multiple things at once. So there's a lot to take in, but there's still somehow so many new possibilities of how you can explore them," Wingard continues. "That's why it was so exciting for me to take on this film. Even though I've even made a Godzilla vs Kong movie myself, I still felt like there was still plenty of untapped potential and ways to utilise these characters to innovate the way movies are made. And to be able to lean into a film that has so many long sequences of nonverbal visual storytelling is something you really couldn't do in any other subgenre than this." On Becoming the Heart of a Coming-of-Age Story Within the Monsterverse In Godzilla vs Kong, Hottle's Jia was in as unique a situation as anyone can be in the Monsterverse: as the last surviving member of the Iwi, the tribe that resided on Skull Island, the adopted daughter of Dr Andrews had a bond with Kong like no one else. Godzilla x Kong: The New Empire continues that thread as Jia endeavours to fit in in her new life, and also when she's drawn into Hollow Earth to assist with the ultimate animal pal. "I think that her journey is very tough, but it's a great journey for her," Hottle reflects about Jia's coming-of-age narrative in the new movie. "She grows up, she's older, and she's figuring out how to belong somewhere that she wants to belong — and she's going to get there in the end of her journey." As for what she hopes comes next for Jia, "I think I can see her helping others," Hottle explains. Preparing for her role simply requires "trying to understand the storyline of who Jia is, and what she wants to be as well. So I try to think of that when I'm portraying her character," Hottle also notes. But it's equally crucial that the film is grounded in its humans, especially Jia. "If you watch the whole monster movie, of course that's what we want. But the additive of the human factor, making those connections, and Jia's experience in her journey, that adds more to the movie. It's a great connection to show in this kind of movie," Hottle advises. Ask Hottle what gets her excited about being part of the Monsterverse — and such a pivotal part, too — and she's clear: "my character just being portrayed in a movie — and figuring out who I get to act as, and what I get to act as, as well". On Challenging Damsel-in-Distress Stereotypes in Monster Movies — and Having Fun If you're wondering why Hall initially took on the role of Dr Andrews, "the first time, it was unlike anything I'd done. Also, Adam Wingard pitched it to me as 'the Jane Goodall of Kong', which I thought was such an interesting pitch," she shares. Henry jokes that "he pitched it to me that way too, to get me to come back here" — which is exactly the banter you'd expect about a movie that its three biggest on-screen names, Stevens among them, all describe as plenty of fun. "I wouldn't say that I wasn't a kid that dreamed of being in a Kong or Godzilla movie, but I was a kid that dreamed of being in movie movies — like real popcorn, like entertaining, like big, iconic kind of movies. And this is that opportunity," Hall furthers. "There is so much fun to be had in that." "I am a cinephile sort of snob in many ways, but my snobbery includes good popcorn movies. There are some good, good movies. A good movie is a good movie, is what I'm saying." "So it's everything to me. Plus, there's a history of women in Kong movies that puts them in the damsel-in-distress place, and they're very rarely in positions of authority or capability, or able to call the shots or have any autonomy on some level. And I think that that has been changing over the last few years in this iteration of the Monsterverse. And I think Andrews is a really big step in that direction. In this movie especially, she's really the boss, and that was fun." On Being Able to Further Flesh Out Characters the Second Time Around Henry doesn't just jest about why he joined the Monsterverse. He starts digging into how he prepared for playing Bernie by answering that "channeling my inner neuroses was really fun — to have an outlet to just let it all out, to be able to scream as often as possible, to cry. Oh, were you talking about this movie?". Bernie might be one of Godzilla x Kong: The New Empire's sources of comic relief, but he's still a character that's taken seriously, including by Henry. "I signed on to champion Bernie because I really love Bernie. I love everything about him. I love that he was looked at as a crackpot. I love that he has always been right about his theories. I also love that he found a team," he advises. "He was kind of out there on his own. No one really received him in any kind of way. And Rebecca's character, Dr Andrews, really coming to me and being like 'hey, you are valuable; hey, we actually could use you' was really exciting. And really getting a chance to go in and show all of who Bernie can be: that he had dreams of being a documentarian, that he had these wishes to see Hollow Earth. And then watching him immediately regret it the minute that he gets down there. To me it was like 'aaaah, I get this guy very much'." "So, he was a place to have fun. I got to wear leather. Like, that was truly all I really wanted. I was like 'can we put Bernie in leather?'. And Adam was willing to go along with my ride as well," Henry says. Pointing to Hall and Stevens, he also notes that "to be able to play with them" was among the appeal of returning to the character. "To be completely honest, to be able to play with them, to see that Bernie found a tribe and to find a family — it was a no-brainer to come back." On Leaping From Indie Thrillers to Monster Movies with the Same Director When Stevens starred in The Guest for Wingard in 2014, he'd already amassed a decade of on-screen credits. Downton Abbey had come calling by then as well. But the indie thriller was a breakout performance. At the time, reteaming with his director on a movie about Godzilla and Kong wasn't something he could've conceived would arrive ten years later, however. "I could definitely see Adam going on to direct big movies like this. He's steeped in fandom. He's a guy who worked in the video store throughout his adolescence and watched every single movie in that store. He just knows this world so well and is able to transmit that to fans, transmit that enthusiasm through the screen," Stevens says. "I never dreamed that I would be teaming up with him on this. I loved the job he did on the last movie with these two [Hall and Henry], and I just enjoyed that as a fan. So I was giddy when he asked me to join it, really." "And the fact that they wrote Trapper with me in mind was a huge honour — it made it very, very attractive. But also Trapper is a great character to join this world with. And it really embodies the spirit of fun, I think, that Adam brings to these kind of movies, and enables us to just go on a really wild ride with this one." On Letting Godzilla and King Kong Team Up, Rather Than Battle Each Other Hottle, Hall, Henry and Stevens' on-screen alter egos are Godzilla x Kong: The New Empire's human heroes. Their monster equivalents: both Godzilla and Kong. Neither were born into pop culture as villains. Watching them fight it out, including in Godzilla vs Kong, has always felt manufactured. Here, thankfully, they have other foes to deal with — primarily the Skar King, the orangutan-esque enemy that's been throwing his weight around Hollow Earth — in their roles of protectors of humanity and the natural world. Not just because he helmed Godzilla vs Kong, Wingard understands the appeal of having Godzilla and Kong face off. "I can remember as far back as being in maybe first or second grade and having arguments on the playground about who would win a fight, Godzilla or King Kong. That's just how iconic they are, that kids all know and love them," he notes. But with Godzilla x Kong: The New Empire, he also appreciates that getting Godzilla and King Kong teaming up is a dream scenario. "As a filmmaker, it's just the ultimate stomping ground of being able to play with toys on a creative level. And we're always finding new, interesting ways to explore their realities. These are 300-foot-tall characters, and so it's always fun to try to find things that you can juxtapose onto them that are relatable," he shares. "So, for instance, we have one scene in this film where Kong has some dental work done, and that was something that I was really pushing for right out the gate — because I've also had a lot of dental work done over the years, and had some pretty traumatic experiences. So in a way, I had to work in my own catharsis through Kong's experience of dental work in this movie. But that's just an example of how you're always trying to find relatable ways to re-experience the monsters." Godzilla x Kong: The New Empire opened in cinemas Down Under on Thursday, March 28, 2024. Read our review. Images: courtesy of Warner Bros. Pictures.
Melbourne is on a roll when it comes to craft beers and the fine establishments tailor-made for enjoying them. Whether it's bars that specialise in small batch beers or a cosy local breweries serving their own concoctions, craft beers are slowly taking over taps and winning hearts throughout the city. To aid you in your mission to find the perfect brew, here are our picks of the best watering holes catering to craft beer aficionados. Prepare to get crafty. The Alehouse Project Beer geekery is at its finest at this East Brunswick gem. Their 12 taps constantly rotate microbrewery beers, so if you plan on becoming a regular (or are one already), there's always a fresh selection for you to sample. They're currently pouring the likes of Das Unterseeboot Imperial India Pale Lager from Brookes Beer and the Mornington Peninsula Brewery's Brown Ale to name just a few. It's not just the local stuff you'll find here either; The Alehouse Project also seeks out international craft beers and ciders. Bring friends, share some tasty bar snacks and sip on a whole collection. 98-100 Lygon Street, Brunswick East; (03) 9387 1218; www.thealehouseproject.com.au The Terminus Hotel This is a favourite among craft beer experts, and really, who are we to argue? The folks at the beautifully renovated Terminus Hotel love craft beer so much, they even have a craft bar and beer garden, which is perfect for the warmer months. With 16 tap beers and fridges full of bottled varieties, you're spoiled for choice here, including limited release stock and brewery showcases. Grab a pint of Two Birds Brewing's NZ Hopped Pilsner and call us in the morning. On second thought don't call us, we'll meet you there. 492 Queens Parade, Fitzroy North; (03) 9481 3182; www.terminus.com.au Forester's Beer and Music Hall Beer and music: it's a winning combo. From the good folks who run the Terminus and Royston Hotels comes this little beauty, which is located where A Bar Called Barry once stood on Smith Street. If we're talking quantity, it's hard to beat Forester's and their 50 taps — 32 of which contain craft beers. Overwhelmed? Let the friendly bar staff help you make the all-important decision, just tell them what you're into and they're sure to sort you out. Maybe you're looking for something specific or rare? If they don't have it (although they usually do), there's a beer request form on their website so you can get your hands on your favourite imported brew. Now that's service. 64 Smith Street, Collingwood, (03) 8415 1464, www.forestershall.com.au. Matilda Bay Brewery It's known as Australia's original craft brewery, so it would be rude not to include Matilda Bay. While it currently resides in Port Melbourne, Matilda Bay Brewery was first located on the west coast, and they haven't looked back since. Their popular drops — like Beez Neez, Fat Yak and Dirty Granny cider — can all be found here, but the best thing to do is sample their small batch brews. You could be sampling a limited edition run or even try out the next big thing in Australian craft beer, so hops to it. 89 Bertie Street, Port Melbourne; (03) 9673 4545; www.matildabay.com.au The Local Taphouse The Local Taphouse legends go through 400 different beers every year, and 20 of those are on tap at any given time. This European-inspired neighbourhood tavern is equally excited about imported drops as they are about supporting home-grown craft heroes. They recently showcased nine incredible beers from the Modus Operandi Brewing Co from Sydney's northern beaches, which went off like a frog in a sock. The Local Taphouse also delivers on the entertainment front. They have an indoor bocce pitch and comedy nights with rotating lineups for those who like a laugh with their libation. In other excellent news, there's also a Local Taphouse in Sydney, so you're never far from a good brew. 184 Carlisle Street, St Kilda East; (03) 9537 2633; www.thelocal.com.au. Moon Dog Brewery We like our beers the same way we like our Tinder matches: with a good sense of humour. And with how great Moon Dog tastes, we'd consider straight-up dating it. Moon Dog's Love Tap Double Lager and Jukebox Hero IPA in particular are truly great, and they're even popping up at other craft beer establishments around the city. As always, the brewery is the best place to go though. And with beer on tap such as Henry Ford's Girthsome Fjord — self-described as "the ideal post-coitus celebratory (or commiseratory) drink" — there's clearly a lot to love. They also have the likes of Pizza Wagon and Mutter Kraus dropping in to deliver the food goods, so don't forget to snack while sipping. 17 Duke Street, Abbotsford; (03) 9428 2307; www.moondogbrewing.com.au Markov Carlton is no longer only famous for its Italian vino and Aperol spritzes; you can get a darn good beer there too. Markov's rear bar was originally created for fine dining, but boy were we glad when they decided to swap that for ten taps of craft beer and some smashing bar food to boot. Serving the likes of Kooinda, Stone & Wood, 4 Pines, and 2 Brothers, they boast some of he best local craft beer action around. Pair a Coburg Lager with fried school prawns, lime and spiced salt and you're onto a winner. 350-352 Drummond Street, Carlton; (03) 9347 7113; www.markov.com.au Temple Bar and Brewery There's something pretty special about drinking a beer where it was actually made, and Temple Bar and Brewery is certainly a lovely place to drop into. Here they use traditional brewing techniques and their systems are as environmentally friendly as possible, so you can an enjoy a sustainably produced beer. Temple has two beers in particular that are served all year round: the thirst-quenching Bicycle Beer and the Anytime IPA. For something dark and heavier, give the American stout New World Order a go. We know you're here for the beer, but the food is the business — try the Midnight Burger and beer fries. 122 Weston Street, Brunswick East; (03) 9380 8999; www.templebrewing.com.au East of Everything Located above Camberwell's Bar None, East of Everything is unpretentious by nature, but the team there know their craft beer like the back of their hands. They rock out on six taps and their bottled beer list is ever expanding, so keep your eyes on the fridges for the latest updates. Some of the local legends rotating on tap include Red Duck, Mountain Goat, Hargreaves Hill and Holgate Brewery. They also make a concerted effort to pour American craft beer from at least one of their taps. 72 Auburn Parade, Camberwell; (03) 9882 4216; www.eastofeverything.com.au Cookie It's easy to forget that Cookie is a beer hall, considering their stellar range of Asian cuisine and killer cocktails. And though its wine menu is the same size as a large novel, Cookie also stocks over 200 beers, and 24 of those are on tap. While their international selection is impressive to say the least, they do make an effort to feature Australian craft beers, such as Bridge Road Brewers from Beechworth, Brunswick's Thunder Road Brewery and Sydney stalwart James Squire. Their menu is so extensive, it's arranged first by types of beer and then they have an alphabetised beer index at the back. We're not complaining; any assistance is always appreciated. 252 Swanston Street, Melbourne; (03) 9663 7660; www.cookie.net.au Want to brush up on a few craft beer basics before buying? Check out our Bluffer's Guide to Craft Beer. View all Melbourne Bars.
Step aside Viennetta: there's a new luxe dinner party freezer-treat in town. Connoisseur — that purveyor of luxurious, eat-it-by-the-tub ice cream — has teamed up with artisan Australian chocolate brand Koko Black for a new range of ice cream sticks for more discerning chocolate aficionados. The duo of new flavours serve as a good reminder that, sometimes, you can't go past a classic. The vanilla version sees Connoisseur's vanilla coated in Koko Black's 54 percent dark chocolate. If you're looking for a bit more crunch, make a beeline for the honeycomb stick that stars honeycomb ice cream in Koko Black's signature Tasmanian Leatherwood Honeycomb pieces in 54 percent dark chocolate. It's the first time the Melbourne-born chocolatier has made its way into the frozen aisle, which is surprising given that its more recent collabs have included cake and beer. Connoisseur's Koko Black selections are available as four-packs ($8.40), while the classic vanilla is also available as an individual stick ($4.40). They're available right now from leading convenience and grocery stores around Australia.
It's a movie. It's the big-screen beginning of an entirely new franchise. It's Superman. And, ahead of the first film in the DC Universe reaching cinemas in July 2025, James Gunn's latest step into the world of superhero movies has unveiled its debut teaser trailer. Come for an initial look at David Corenswet (Lady in the Lake) as the Man of Steel, as well as Clark Kent — and at Rachel Brosnahan (The Marvelous Mrs Maisel) as Lois Lane and Nicholas Hoult (Nosferatu) as Lex Luthor. Then, also get excited about a glimpse of Gunn regular Nathan Fillion (Deadpool & Wolverine) as Green Lantern and Anthony Carrigan (Barry) as Metamorpho. Superpowered dog Krypto makes an appearance, too, and viewers will hear a familiar theme tune. "Krypto, home. Take me home," Superman says to his trusty pooch in the sneak peek at a flick that's bringing its namesake back to picture palaces for the first time since Justice League — for the first time in eight years, then, as that's when Zack Snyder's film initially arrived in its theatrical version (Zack Snyder's Justice League, aka the Snyder Cut, debuted on streaming in 2021). Gunn's iteration of the character is seen looking bloody and worse for wear in his familiar outfit to start with, which sparks that need for help from his canine sidekick. This is a movie that isn't afraid of Superman being vulnerable, then, alongside his saving-the-world antics. That line is a favourite of Gunn's, the filmmaker told select press from across the Asia Pacific — including Concrete Playground — at a Q&A about the feature's first footage. "There's the one really potent line to me in the trailer, that moves me, which is when he says 'Krypto, take me home' — and Krypto starts dragging Superman home. And that's, at the end of the day, what this is for me," he explained. "It's about bringing the innate goodness of Superman, bringing it home, bringing this character home — bringing our battered world to a brighter place of healing and bringing that home. And hopefully Superman can be a symbol of that as well. I think that this is the right time for this movie, and I'm excited about people seeing the trailer," the Super, The Suicide Squad, and three-time Guardians of the Galaxy writer/director continued. He's even more enthusiastic about audiences watching the full flick, of course, come mid-2025. "The trailer is really just about being a good representation of the film — and I think it is an authentic representation of what the film is, and I just can't wait for people to that in July." Story-wise, the preview doesn't reveal much of the narrative. "I wanted to create a teaser trailer that gave the essence of what this movie is without giving away too much of the plot," Gunn advised. As for what viewers can look forward to from the eponymous figure, Gunn notes that "I think that we can expect a Superman who is about the compassion of the human spirit; a Superman who is about kindness, love and compassion, while also being a very strong character. So I think he is the best of humanity, even though he is an alien from outer space." [caption id="attachment_985434" align="alignnone" width="1920"] Erik Drost via Flickr[/caption] "It's a little bit different than some of the other Superman movies — it's about Superman's external struggle, but it's also about his internal struggle. It's about who he is as a person, where he comes from, his parents — both his Kryptonian parents and his human parents — and we get to know who this guy is on a real elemental level," Gunn also shared. Co-starring Milly Alcock (House of the Dragon) as Supergirl, as part of a cast that features Isabela Merced (Alien: Romulus), Frank Grillo (Tulsa King), Skyler Gisondo (The Righteous Gemstones), Wendell Pierce (Elsbeth) and, as always in the filmmaker's work, Gunn's brother Sean (Creature Commandos) as well, Superman kicks off a new franchise that Gunn is overseeing in his role as co-CEO and co-Chairman of DC Studios. Supergirl: Woman of Tomorrow is set to follow in 2026, as directed by Dumb Money's Craig Gillespie, then Clayface will release in the same year, working with a script from Doctor Sleep and The Fall of the House of Usher's Mike Flanagan. Gunn also chatted about casting Corenswet, conveying the character's humanity, the approach to the movie's score, the DC Universe's handling of tone, how Superman stands out from the filmmaker's past superhero flicks, the new versions of Lex Luthor and Lois Lane, and more. On How Corenswet's Superman Differs From Past Versions of the Character — and What the Actor Brings to the Role "David both has that optimistic boy scout quality that Superman has, both on-screen and in real life, frankly, and a real down to earth-ness — besides the fact that he's this incredibly good-looking guy, he doesn't have any sort of arrogance or ego in that way. But also he is a really phenomenally trained actor who went to school at Juilliard and is just one of the best actors I've ever worked with. Incredibly nuanced, incredibly questioning all the time, trying to figure out how can he give his best performance. There's never a take I look at after the dailies where I go 'he isn't fully authentically Superman'. He is Superman every moment he's in the movie. Even the stuff that, where I'm cutting together the best performance as possible, even his worst is still great … I said to David when he got hired — he went through a very, very long and arduous audition process in which hundreds and hundreds of people auditioned for the role of Clark Kent/ Superman. David won it, and I said to David, I said 'you've got to work on two things. You've got to work on your shoulders, and you've got to work on your vulnerability'. And those were two things that he then spent the next six months getting bigger and also working on elements of being vulnerable on-screen, which I think was a little bit more difficult for him, as it is difficult also for Superman." On Exploring Clark Kent's Humanity "I think that's all the movie is about. This movie is about Clark Kent's humanity. Yes, he's an alien from another planet who's super powerful, but he is also deeply, deeply human. He has emotions and feelings. And every day he wakes up and tries to make the best choices he can, and sometimes he fails. And that's what this movie is about. This is about a complex character. And I think that's the thing that audiences are going to be completely surprised by, they can't really see in the trailer, is these complex relationships between Clark and Lois, and Lex and Clark, and how they interact and the different values they have, and how they strengthen each other and make each other weaker." On the Approach to the Film's Score — and the Iconic Superman Theme "John Murphy [The Suicide Squad, Guardians of the Galaxy Vol. 3] is the guy who composed the score. He's an incredibly talented guy who I love working with, with a great spirit. As soon as I finished the script — he was one of the first people I gave the script to — I said 'start thinking of music'. I said: 'the one thing I'll say is I do want to use the classic Williams score, but I want you to turn it and mutate it, and turn it into your own thing that'll represent this film and this story'. So there's a very powerful thing about it. There's also a slightly melancholy thing about it. And I think those are both parts of this very emotional and touching story that we're telling through the movie. And John not only wrote that theme, but he put together so much music for the movie that we then play on set and shoot to, so that we know exactly what the score is. And that score is baked into the movie. This was a very different movie because music is always very important to me, but a lot of times I've used a lot pop songs of various types throughout the movie, and this is not the case for Superman. This is basically about the score, and so it has an incredibly important role in this film. I can't wait for people to hear the whole thing, because it does go into that whole Williams thing, and then it transforms into something else, and then it becomes something else again. And it is a stunning piece of music." On How Audiences Can Expect the New DC Universe, and Superman Within It, to Navigate Tone "Well, the one thing they can expect from the DCU is that every film and TV project will have its own vision. And some are going to be family-oriented, like Superman. Other ones are going to be a little bit more adult-oriented, like Creature Commandos, which is now playing here in the States and in some other places, a lot of other countries. And so they're all going to be very different. But I do think that in Superman, it's interesting because it's not as if there's not a lot of darkness in the film. I think to be truly optimistic, and to truly be hopeful, if everything's going great and everything is perfect, it's a lot easier — then Superman isn't as strong of a character. So this isn't Superman dealing with hope and optimism in light times. He's dealing with hope and optimism in very difficult, hard times, dark times. And that's what the movie is facing. " On How Gunn's Work on Superman Differs From His Past Superhero Movies "I think it's very different. I don't think of Guardians or The Suicide Squad, really primarily as comedies, but certainly comedy was a big part. And it's not that there's no humour — there's plenty of humour in Superman — but at the core of it, it really is something different. It's a different sort of story. And it's vulnerable for me to make that, because the honest truth is when I make a movie, and then you show the movie to an audience, you've got to sit with an audience watching the movie, and the easiest way that you know people like your movie is when they're laughing — or if you're telling a horror movie, if they're screaming. And then also if they're crying, which I got a lot of people to do with the last Guardians movie. So I like those external things, and then in this one I really had to be sort of strict with myself when I was writing it, filming it. It's all about the character. It's about the action, which is a big deal, shooting flying in a different way. And so it's just tonally different from the movies that I've done in the past." On Why Superman's Red Trunks Are Back "There was a time when I was developing the costume, the outfit — uniform is the macho way to say it, the Superman uniform — with David Corenswet and Judianna [Makovsky, a Guardians of the Galaxy alum], our costume designer. And I came in and it was coming together, but it had the red trunks, it had the whole thing, and we really went back and forth a lot about the red trunks. I even talked to Zack Snyder about it. He's like 'I like tried a billion versions, but the trunks, it just never got there'. And I see how that's the case. I don't know about the trunks, and I wanted to use the trunks but I couldn't, I kept taking them off. And I come in, it's very colourful, the trunks are on and I'm like 'oh god, I don't know. It's just so colourful. David, how do you feel?'. He's like 'I love it'. And I'm like 'really, that colourful?'. He's like 'I'm an alien from outer space who can fly and lift buildings and I shoot laser beams out of my eyes that can dissolve things. I want kids to not be afraid of me. So what am I going to wear?'. I think that was really part of where the costume came from. And I saw the character in a new way. This was before we started shooting, of course, and this showed me how David Corenswet really took everything, every moment, very seriously in all of his choices of what he would do. And he wants to not be scary to kids. I thought that that was a a pretty cool thing that really I've kept in mind for the character ever since that moment." On Superman's Latest Battle with Lex Luthor "One of the things that was really important to me was to make a Lex Luthor who was absolutely his Superman's equal. Maybe more than — you've got to be scared of [Lex]; this Lex is scary. And it's not just because he is a bad guy, because he's pretty bad, but he has his reasons for thinking what he thinks, which you get into, and it's a lot of ideological things about what Superman represents versus what he represents as the world's most-intelligent man. And so I think that it really is this battle of ideologies between the two of them and how they look at the world. One of them is very generous in his point of view, which is Superman, and one of them is not very generous in his point of view, which is Lex. But also his intelligence and his way of dealing with the henchmen that Lex has around makes him incredibly dangerous to Superman. And when you're willing to fight and there are no rules, you always have an upper hand over the person who's willing to fight and has a lot of rules, such as Superman." On Rachel Brosnahan's Version of Lois Lane "I think Lois is a journalist of the highest order. She believes in the truth pretty much at almost any price. And that makes her a real force to be reckoned with. And one of the things, I love the romance between Lois and Superman in the original Donner film [1978's Superman starring Christopher Reeve], and think it was really beautiful, but also in a way, it was a little bit Lois 'goo-ga' over Superman, right? Because he flies around, he can pick up planets — pick up buildings at least. I wanted to really see 'why does Superman love Lois so much?'. And so from the beginning we did chemistry reads with Superman and Lois, and David and Rachel got these roles not because they were just individually great as those characters, but together as a couple they bounced off of each other in an incredibly dynamic way. I think you know from the very beginning, you start to see why she is as strong of a force as Superman is, just in a different way — and why someone as cool and as good-looking and powerful as Superman would be in love with her, and he's the one who's lucky." On the Challenges of Rebooting a Superhero That Almost Everyone in the World Knows "I think the biggest challenge is that because everyone in the world knows who Superman is and where he came from, some of that's a benefit. We don't go into origin stories in this. Everybody knows, practically everybody knows, that Clark Kent came here in a rocket as a baby sent by his Kryptonian parents, and a farm couple adopted him and brought him in. So we don't have to go through all that. That's a benefit in a way. But also so many people in this world are so intimately attached to Superman, Batman, Wonder Woman, the big three, they have specific ideas about what that character is to them. Most people have come up to me and say 'I never really related to Superman because he's just too powerful. I can't. I relate to Batman because he's like the underdog, right? I never related to Superman because he's just too powerful'. So that's something I took into account from the beginning, that a lot of people don't relate to him. I think it's a little bit to do with what we see at the beginning of the trailer — the beginning of the movie, too. And other people like Superman because he can punch planets in half. That is not really this Superman. But that's also, you've got to deal with all these different people have different ideas of what Superman is supposed to be. And you have to deal with all of them and hopefully people are able to go and say 'well, okay, I like my idea of what Superman is, let's see what this idea of Superman is. Let's sit down for two hours, watch this movie and see what it is'. I think that's what you've got to do with the DCU, because things are going to keep changing, evolving, characters aren't going to be the same as people imagine them. A lot of people keep telling me 'oh my god, you made this trailer just for me, I can't believe it'. And other people are going to feel differently about it, but they can still enjoy the story and enjoy how our view of Superman is, or whatever other DC character there is." Superman releases in cinemas Down Under on Thursday, July 10, 2025.
As Alfred 'Paper Boi' Miles in Atlanta, Brian Tyree Henry has been given plenty to utter. Across the hit Donald Glover-created series' three seasons so far, his rapper character has soared from up-and-comer to global star touring Europe, as chronicled with the show's banter-filled dialogue. But there's one thing that hasn't ever fallen into his remit in his best-known role, and is highly unlikely to in the fourth and final season that's set to arrive this September: obsessing over Thomas the Tank Engine. Henry might be as synonymous with Atlanta as Glover, complete with a 2018 Emmy nomination for his stellar performance, but his resume spans far further than the acclaimed series. In movies as varied as Widows, If Beale Street Could Talk, Spider-Man: Into the Spider-Verse, Joker, Godzilla vs Kong and Eternals — and shows such as Boardwalk Empire, The Knick and This Is Us as well — he's kept proving a compelling presence. There's no Thomas the Tank Engine fixation among them either, though. Instead, waxing lyrical about blue British locomotives is the domain of Henry's part in action-comedy Bullet Train. He plays blonde-tressed assassin Lemon, half of a chalk-and-cheese killer duo with Aaron Taylor-Johnson's (The King's Man) Tangerine. Dubbed "the twins" but clearly brothers in friendship rather than blood, they're just two of the movie's many killers, as led by Brad Pitt (The Lost City) — all of which, fittingly for Lemon, find themselves speeding across a neon-drenched vision of Japan via the titular shinkansen. In other films, it's easy to predict how Henry's part would go. But, working with John Wick and Atomic Blonde filmmaker David Leitch, Henry was determined that Lemon would transcend tropes — and be a hitman that viewers cared about, even as he's using Thomas the Tank Engine to decide whether people are trustworthy or not and, obviously, as he's hopping around the train killing people. Ahead of the movie's local release on August 4, we chatted to Henry about Bullet Train, childhood favourites, busting tropes, gravitating towards banter, and a shoot that felt like "a bloody summer camp". ON 'THOMAS THE TANK ENGINE' AND CHILDHOOD FAVOURITES "Is anyone really a fan of Thomas the Tank Engine? It has always been a part of our childhood, right? He's just always been there… I think what's really great is that with this movie, we get to really go into the characters' details, because Lemon truly studied and loves Thomas the Tank Engine. And he's right about it. Every time that he says that somebody is a Percy or an Edward or a Diesel, he's right. So there is a little truth to the characters of Thomas the Tank Engine, for you to tell if somebody is trustworthy or not. But, when I was a kid, it came on after the good stuff. Like Thomas the Tank Engine kind of wrapped your day, and you were like 'where are the explosions? I want to see more stuff with candy.' I didn't do an in-depth Thomas the Tank Engine study when I got this part, but I did play the theme song on set though to really piss everybody off. I was like 'come on guys, we need this levity, let's listen to Thomas the Tank Engine'. Care Bears was my thing. Fraggle Rock, anything Muppet-related, I was all about it. I was a huge Jim Henson head, I mean anything that had Jim Henson on it, I was there for it. And I'm not going to lie, I still do, I still care a lot about anything Jim Henson-related." ON GOING BEYOND THE COMEDIC BLACK GUY TROPE "I got a call from David Leitch who said that he was making this movie, and my jaw kind of fell on the floor because I know David Leitch's repertoire and I was really excited — and I was also very suspicious. I loved Deadpool 2. I know he produced all the John Wicks which I love as well. I remember loving Atomic Blonde and these universes he created, but I was very much like 'where am I going to fit in this?'. And then he told me that there was a character named Lemon that was one half of a duo called Lemon and Tangerine. I read the script, and I did love it, but there were some parts that I really wanted to delve a little deeper into — because the first draft kind of seemed like Lemon was there to just be there for laughs, and I didn't want him to just be the comic foil. I wanted him to be cared about. There's usually a trap that happens sometimes when you're Black and doing action movies or any kind of certain genre, that you're the funny person and usually the first person that dies — you know all these weird, terrible, microaggressive tropes that are put on Black people. I didn't want that for this movie, and I pled this to him. I was like, 'look, if you are putting me in this atmosphere, being on Japan on a bullet train, I want people to care that I'm there — it's not like I can hide anywhere, it's not like people won't notice when I'm there'. This is also during 2020 when shit was hard. It was really hard in America, it was really difficult. We didn't know what this virus was, there was social injustice going on outside of our door, we were dealing with an election that would change our fate, and I was angry — and I hate saying that I was an angry man, but I was. And I was also very fearful of what was going on, and I had to find some trust to take this movie, and David reassured me, he was like 'we really want your voice in this'." ON PLAYING A KILLER PEOPLE WOULD CARE ABOUT "When I was paired with Aaron Taylor-Johnson, I was like 'this can play a few ways', because it says we're twins and we're clearly not. A sense of brotherhood can be there and that can be authentic, and I let David know that. Aaron and I both wanted to find the heart of who both of these characters are. Whenever we see these movies, where the tropes are a black man and a white guy coming together, it's all different kind of hijinks — and look these tropes have a place, and I admire them and the actors who played them, they have their own place in history. But if we were going to add to that, we wanted it to come from a different place. With most of these duos, you see these men coming from two different sides of the world, or two different walks of life, they come together and they form a partnership. But with our duo, we literally grew up together. And part of me was like 'maybe we were passed around in the foster care system together, maybe we were used to having each other to protect each other, to care about each other, and that just went on until we grew up?'. So that brotherhood was what was really important, because we wanted the audience to really believe that there was a brotherhood between the two of us. David heard that, and really allowed us to play with that — because I wanted the audience to care, I really did. I know that we're sociopathic killers, and yes we're funny and we have this banter that goes back and forth, but I wanted you all to care if we got separated. I wanted you all to care if one made it and one didn't. I wanted the audience to really care about these brothers, because they're the only assassins on the train that are a duo, that's a partnership — and I wanted people to care because I needed to figure out how to care again. I needed to figure out what a brotherhood meant with someone who didn't look like me, someone who wasn't from where I was. I needed to really find a way to feel a connection with somebody, and Aaron just brought his heart and brought his soul to this thing‚ and we instantly hit it off. And we gave David Leitch no choice but to kind of like accept that. Most of the things that we were doing were improv. Most of the things that we said, that we volleyed off one another were just off the top of our heads, and David Leitch was like, 'yeah, let's keep going with that' because he saw how close we were. It restored a kind of faith in me again when playing this role because I cared about Lemon so much, and I wanted people who were watching Lemon so much… I owe a huge thanks to David Leitch for hearing me out, hearing me say that I wanted these things and I wanted to play with Lemon this way, because he let me." ON ALL OF THOSE STUNTS — AND A SHOOT THAT FELT LIKE "A BLOODY SUMMER CAMP" "I remember going to Dick's Sporting Goods, and I was like 'kneepads, gloves, shorts, everything, because I'm going to do it all'. I was so ready to get ready for this movie. I really wanted to do all these crazy stunts that I'd seen David Leitch choreograph throughout his career. I really wanted to do wire work. I wanted to find different ways to kill somebody with a tray table. I wanted to really get in there. We couldn't go to studios like you would if you were trying to learn fight choreography, so they had to improvise and made this makeshift fight playground, basically, on the rooftop of a parking deck on Sony's lot. And it was the coolest thing I've ever seen. So you've got padded floors, boxes are that are the walls of the train, tables, fold-up chairs — and with the help of Greg Rementer, who is the stunt coordinator for 87 North [David Leitch's production company], we had the time of our lives. The collaboration that David Leitch has in his work is really fun. Especially, I think about the fight between Brad and I that is taking place on a quiet car. My character tells him that he needs to keep his voice low because it's the quiet car, and all the while I'm going to do what I can to kill him on this quiet car. So doing the fight choreography, to map out how we're going to do that, was like taking me to like a bloody summer camp. You're signing up to just go bash each other's faces in, but how how many different ways can we do that on a quiet car? How many ways are Brad and I going to be in a headlock and punching each other in the nuts? How many ways are you going to avoid a snake that's now loose on this train? It was some of the most therapeutic scene work I've ever done in my life, and it was incredibly fun." Bullet Train screens in Australian and New Zealand cinemas from August 4. Read our full review.
When you're watching The Room, or reading behind-the-scenes memoir The Disaster Artist, or seeing the star-studded film the latter spawned as well, one big fact is always glaringly apparent. It's inescapable. It's as obvious as Tommy Wiseau's lanky hair and awkward demeanour. It's as plain as the spoons scattered throughout The Room. Yes, Greg Sestero went through one helluva experience. Of course, if it wasn't for The Room, Sestero mightn't have enjoyed his current fame. When you're in a movie that's so bad it's bad but also someone great to watch — but definitely not great itself by any standards — that's a particular kind of success. So, Sestero has made the most of it. He penned The Disaster Artist. He popped up in the flick based on it. He reteamed on-screen with Wiseau for the two-part Best F(r)iends. And he heads to screenings, doing Q&As to chat about all things The Room, too. It's been five years since Sestero last came to Australia to indulge the nation's The Room fixation, but for a week from Sunday, February 12–Saturday, February 18, he's back. His timing is perfect given that Wiseau's disasterpiece notches up 20 years in 2023. Spoons at the ready, clearly. Sestero is heading to Sydney, Brisbane, Perth, Adelaide and Melbourne to do two things: get talking about The Room as part of 20th-anniversary sessions, and also show his new horror film Miracle Valley. This one is a horror movie on purpose, rather than accidentally like The Room, and also marks Sestero's feature directorial debut. "Few other countries have embraced The Room as Aussies have," said Sestero, "so it feels right to celebrate twenty years of a film few expected would be remembered beyond the premiere with the fans Down Under. This will be my fifth visit to Australia, and I can't wait to get back there." For newcomers to The Room — with your pristine minds currently untainted by its wonders, and your vocabulary free from constantly saying "oh hi Mark" — it tells the tale of a banker, his adulterous fiancée, his conflicted best friend, a local teen caught up in a drug deal, a mother with cancer, a particularly tense party, a bunch of guys playing football in tuxedos and the worst apartment decorating scheme you've ever seen. Wondering how all of these things come together? Even the wildest combination you can come up has nothing on The Room. As for Miracle Valley, it's about an obsessive photographer and his girlfriend, who head off on a desert getaway but get threatened by sinister forces. No — disappointingly or welcomely, depending on how you feel about The Room — Wiseau is not among the credited cast. GREG SESTERO AUSTRALIAN TOUR 2023: Sunday, February 12 — Hayden Orpheum, Sydney Tuesday, February 14 — Dendy Coorparoo, Brisbane Wednesday, February 15 — Luna Palace, Perth Friday, February 17 — Palace Nova, Adelaide Saturday, February 18 — Cinema Nova, Melbourne Greg Sestero is touring Australia from Sunday, February 12–Saturday, February 18. Head to the Hayden Orpheum, Dendy Coorparoo, Luna Palace, Palace Nova and Cinema Nova websites for tickets and further details.
If you're the type of traveller who chooses their stay based on creature comforts and hotel accolades, you'll want to put a jaunt to Queenstown's newest boutique hotel on your 2023 bucket list. With jaw-dropping views of the lake and town centre thanks to its position on Queenstown Hill, The Carlin has been wowing guests since it first opened seven months ago. And now this 'beyond five-star' hotel just picked up a slew of gongs at this year's World Boutique Hotel Awards in Sydney on Friday night — including the top gong for World's Best New Hotel. The luxe accommodation offering also won prizes for Best New Hotel in Australasia and Best Hotel With a View: Australasia. The Carlin is the brainchild of US-born hotelier and property developer Kevin Carlin, who called the international recognition "very humbling". "We pride ourselves on delivering an outstanding level of service, and these awards formally acknowledge the hard work of our team," he said. [caption id="attachment_880380" align="alignnone" width="1920"] James Allen[/caption] With more than 250 nominees from 70-plus countries, judges base their scores on various aspects of guest experience, including restaurants, facilities, location, design and emotional impact. Judges were impressed by the Carlin's "finer details" including the stunningly designed outdoor living spaces, 24-hour on-call staff, private chef and spa services, and guest access to luxury vehicles and private jets. And although it wasn't officially noted, we're guessing the hotel's famously appointed marble bathrooms and wildly exciting various remote-controlled toilet modes all played a role. "We confidently expect to see The Carlin taking more awards in the future," the judges said. Keen on a luxe Queenstown experience with a scenic flight, gin-tasting tour and private Onsen hot pools? Check out this CP Trips package. The Carlin was awarded three prizes at the World Boutique Hotel Awards, including World's Best New Hotel. The hotel can be found at 43 Hallenstein Street, Queenstown.
When the Goodwill Bridge, then the Neville Bonner Bridge, then the Kangaroo Point Bridge each opened in Brisbane, helping pedestrians get around the River City on foot was high among each structure's aims. Brisbane Festival 2025 clearly applauds that idea. The Queensland capital's major annual arts fest is not only embracing the concept, but is also building upon it. How does an event in a city that adores constructing more and more bridges work that reality into its program? By turning those three aforementioned river crossings into art installations — and featuring them in an art trail. Walk This Way is one of Brisbane Festival's big 2025 highlights, in what marks the last year of six at the helm for Artistic Director Louise Bezzina. Brisbane art and design duo Craig Redman and Karl Maier, who are globally known as Craig & Karl, have been given the task of transforming the Goodwill, Neville Bonner and Kangaroo Point bridges with large-scale art. With this free part of the fest's program, you'll not only see these structures as you've never seen them before and, of course, mosey along them; you'll also follow the path around the city to other iconic sites. Craig & Karl have an exhibition at Griffith University's Art Museum, celebrating where they first met, on the Brisbane Festival 2025 as well. [caption id="attachment_1008628" align="alignnone" width="1920"] Craig & Karl[/caption] Across Friday, September 5–Saturday, September 27, Bezzina has plenty more in store for the city — 106 productions and 1069 performances, in fact, featuring contributions from 2260 artists. A huge 21 events in the program are world premieres, while more than 39 percent of the lineup is free. How does Bezzina describe it? "This year's program is a love letter to Brisbane — bold, joyful, and created with and for the city," she advises. "My final festival is a celebration of everything Brisbane Festival has become: a world-class event with a fiercely local heart. From world premieres to deeply resonant community works, this year's program is ambitious in scale and grounded in storytelling, deeply connected to the people and places that make this city so special. As the city comes alive this September, I welcome everyone to take their place in the story." [caption id="attachment_1008620" align="alignnone" width="1920"] Laurent Philippe[/caption] Here's some of the other ways that Brisbane Festival 2025 is showing its affection for its hometown: with after-dark experience Afterglow among those global debuts, filling the Brisbane City Botanic Gardens with fire sculptures and candlelit installations — and also with The Great Gatsby-themed show and pop-up club GATSBY at The Green Light, which is heading to Twelfth Night Theatre to celebrate 100 years since F Scott Fitzgerald's book first hit shelves. Two of the fest's other huge drawcards stem from the world of dance. Thanks to Gems, which was commissioned by French luxury house Van Cleef & Arpels, Brisbane will witness three specific pieces by acclaimed choreographer Benjamin Millepied and LA Dance Project staged together for the first time ever. And courtesy of Baleen Moondjan, First Nations artist and Bangarra Dance Theatre founder Stephen Page is back home in Brisbane with a production that explores the link between baleen whales and Country — and, fittingly, will be performed in a barge featuring whale bone sculptural elements on the Brisbane River. Another must-attend Brisbane Festival show pays tribute to one of the city's beloved Indian restaurants, with A Place in the Sultan's Kitchen not only featuring Joshua Hinton chatting about his family's eatery, but cooking his grandmother's chicken curry live. [caption id="attachment_1008619" align="alignnone" width="1920"] UAVS[/caption] Fellow standouts include yet another dance must-see in Bad Nature, with Australasian Dance Collective and the Netherlands' Club Guy & Roni teaming up; TINA — A Tropical Love Story's tribute to Tina Turner; the solo debut of Josh Taliani, who is behind House of Alexander; Shake & Stir giving A Midsummer Night's Dream a pop makeover as The Lovers; and Back to Bilo bringing Priya and Nades Nadesalingam and their family's tale to the stage for the first time. Plus, AMPLIFIED: The Exquisite Rock and Rage of Chrissy Amphlett is an ode to its namesake, Milestone is William Yang's latest presentation, 100 Guitars gives 2025's festival its mass-participation performance and Community Choir: The Musical does indeed show the love for everyday voices. [caption id="attachment_1008618" align="alignnone" width="1920"] Stephanie Coombes[/caption] Roma Street concert series Night at The Parkland has a heap of Aussie talent on its bill, such as ICEHOUSE, Lime Cordiale, Jack River, Xavier Rudd, Amy Shark, Grinspoon and Cut Copy. To catch Odd Mob, CW Stoneking, Wolters, Phantastic Ferniture and more, head to Tivoli in the Round, which is shaking up its stage setup. And, Wunderhorse, Winston Surfshirt and Sarah Blasko are also on Brisbane Festival's program, as are Brisbane Serenades' outdoor concerts at Brisbane Powerhouse, Manly, Moorooka at St Lucia. It wouldn't be a Brisbane Festival without Riverfire, which will light up Brisbane's night sky with fireworks on the event's opening weekend. Also getting everyone looking up, Skylore will be back with another First Nations traditional story taking to the air via 400 drones. [caption id="attachment_1008616" align="alignnone" width="1920"] Children of the Revolution[/caption] [caption id="attachment_1008625" align="alignnone" width="1920"] Lachlan Douglas[/caption] [caption id="attachment_1008564" align="alignnone" width="1920"] Mellumae and Sean Dowling[/caption] [caption id="attachment_1008461" align="alignnone" width="1920"] Daniel Boud[/caption] [caption id="attachment_1008622" align="alignnone" width="1920"] JD Lin[/caption] [caption id="attachment_1008621" align="alignnone" width="1920"] George Gittoes[/caption] [caption id="attachment_1008624" align="alignnone" width="1920"] Joseph Mayers[/caption] [caption id="attachment_1008617" align="alignnone" width="1920"] Laura Du Ve[/caption] Brisbane Festival 2025 runs from Friday, September 5–Saturday, September 27 at various venues around Brisbane. Head to the festival's website for tickets and further details. Top image: Craig & Karl, Dirty Puppet and Jared Hinz.
Multi-sensory art gallery The Lume is currently showcasing the works of Monet and his French impressionist contemporaries via an immersive display of room-sized moving images, aromas and sounds. But head along to one of the new bi-weekly yoga sessions and you'll get to see the venue in a whole new light (and from a few new angles, too). Running Wednesday evenings (7pm) and Sunday mornings (8am) in conjunction with Happy Melon Studios, the 50-minute guided yoga classes will have you getting centred and zen as immersive large-scale visuals wash over you. The experience for each class will be designed around a different theme (such as Space and Underwater) and will feature corresponding imagery and matching soundscapes. The Lume has released a series of class dates for February, March and April, with more to be added. Just note you'll need to bring your own yoga mat and water bottle.
Back in 2019, the City of Melbourne and Lord Mayor Sally Capp announced a plan to help make the CBD friendlier to pedestrians and cyclists, as part of an attempt to reduce city congestion. If folks have more incentive to hit the pavement, the roads won't be as clogged — with that idea driving the Draft Transport Strategy 2030. Wondering what that looks like in reality? Around 17 inner-city blocks, it's about to look particularly vibrant, actually. The City of Melbourne has just announced that it's stencilling a heap of CBD streets with Indigenous flora and fauna designs, with makeover works in Little Collins Street kicking off before Christmas. By the end of December, Flinders Lane, Little Bourke Street and Little Lonsdale Street will also start getting a revamp — and each area will have a theme inspired by Melbourne's pre-colonial landscape. So, via stencils from Indigenous graphic designer Marcus Lee, you'll see grasses in Little Collins Street, herbs on Flinders Lane, shrubs for Little Bourke and trees throughout Little Lonsdale. Every block will boast its own individual details, too. And, varying colours will be used to show the different types of vegetation that was prevalent in each area before European settlement, with purples in the west, deep reds in the east and pinks in the middle. "Creating this artwork pattern provided an incredible opportunity to gain an insight into the natural environment of the Indigenous flora and fauna that existed in these local areas," Lee explains. "In pre-colonial times, traditional Aboriginal cultural practices would have effectively utilised these varying woodlands to provide an abundance of food sources and resources. In depicting the nature of these vegetation classes, my approach to the design integrated elements of their unique characteristics while also balancing a simplified and bold style to enable the patterns to transfer effectively to the amazing Little Streets of Melbourne." If that doesn't make you want to stroll along the CBD's streets, then a number of other measures might — including adding signs marking shared zones, to make such areas safer for pedestrians; reducing the speed limits in Little Streets to 20 kilometres per hour; and adding speed bumps and planter boxes to also slow down traffic. For further information, head to the City of Melbourne website.
Taylor Swift has already played Australia in 2024, as the entire country knows. Billie Eilish will hit the country's stages in 2025. Arriving in-between: Olivia Rodrigo, with the former Disney talent — see: Bizaardvark and High School Musical: The Musical: The Series — bringing her huge GUTS world tour Down Under in October 2024. When we say huge, we mean it. With the addition of four Aussie dates alongside new gigs in Bangkok, Thailand, Seoul, Hong Kong, Tokyo and Singapore, the tour now spans 82 concerts around the globe. In Australia, Rodrigo has a two-night date with Melbourne and then another two with Sydney. Fans elsewhere, you'll be needing to travel. Touring in support of her second studio album that's also called GUTS, three-time Grammy-winner Rodrigo is hitting Rod Laver Arena Wednesday, October 9–Thursday, October 10 to start her Aussie visit. The next week, from Thursday, October 17–Friday, October 18, she'll play Qudos Bank Arena. In both Sydney and Melbourne, New Zealand singer-songwriter Benee will also take to the stage in support This is 'Drivers License', 'Good 4 U' and 'Vampire' singer Rodrigo's first arena tour, as well as her first tour Down Under — and she'll have her debut album SOUR to work through as well. The GUTS tour started in Palm Springs in February, saw Rodrigo do four shows at Madison Square Garden in April, and is currently making its way around the UK before heading to Europe, back to the US, then to Asia and Australia. Olivia Rodrigo GUTS World Tour 2024 Australian Dates: Wednesday, October 9–Thursday, October 10 — Rod Laver Arena, Melbourne Thursday, October 17–Friday, October 18 – Qudos Bank Arena, Sydney Olivia Rodrigo is touring Australia in October 2024. Ticket presales start at 1pm on Wednesday, May 15, and general sales at 1pm on Thursday, May 16 — head to the tour website for further details. Images: Chris Polk, Polk Imaging.
Mr Tucci has been nominated for Best New Cafe in our Best of 2018 awards. Like it? Vote for it right 'ere. Sibling-run cafe Mr Tucci in Glen Iris is bold, with three areas in particular standing out: the space, the food and the vibe. Let's start with the space, because, let's face it: first impressions are lasting. The space is encased in a glass triangle, with lots of natural light and a backdrop of trees, which makes it feel like you're eating in a very comfortable conservatory. And every seat in the cafe feels like this. Speaking of seats, it's worth noting that owners Fabian, Massimo, and Romina Crea did the fit out themselves — which included sourcing 1950s Australian school chairs and revamping them. The food shines in the space. And it's no wonder, really, given that this is not the Creas' first rodeo. Stalwarts of hospitality in Melbourne's southeast, they've created a menu which they know reflects local taste. The only problem with the menu at Mr Tucci is deciding what to eat. The sriracha and maple glazed bacon with avocado seems a firm favourite, judging from the plates of fellow diners, and the sourdough waffles are a clear winner given they've already sold out by early Saturday afternoon. No problem — despite the busyness of the day, the kitchen whips up some more for the polite children on the table next door. A definite thumbs up from the cute ones. There's a Mr T burger with beef brisket, for those with a larger appetite, and plenty of vegetarian options as well such as panko-crumbed eggplant or black bean röstis. The tasting plate with rösti, smashed avo, maple bacon, a poached egg and waffles with poached pear is a great way to sample three dishes from the menu at once. You can also just swing by for some really great coffee and cake. Fabian points out that he's lucky to still have his mum, Franca, doing things for him, and in this case she's making stunning cakes. Think Italian sponge filled with lemon curd, pistachio and chocolate biscotti, or pistachio and berry teacakes. Round out your morning (or afternoon tea) with a white coffee, made with beans from local-roaster Veneziano, or an espresso or filter with Wood and Co. This brings us to the last, and best, aspect of Mr Tucci: the intangible vibe. When you enter a new place and you're greeted like an old friend, this goes a long way. The Creas espouse old-fashioned good service. The name itself is a nod to their nonno, Giovanni Santucci, and hints at the importance of family for them. It feels like a family affair, and you've already been welcomed into the fold. Images: Julia Sansone
Much like the Big Apple, Melbourne is afflicted with a little insomnia and it's no wonder why. There's so much to do and so much to see that we have to take advantage of every available hour. Not to mention, the wee-small hours of the morning are the perfect time to get amongst it while avoiding the big crowds. Whether you've spent all night working a long shift or vigorously bumping and grinding on the d-floor, a body needs a little fuel. So, we've turned to those nocturnal yum-slingers we admire so much — our chefs — to get the low-down on where to spend those later hours eating the good stuff. Plus, we had a little look-see at the Night Network routes to help you get to these great late-night eats on the weekend (no matter what time it is). We asked the big guns of Fancy Hanks, Annam, Hector's Deli and Anada where they eat late at night after a long shift on the tools or a big night out, and they replied with the kind, unbridled enthusiasm you would expect. COOKIE Hidden away inside the Curtin House is Cookie, one of Melbourne's favourite pioneering culinary hotspots. They serve up exquisite Thai food and don't stop serving until past midnight. Dom Wilton and Jason Barratt of Hector's Deli in Richmond have some pretty strong feelings about the whole thing. "[Cookie] is probably the best restaurant in Melbourne…the fact that it doesn't have at least one hat makes me lose faith in the whole hatted guide," says Dom. And as Stokehouse alums, we trust they know what they're on about. Cookie, Curtin House, 252 Swanston Street. The 19 tram will get you pretty darn close to the front steps. [caption id="attachment_647048" align="alignnone" width="1920"] Kristoffer Paulsen.[/caption] THE MAYFAIR This recommendation comes from Brendan Van De Sande, the sous chef for Fancy Hanks, one of the CBD's iconic barbecue venues — even if you've never been, you've probably smelled the barbecuey goodness of its smoker on the corner of Bourke and Exhibition streets. Brendan has an extensive knowledge of late-night haunts to pick you up after a long shift or a big night. The Mayfair on Collins is a fancy, jazzy affair that knows what you want in a late-night snack with their dedicated late-night menu. "[The Mayfair Restaurant] is decadent, open late and the food is delicious. The staff are always super friendly and can lift your spirits after the hardest of services. My go to? The Mayfair burger and fries," Brendan says. The Mayfair, 45 Collins Street. Hop on the 109 tram to get there. STALACTITES Well, look. Obviously Stalactites needs to make this list. We've all wound up there, destroying a souva after a big night. But if it makes you feel any better, some of Melbourne's best chefs go there, too. Jerry Mai, who runs Annam on Little Bourke Street, is a fan of both the fare and the feel. "Sometimes all you need is a souva. I love that it's always bustling. It's a bit like stepping into another world," she says. And the Hector's Deli collective agrees, "you can't beat a greek meat platter and a cold Mythos after a long shift". Or a long shift of working hard on the d-floor. Either way, all night roads lead to Stalactites. Stalactites, 177/183 Lonsdale Street. Catch the 19 tram to Bourke Street Mall for these sweet, sweet souvas. SIGLO There are many reasons you might end up at Siglo in the wee hours of the morn. You might need a cosy atmosphere for a few reflective gins or a place to amp up the sexiness factor at the end of a date. It's a very sensual place, which makes it the perfect after-work venue for Maria Kabal, the head chef of Anada on Gertrude Street. "You can have a bite to eat with a negroni to wind down from your night at work," she says. Both atmosphere and menu are old-school European summer (think linen tablecloths, deferential service and charcuterie boards) and so are their opening hours — they're up until 3am every night. Siglo, 2/161 Spring Street. The 86 or 96 trams will get you to the area — all you have to do next is find the door (it's the nondescript one next to The European). [caption id="attachment_657860" align="alignnone" width="1920"] Flickr/John Joh.[/caption] LING NAN Ling Nan on Little Bourke stays open until 3.30am, probably because Melbourne's hospitality community has a massive thing for late-night XO pipis. It looks like a typical noisy Chinese restaurant but it's the place to be. Jerry Mai says "[They have] great XO pipis and congee and fried chicken ribs. You always run into other chefs and waiters knocking off — it's just that kind of place." The Hector's Deli crew are similarly afflicted with pipi-lust, but they have a different favourite: Supper Inn on Celestial Avenue in Chinatown. "[We've] spent too many nights annoying the amazing staff there at 2am not to mention them. The obvious choice is pipis in XO," they say. Ling Nan, 204 Little Bourke Street. Supper Inn, 15 Celestial Avenue. Look to the trusty 19 to get you to the corner of Swanston and Bourke streets. [caption id="attachment_657862" align="alignnone" width="1920"] @butchersdiner.[/caption] BUTCHERS DINER This unassuming little venue on Bourke Street is open 24/7, slings hearty meals in a diner setting and comes pre-loaded with a sense of nostalgia. Their menu is meaty and eclectic; think burgers, toasties, fried chicken, chilli dogs, pickles, roast veggies and sticky date pudding (to name but a few). Maria Kabal is cursed with a chef's worst nightmare: coeliac disease. She struggles to find easy late-night options, but Butchers Diner has changed all that. "Fate is an ironic mistress, making a chef a coeliac. The main thing for me is that [Butchers Diner] do everything gluten-free," she says. "Their specials board is usually what I go for. This one time I had two whole wheels of delice [a triple-cream soft cow's milk cheese] stacked on top of each other with pickled cherries. Best. Ever." Butchers Diner, 10 Bourke Street. Find this meaty paradise via the 86 or 96 trams to spring Street. HONOURABLE MENTIONS Union Electric, 13 Heffernan Lane, (open until 1am every night): "My friends and I stumbled upon this little diamond one night by accident, and our lives have never been the same. They don't have their own food menu, but you can BYO food from the surrounding Chinatown restaurants (or anywhere!). They've also just launched a new rooftop. My life has been electrified ever since."— Brendan Van De Sande, Fancy Hanks. Bar Tini, 3-5 Hosier Lane, (open until 3am Friday and Saturday): "Late night cocktails and beautiful Frank Camorra food…what more could you want?" — Jerry Mai, Annam. Whether you're working till the wee hours or partying to dawn, hop on the Night Network's weekend trams, trains or buses to refuel at one of these late-night eateries.
Back in the late 90s, there was a period when every second film was a disaster film, or so it seemed. Independence Day, Daylight, twin volcano flicks Dante's Peak and Volcano, Hard Rain, duelling death-from-above movies Deep Impact and Armageddon: they all kept unleashing chaos upon the earth on the big screen. Also among them, and proving a whirlwind box-office hit: Twister. Come July 2024, that tornado-chasing picture starring Helen Hunt (Blindspotting) and Bill Paxton (The Circle) will no longer be a once-off. Cue Twisters, a sequel that arrives 28 years after the initial feature to turn it into a franchise — because everyone knows that if this followup swirls up huge audience interest, more will likely follow. Alongside Deadpool & Wolverine and Wicked: Part One, Twisters unveiled its first trailer during the 2024 Super Bowl, introducing Glen Powell's (Anyone But You) character as a "tornado wrangler" in the process. There's also twin twisters, plenty of chasing them and a whole heap of fellow familiar faces getting swept up in the action Story-wise, the film follows an ex-storm chaser played by Where the Crawdads Sing's Daisy Edgar-Jones, who has to join forces with a cavalier colleague (Powell) thanks to an intense season that sparks weather that no one has seen before. They each have teams by their side, and both end up on a path to central Oklahoma, where the bulk of the chaos looks set to converge. Also featuring on-screen: Anthony Ramos (Dumb Money), Kiernan Shipka (Totally Killer), Sasha Lane (How to Blow Up a Pipeline), Daryl McCormack (Bad Sisters), Brandon Perea (Nope), Nik Dodani (Atypical) and Maura Tierney (The Iron Claw). The fact that Lee Isaac Chung is behind the lens is no small detail, either, marking the filmmaker's first feature since Minari, which nabbed him Oscar nominations for Best Director and Best Original Screenplay. Check out the trailer for Twisters below: Twisters will release in cinemas Down Under on July 18, 2024.
There are few things in this life as uniquely satisfying as lounging in a hotel room. The sheets are softer and straighter and somehow cleaner than you can ever achieve at home. That fluffy robe inscribed with the hotel's initials elicits an overwhelming sense of contentment as soon as you throw it on. The kettle always works. And if it doesn't? Call reception and someone will magically spirit one onto your door step. Whether it's on a work trip, a sneaky staycation, or a blowout weekend away with your bestie or beau, if you're in the market for the next hotel to put on your list, we have the stay for you — no matter your budget — with our Hotel Hitlist 2024. BUDGET: Holiday Inn Express Southbank If Melbourne is on your travel list in 2024, you can't beat the location of this Holiday Inn Express — or its budget. Located in the Southbank arts hub, where you can count the National Gallery of Victoria, Arts Centre Melbourne and the Australian Centre for Contemporary Art as next-door neighbours. Experience this hotel's smart rooms that include a pillow menu, complimentary grab-and-go express breakfast (as well as a breakfast buffet), and free wifi. Ink Hotel Melbourne Another spot along the Melbourne Southbank is the stylish Ink Hotel. Designed to suit all kinds of travellers, the chic hotel offers guest rooms from pocket-size (just there to sleep) through to spacious suites. You don't have to go far for a good cup of coffee (it's Melbourne, after all) but breakfast and brunch are available from 7.30am until 3pm daily, and the cafe is open from 7am until 11pm. There's also an on-site bar serving drinks and bar snacks every day until late — there's even a daily happy hour from 5–8pm. Holiday Inn Sunshine Coast If the Sunshine Coast is calling, this Holiday Inn Express and Suites is another can't-beat stay when you're travelling on a budget. Located in Maroochydore, it's an ideal spring-off point for exploring one of Queensland's most popular regions. Each morning, sit down to a complimentary breakfast buffet or choose a grab-and-go option. Whether you're here for work or play, the hotel offers all the essentials and some fun extras, like the pillow menu, guest-only rooftop pool and shopping hub at the ground-floor level. Waters Edge Port Macquarie The once-sleepy town of Port Macquarie is now a popular vacation location for hikers, kayakers and beach lovers (there are eighteen beaches in the area to choose from). The picturesque spot is now home to plenty of Gen X and millennials who left city life for more scenic shores. Explore the area for yourself while staying at Waters Edge Port Macquarie. Perched on the banks of the Hastings River and only a short stroll from beaches, retail hubs and all the sites. BOUTIQUE: Kimpton Margot Sydney If a city stay is on your trip list for 2024, head to Sydney's CBD and stay in one of the city's iconic Art Deco buildings, reinvented as a stylish boutique hotel: Kimpton Margot Sydney. This hideaway heritage hotel boasts a great location, a recently opened rooftop bar (the biggest in the city), and restaurants and bars helmed by legendary Australian chef Luke Mangan. It's pet-friendly, too. Hotel Indigo Potts Point If Sydney is calling, you could stay in the cosmopolitan inner east suburb of Potts Point at this just-opened retro hotel tucked behind the iconic Kings Cross Coca-Cola sign. Only officially open on January 29, Hotel Indigo Potts Point celebrates the area's famed cabaret scene with homages to the locale's entertainers and musicians. The lobby features artist portraits, lush velvet red curtains, digital NFT artwork projections, and a vintage vinyl collection you can play on the lobby's turntable. In your room, you will find similar artwork, retro phones and an in-room cocktail station to get you in the party mood. VOCO Brisbane If BrisVegas is your destination in 2024, get involved in the hustle and bustle of Queensland's sun-drenched capital city from your comfy stay at voco® Brisbane City Centre. It is located along the city's waterfront, close to many of the city's top sights, including King George Square, the Museum of Brisbane and the South Bank Art Precinct. Enjoy some sips at Kraft & Co. restaurant and bar, take a dip in the rooftop pool or borrow a bike (for free) and explore the city on two wheels. Hotel Indigo Melbourne If you're looking for a creative haunt in the heart of Melbourne's CBD, you can't get better than Hotel Indigo Melbourne on Flinders. You'll be ideally located in the culture hub of Flinders Lane from hole-in-the-wall bars, fresh street art, museums, galleries, and excellent eateries and cafes. Situated close to photographer Helmut Newton's studio (whose artistry inspired the hotel's kit-out), this hotel is a celebration of fashion photography. Explore its large collection of artworks by local artists or take your own Newton-esque selfie at the on-site photo booth. BLOWOUT: Next Hotel Melbourne Located in Melbourne's CBD east end district, Next Hotel Melbourne is a super chic city stay next to hospitality and high-fashion hot spots and footsteps away from the city's theatres. Relax in the hotel's guest-only Club — with an aperitivo hour every evening with local wines by the glass, local spirits and snacks to graze on — or dine at the on-site restaurant La Madonna. It encompasses the entire third floor with a cocktail bar and Italian-Asian-inspired restaurant run by chef Paul Turner. Southern Ocean Lodge This local favourite on Kangaroo Island was damaged during the Black Summer bushfire of 2019, leading to its closure. It has been lovingly restored and reopened in late 2023, making it a must for luxury lovers heading to Kangaroo Island in 2024. Its guest suites now point southeast so guests can enjoy uninterrupted views of the Southern Ocean. All suites have private decks, an EcoSmart fireplace and a sink-in bathtub. There's even an ultra-premium Ocean Pavilion, where guests can stay in a single four-bedroom owner's residence; or two separate two-bedroom suites, an on-site spa, and a wet-edge pool at The Great Room terrace. Intercontinental Sorrento Mornington Peninsula Forget heading to Sorrento, Italy, for a luxe summer; instead, head down to Victorian wine country and sip on some local sangiovese at the luxury seaside hotel Intercontinental Sorrento Mornington Peninsula. It's got a Mediterranean-inspired guest-only pool deck you won't want to miss, Aurora Spa & Bathhouse to relax in, and a suite of food and drink venues from the dapper speakeasy Barlow, the terrazzo-floored public bar and lofty, glass-ceilinged beer garden to the light-filled Atrium with all-day wining and dining. [caption id="attachment_936260" align="alignnone" width="1920"] Diah Lateri[/caption] W Sydney Sydneysiders had long awaited the opening of this luxury hotel in Darling Harbour. The hotel has 588 stylish rooms and a bevy of world-class amenities, including an openair infinity pool, a restaurant and dessert bar, two cocktail bars and a luxe spa. Footsteps away from Friday fireworks, the ICC, Imax cinema, and the waters of the iconic Sydney Harbour, W Sydney is definitely one hotel that should be on your list for 2024 — maybe even more so if you're based in Sydney and are keen on a budget blowout staycation.
In Osaka and Hollywood, it's now possible to live out your wildest Super Mario Bros dreams, all thanks to Super Nintendo theme parks that look like the plumber-filled games come to life — and even include IRL Mario Kart. Without heading out of Australia, you can also slip into pop culture's favourite speedy vehicles, albeit just for a few days at 2023's Formula 1 Australian Grand Prix in Melbourne. With The Super Mario Bros Movie about to hit cinemas, the flick has teamed up with the racing event to display a life-sized — and very real — Mario Kart in the F1's family zone. That area is named after the film, too, so setting up the only actual Mario Kart in the country was always going to be as pivotal as avoiding banana peels on any track. We believe that Mario said it best: let's go! [caption id="attachment_895402" align="alignnone" width="1920"] Mario Kart at the Grand Prix Albert Park Melbourne. Wednesday, March 29, 2023.[/caption] On display from Thursday, March 30–Sunday, April 2, ready for Mario Kart lovers to sit in and take snaps in aplenty, the vehicle does come with one big caveat: it doesn't race. So, you won't be putting pedal to the metal while you're in it. And no, there's no rainbow road to slide along. But everyone who has ever played the racing game in its many guises — on the many various Nintendo devices that the game has popped up on over the years, not to mention Google Maps, mobile phones and reality elsewhere — is well-versed at pretending. The retro-fitted kart is for kidults and kids alike, and part of the Albert Park Grand Prix Circuit's feast of family-friendly activities alongside a ferris wheel, bungee trampolines, Assistance Dogs Australia's puppy races and pooch belly rubs, and an AFL Auskick clinic. Live tunes, food trucks and screens showing the F1 action are also on offer within the precinct. [caption id="attachment_895404" align="alignnone" width="1920"] Mario Kart at the Grand Prix Albert Park Melbourne. Wednesday, March 29, 2023.[/caption] The Super Mario Bros Movie Family Zone is ticketed, and scoring a park pass is recommended as the best way to head along. If you choose to wear overalls, or don a red or green cap, that's entirely up to you As for The Super Mario Bros Movie itself, it hits cinemas on Wednesday, April 5. Chris Pratt (The Guardians of the Galaxy Holiday Special) voices the Italian plumber, Jack Black (Apollo 10 1/2: A Space Age Childhood) does the same with Bowser, while Charlie Day (It's Always Sunny in Philadelphia) plays Luigi — alongside Anya Taylor-Joy (The Menu) as Princess Peach (Anya Taylor-Joy, The Menu), Seth Rogen (The Fabelmans) as Donkey Kong, Keegan- Michael Key (Wendell & Wild) as Toad, plus Fred Armisen (Wednesday) as Cranky Kong. Check out the trailer for The Super Mario Bros Movie below: Find the IRL Mario Kart at the Formula 1 Australian Grand Prix in Melbourne, in The Super Mario Bros Movie Family Zone, from Thursday, March 30–Sunday, April 2. Top image: © 2023 Nintendo and Universal Studios.
Size might not always matter, but when it comes to a sun-drenched rooftop? Well, that's when that saying about bigger being better most certainly rings true. And Melbourne's CBD is about to score a sizeable sky-high destination that's on track to be its biggest rooftop bar yet. The crew behind barbecue joint Fancy Hanks and openair upstairs sibling Good Heavens first revealed their expansion plans for the two Bourke Street venues back in late 2021, after acquiring multiple levels of the site next door. On the cards: a tripling of Good Heavens' sky-high footprint, a refreshed look for the space, and the addition of new bar and pub Springrock downstairs in the former Grand Trailer Park Taverna digs. While the project has been met with delays across the past 12 months, the build is now underway — and the team's dropped a few more details as to what we can look forward to when it's all done and dusted. [caption id="attachment_890060" align="alignnone" width="1920"] Mike Patrick and Kent Bell, by Eugene Hyland[/caption] Slated to open in June is Good Heavens' new and improved rooftop, occupying a record-breaking monster of a space above the corner of Bourke and Exhibition Streets. Under its next guise, executed by Ewert Leaf, the venue's set to embrace a modernised 70s look, sporting a central al fresco fireplace and brutalist-inspired bar façade. As hinted last year, an expanded bar offering will include up to 40 taps, celebrating beer, spritzes and cocktails for all palates. Good Heavens will remain open as normal while the works continue. The wait will be slightly longer for the next phase of the expansion, Springrock, which is set to launch towards the end of the year. Here, the owners are out to offer a destination dedicated to "uncomplicated fun" — a casual, unpretentious pub-style haunt that'll have a 3am license, footy on the big screens and live tunes playing until late. Springrock's menu will take some cues from the taverns of NYC, while also taking advantage of Fancy Hanks' impressive smoker. It's a playful, creative lineup set to feature the likes of crab cake sandwiches, hotdog beef tartare, chicken nuggets paired with Yarra Valley caviar, and a nod to the age-old favourite banana split. Local wines and a hefty range of Long Island iced tea varieties will headline the drinks list. In the meantime, Fancy Hanks is kicking on as usual. Once the whole project is complete, the three venues will work as separate haunts, although you'll be able to easily hop between them all. [caption id="attachment_635010" align="alignnone" width="1920"] Fancy Hanks[/caption] The next phase of Good Heavens will open at Level 2, 79 Bourke Street, Melbourne, from June. Springrock is set to open in late 2023. Top image: Chip Mooney.
It's time to get the word "Jellicle" stuck in your head again: to mark 40 years since it first hit the stage in Australia, Cats has locked in a new season Down Under. Back in July 1985, Aussie audiences initially experienced Andrew Lloyd Webber's acclaimed production, which turned a tale inspired by poems from T.S. Eliot's Old Possum's Book of Practical Cats into an award-winning theatre hit. The place: Sydney, aka where Cats is heading again from June 2025. Four decades ago, the show pranced and prowled through Theatre Royal Sydney — and the new season will scamper across the boards there again, too. There's no word yet on whether the show's 2025 Australian run will make stops in any other cities, so if you're keen for some new Cats memories, booking a seat in the Harbour City is your only current way of guaranteeing them. "Cats is a legendary show that I've admired for over 40 years. A sparkling fusion of music, dance and verse, it was revolutionary when it first opened and enticed new audiences into the world of musical theatre," said producer John Frost for Crossroads Live about the new Aussie performances. "I can't wait to bring the original production of Cats back to Australia where it all began, at Theatre Royal Sydney, to celebrate its 40th anniversary in Australia." If you're new to Cats, it spends its time with the Jellicle cat tribe on the night of the Jellicle Ball. That's the evening each year when their leader Old Deuteronomy picks who'll be reborn into a new Jellicle life by making the Jellicle choice. And yes, "Jellicle" is uttered frequently. Of late, audiences might be more familiar with Cats as a movie. In 2019, the musical made the leap from stage to screen with a star-studded cast including Idris Elba (Hijack), Taylor Swift (Amsterdam), Judi Dench (Belfast), Ian McKellen, (The Critic) James Corden, (Mammals) Jennifer Hudson (Respect), Jason Derulo (Lethal Weapon), Ray Winstone (Damsel) and Rebel Wilson (The Almond and the Seahorse) playing singing, scurrying street mousers. If you ever wanted to see Swift pouring cat nip on a crowd of cats from a suspended gold moon, or were keen to soothe your disappointment over the fact that Elba hasn't yet been James Bond by spotting him with whiskers, fur and a tail, this was your chance. For its efforts, the Tom Hooper (The Danish Girl)-directed film picked up six Golden Raspberry Awards, including Worst Picture. But while the movie clearly didn't hit the mark, you can see why this feline-fancying musical has been such a huge theatre hit when it makes its Aussie stage comeback. View this post on Instagram A post shared by Cats Australia (@catsthemusicalau) Cats will play Theatre Royal Sydney, 108 King Street, Sydney, from June 2025. Head to the musical's website to further details and to sign up for the ticket waitlist. Images: Alessandro Pinna.
Never believe someone who tells you that salted caramel is overrated. They probably just haven't tried the right one. And if any version of the sweet-but-salty treat is going to convert the salted caramel agnostic, it's Pepe Saya's — because Australia's famous cultured butter maker has branched out into desserts. Pepe Saya already does pancake packs, brown butter chocolate-chip cookie dough, scone packs and more, of course, but now it has added buttery salted caramel bon bons to its range. The added bonus with these: you can can pop them in your pocket or bag, then get snacking whenever the urge strikes. If you're wondering why Pepe Saya decided to move into caramels — and yes, the easy answer is 'why not? — it's calling its version an Australian homage to the caramel au beurre salé. It has company, too, with the mouth-watering squares made by hand by Adora Handmade Chocolates in Marrickville, and not only using Pepe Saya's cultured butter but also Olsson's sea salt. Even better: the bon bons come in two varieties. Stick with the OG buttery salted caramel version and you'll obviously taste all the requisite flavours (that'd be butter, salt and caramel), or opt for the chocolate buttery salted caramels for something even more decadent. That said, if your tastebuds are now well and truly tempted, you'll want to get in quickly. While the caramels have been added to Pepe Saya's lineup on an ongoing basis, they're being made in limited-edition batches — and only 250 boxes are available each week. You can nab them online from Pepe Saya's website and Olsson's website, with ten in a box. The original version costs $19.95, while the chocolate variety costs $24.95. Announcing the bon bons, Pepe Saya co-founder and buttermaker Pierre Issa said that "any butter or salt company worth their weight should have a salted caramel. Caramelising our butter brings out the true flavour of cultured butter, perfectly rounded with sea salt. It quite literally melts in your mouth with more and more flavour appearing as it dissolves." "I've always dreamt of being able to carry a little taste of Pepe Saya butter around in my pocket to share with people, and now I can, with a pocket full of these bon bons," Issa continued. The caramels also come in quite the eye-catching packaging, as designed by Aussie artist Michael Whooley. Inspired by the butteries that Issa and fellow co-founder Melissa Altman have been to overseas, it features a cat to pay tribute to felines who call butteries home around the globe. Pepe Saya's new range of caramels are available online from Pepe Saya's website and Olsson's website, with ten in a box. The original version costs $19.95, while the chocolate variety costs $24.95 Images: Rob Locke.
Bouvier Bar brings a little ritz to the north end of Lygon Street otherwise, peppered by Thai restaurants and burger joints, with its cocktail touting self, shmick black walls and dim lighting. Step inside for a deceptively long space, European-vibe tapas (duck liver parfait on lavoche, Spanish tinned sardines, house-made gnocchi) and a wine list with plenty of options from Australia and across the seas. The cocktail list is broad, with odes to distant lands championing Japanese and Mediterranean flavours. Give a 'Thyme Bomb' cocktail a whirl: vodka, St Germain elderflower liqueur, thyme syrup and lemon ($17). This zesty baby will freshen up the start of your weekend.
When Westworld finally returns for its third season next month, it's time for a big farewell and a few huge hellos. Firstly, say goodbye to the futuristic show's status quo, with the series finally stepping outside of everyone's favourite android amusement park. Then, prepare to watch a heap of series newcomers — including Aaron Paul. Yes, the Breaking Bad actor is joining Westworld for its next batch of episodes. As seen in the initial trailer for the third season, his new character was promised a better world, but this dream hasn't come true so he's now searching for something real. In the just-dropped full trailer, we see him join forces with Dolores (Evan Rachel Wood), who is free from the theme park's confines, well aware of what she is and undertaking a similar justice-fuelled search herself. When it comes to newcomers, Paul is joined by Vincent Cassel (Black Swan), Lena Waithe (Master of None), Scott Mescudi (How to Make it in America), John Gallagher, Jr (The Newsroom) and Tommy Flanagan (Sons of Anarchy) — with Cassel playing a mysterious figure who isn't too fond of Dolores' plans. Obviously, plenty of familiar faces are returning for the third season as well, including Jeffrey Wright, Tessa Thompson, Thandie Newton, Ed Harris and Luke Hemsworth. If you feel like you've been hanging out for new Westworld for years, that's because the show's second season aired back in 2018. If that seems like a long time between android dramas, remember that the first season of the show arrived 43 years after the Michael Crichton-directed movie that it's based on, and 40 years after the film's sequel Futureworld. If you haven't done so already, both are worth viewing while you're waiting for the TV series to return. Check out the full trailer for Westworld's third season below: https://www.youtube.com/watch?v=pDJbFA32_QY Westworld's third season will air from Monday, March 16 — screening in Australia on Foxtel.
A few years ago the gin and tonic seemed like a basic drink order saved only for times of limited choice or hot days when there was no cold beer within reach. But the rise of Australia's own boutique gin production has changed that quite rapidly, with small-scale distillers — like Sydney's Archie Rose and Melbourne's Four Pillars, to name a few — creating some distinctive and downright delicious gins in our own backyard (Pinot Noir gin, anyone?). The latest weird and wonderful gin creation comes from South Australia's Applewood Distillery. They've just released a limited run of one-off Green Ant Gin, which is infused with — you guessed it — green ants. How does it work? Like all gin, it's made up of a selection of botanicals. But along with the usual juniper berries and orange peel, the essence of ants has also been thrown in. That's because ants release a pheromone during the distillation process, which produces a flavour that complements the other botanicals. According to Applewood, the green tree ants give the gin a "lime-licked burst of intense green flavour". While this is the first gin made with green ants we've heard of, Applewood's not the first people to use the tiny insects in gin — Copenhagen's Nordic Food Lab produces an Anty Gin that costs a bomb per bottle, and last year Victoria's Bass and Flinders Distillery released their Angry Ant Gin made with ants sourced from Western Australia. As a general rule we don't allow green ants anywhere near our mouths, but we'll probably make an exception for this one. Bottles are currently going for $120 on Applewood's online store. There's only 300 of them though, so you may have to snatch one up stat.
Every autumn, the Eta Aquarid meteor shower sets the sky ablaze. It might not be as famous as Halley's Comet, but the Eta Aquarids are actually a distant relation — the bits and pieces you see flying around were on Halley's path a really, really long time ago. And, rather than only being visible every 75 years (the next Halley's Comet sighting is in 2061), you can catch the Eta Aquarids annually. This year, the shower will be at its most spectacular early Tuesday, May 7 (very early) — here's how to catch a glimpse. WHEN TO SEE IT The shower will reach a peak in the early morning of Tuesday, May 7, but will still be able to be seen for a day or two on either side. The best time to catch an eyeful is just before dawn after the moon has set, so around 4am. At that time, you'll be in the running to see as many as 30 meteors every 60 minutes. Each will be moving at about 225,000 kilometres per hour, shining extraordinarily brightly and leaving a long wake. The shower's cause is, essentially, the Earth getting in the comet's way, causing stardust to fry up in the atmosphere. WHERE TO SEE IT Being in the southern hemisphere, we get some of the best views in the world. So, if you're living in the city, it could be time for a last minute trip to a clear-skied camping spot. The trick is to get as far away from light pollution as possible. For Sydneysiders who don't mind a long drive, this could mean a trip to the far south coast. We reckon Picnic Point campsite in Mimosa Rocks National Park might be a winner. Or, if that sounds too far away, Booderee National Park in Jervis Bay is pretty light-free. Alternatively, head west — after all, you'd be hard pressed to find better views than at The Dish, just outside of Parkes or at Australia's only Dark Sky Park at Warrumbungle National Park near Coonabarabran. Melburnians might consider a journey to Wilsons Promontory or along the Great Ocean Road, as far as Killarney Beach. For somewhere closer, there's Heathcote, which is just a 90-minute drive from the city, but is an excellent vantage point. For a real escape, head to Snake Valley in the central west, where there's hardly a light in sight. For a quick trip out of Brisbane, try Lake Moogerah, Lake Wivenhoe or Lake Somerset, which are all rather dark, considering their proximity to the city. If you have a bit more time, head two-and-a-half hours' west to Leyburn, which has some of the busiest skies in Queensland, or eight hours' west to the tiny town of Charleville in the outback. HOW TO SEE IT The shower's name comes from the star from which they appear to come Eta Aquarii, which is part of the Aquarius constellation. So, that's what you'll be looking for in the sky. To locate Eta Aquarii, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). If you're more into specifics, Time and Date also have a table that shows the direction and altitude of the Eta Aquarids. They've been updating this daily. If you struggle to get out of bed, NASA Apart from that, wear warm clothes, take snacks and be patient. Happy stargazing.
Chadstone's new luxury hotel wouldn't be complete without an equally opulent restaurant for guests (and locals) to dine in. Rising to the occasion is highly lauded Melbourne restaurateur Scott Pickett. The chef is behind some of our city's favourite restaurants, including Lupo, Estelle, Pickett's Deli, Matilda. Now, Pickett has opened Pastore, an all-day Italian diner set within the new Hotel Chadstone. In the kitchen, Head Chef Mirco Speri (Thirty Eight Chairs) is serving up woodfired small plates and handmade pastas. Some of the smaller dishes on the menu at the moment include house-cured duck prosciutto with davidson plum, wood-roasted king prawns with 'nduja, and grilled asparagus with cured egg yolk. On the pasta menu, you'll find spaghetti in an ubriachi red wine sauce and pici — a type of thick, hand-rolled spaghetti — served in sausage ragu and topped with salted ricotta. And, for extra-hungry diners, there's an 1.2-kilogram, dry-aged bistecca alla Fiorentina on offer. [caption id="attachment_749486" align="alignnone" width="1920"] Bistecca alla Fiorentina by Kristoffer Paulsen[/caption] Alongside the food, you can enjoy bottles of locally produced wines that use Italian grape varieties — and some fancy drops by the glass, available thanks to the restaurant's Coravin system. The cocktail menu also follows this theme, using Italian spirits and Aussie botanicals in drinks like the Native Negroni, made with Applewood Okar amaro, Maidenii vermouth and (the owner's namesake) Pickett & Co gin. The dining room and bar each seat 50, and you can expect a luxe vibe with high ceilings, hanging greenery and brass and timber finishes. We reckon the restaurant alone is reason enough to book a stay into the hotel — or to make the trip to Chadstone at the very least. Pastore is now open at Hotel Chadstone, 1341 Dandenong Road, Chadstone. The restaurant is open Monday–Saturday from 6.30–10.30am, 12–2.30pm and 6–9pm, and Sunday 6.30–10.30am and 12–5pm. Images: Kristoffer Paulsen
When Anchovy co-owners Jia-Yen Lee and Thi Le first started slinging khao jee pâté — the Lao cousin of the Vietnamese banh mi — during last year's lockdown, it was never meant to become a permanent venture. But as lockdowns and restrictions continued, and the duo's street food offering earned itself a loyal following, it became clear the Ca Com pop-up was here to stay. Now, it's spawned its own standalone shopfront next door. Named after the Vietnamese words for 'anchovy', Ca Com first made an appearance at the front window of Anchovy in May 2020. The restaurateurs were keen to keep busy while Anchovy was closed to dine-ins, and a rotating menu of banh mi was exactly the kind of accessible, lockdown-friendly fare the neighbourhood needed. The pair have been running the pop-up on and off ever since, using a hibachi on the window sill to barbecue proteins and ramping up opening hours whenever Melbourne goes into a snap lockdown. The concise banh mi menu changes regularly depending on the availability of meat cuts and other ingredients, giving the team a chance to flex their creativity and test out new flavour combinations for its dedicated Melbourne fans.
Don't stress about packing your bags — a new breed of playcation has just launched at QV Melbourne. Opened in the CBD for the first time, Hijinx Hotel is combining its immersive quick-play challenge rooms with a sprawling Archie Brothers arcade-meets-cocktail bar experience. Together under a single roof, expect a kaleidoscopic entertainment destination that delivers a double dose of fun. If you haven't experienced Hijinx Hotel Chadstone before, just know these 'hotels' are designed for action-packed play, not overnight stays. Set around a series of hypnotising challenge rooms hidden behind hotel suite doors, guests swipe their keycard to enter a world of brain-teasing adventure. There are ten in total to explore, spanning massive ball pits, giant puzzles and a mega light-up floor grid made for dancing and dodging. When it's time to play, teams of two to six players complete a course of five challenges, with guests given just four minutes to crack each room's task. If you succeed, you've earned yourself a point for the leaderboard. Along the way, these brand-new challenge rooms will test your precision, teamwork and quick thinking skills. Featuring chaos and creativity in equal measure, this multi-sensory experience offers a next-level adventure without leaving town. "We set out to create a destination that brings pure joy to Melbourne's social scene," says Michael Schreiber, CEO of Funlab. "What excites us most is how this venue is set to bring everyone together, from couples and friends to full corporate teams looking to shake up their next event. We've built a space where play leads the way and memories are made from the moment you arrive." Once you've finished decoding the puzzles, step into Archie Brothers, an impressive 1600-square-metre arcade filled with circus-themed gaming. Think claw machines, classic arcade games, and engrossing VR experiences that offer nostalgic and future-forward encounters side by side. Plus, there are comprehensive karaoke rooms and function spaces perfect for catering to private events and parties. What's more, Archie Brothers is renowned for its theatrical cocktail bar, with creative concoctions like the Bubble and Pop featuring tropical rum-drenched flavours and topped with a scented bubble that bursts into a suspended vapour. There's also a crowd-pleasing food menu to fuel your crew, with pizza, tacos and chicken bites on offer. So, leave the toothbrush at home and check in for an offbeat night of fast-paced gaming and unique challenges. Hijinx Hotel QV Melbourne is open Sunday–Thursday from 10am–11pm and Friday–Saturday from 11am–1am at QV Melbourne, Level 3, Cnr Lonsdale and Swanston Street, Melbourne. Head to the website for more information. Images: Zennieshia Butts.
