Most kids love a school camp — the sense of camaraderie, having a giant sleepover with your best friends and doing fun things that you wouldn't experience at home. But these feelings are usually captured between the ages of ten and 17, and can be hard to replicate once you're an adult with responsibilities. Thankfully, Snow Machine is here to flip that idea on its head. Snow Machine is a five-day extravaganza dedicated to playing hard and partying harder, with the New Zealand leg set across the mountains of picturesque Queenstown. Here, adventure- and music-loving folks ski all day and party all night. What was 2023's fest like between Tuesday, September 5–Sunday, September 10? And why is Snow Machine more than just another festival? Here's everything that you need to know. WHAT IS SNOW MACHINE? Snow Machine is so much more than a multi-day concert. Instead, it creates an institution of fun that has punters returning year after year. The sense of community is something that the team behind Snow Machine are experts at, and is incredibly important to festival creator Chris 'Muz' Murray and fellow director Quentin Nolan. There's nothing that Muz loves more than a serious hat, fun costumes and bringing people together, and he's combined these three passions in the Machine festival series. Snow Machine takes place in Queenstown and Japan, Dream Machine in Bali and Wine Machine throughout Australia. Muz's personal goal for each Machine is to "exhaust" his patrons in a good way, with the five-day schedule jam-packed with everything that Queenstown and a fest has to offer — whether it be skiing down The Remarkables half-naked, indulging in a Fergburger or zipping around Shotover River on a speedboat, festivalgoers can choose to do as much or as little as they like. For Snow Machine 2023, tickets started at $929, which covered the bulk of an attendee's expenses — including accommodation (which is available in different tiers), a five-day ski pass at The Remarkables and Coronet Peak, access to the party areas on each mountain, and a ticket to the main Snow Machine arena each night. These are just the basics, with patrons able to add any of the other experiences that Snow Machine has to offer, such as after parties in Queenstown clubs, a VIP long lunch halfway up Coronet Peak and a recovery cruise at the end of the week to top it all off. FIVE DAYS AT THE MACHINE Snow Machine's 2023 Queenstown schedule started small and built up throughout the week, with each day busier than the previous. The festival officially kicked off on Tuesday, September 5 with an opening party at Kawarau Bridge Bungy. Local DJs took to the decks as punters got the week started with a dose of adrenaline — and one guy set the tone for the upcoming days by taking the plunge in his birthday suit. Wednesday, September 6 was the first day up the mountain for many of the patrons, as DJs and artists started their rotation of sets throughout both Coronet Peak and The Remarkables, with each mountain having two stages. That night was the first of many side parties at Canyon Brewing, a brewery just outside of Queenstown with stunning views across the Shotover River. These side parties continued each night, with after parties taking over three Queenstown nightclubs. The next two days were the most jam-packed of them all, with the main festival arena swinging into action and the infamous Polar Bare (emphasis on bare) taking place. As you may be able to glean from the title, this is a ski run like no other, as punters strip off to ski down The Remarkables wearing anything from a brightly coloured bikini, a mankini or even some fancy lingerie. Just one rule rang out over the loudspeaker on the day: "the lifties will not let you on if you're naked". Friday saw one of the more exclusive events take place, a VIP long lunch. Before 2023, it had never been open to the public — and this year's sold out instantly. The ski-in, ski-out experience featured a three-course meal and endless rosé thanks to Whispering Angel wines, as enjoyed at long tables adorned with pink decor and lined with fur-covered seats. SNOW MACHINE'S MAIN ARENA The main arena, assembled near Queenstown Airport, was open for business as of Thursday night, with Hilltop Hoods and Shapeshifter drawing the biggest crowds. For those who wanted a little more luxury in their festival experience, Snow Machine offered VIP tickets, which included access to an impressive two-storey marquee with rustic fake fires, comfy couches and — perhaps most importantly in a festival environment — very fancy toilets. Everyone's favourite social media lads The Inspired Unemployed were on the scene to oversee their Better Beer pop-up, a lager that they launched in New Zealand in 2022 and were shilling successfully to their adoring fans, with Red Bull vodkas and Odd Company RTDs joining the drink selection. To soak it all up, festivalgoers had multiple food trucks to choose from, with options including pizzas, kebabs, Chinese savoury pancakes and dumplings. That evening was even bigger than the last, with New Zealand's national treasure Benee owning the night with her set, and almost getting lost in the crowd when she attempted to crowdsurf in the middle of a song. Peking Duk closed out night two, with the Aussie duo always ready for a party and bringing the crowd along with them, screaming at the audience to get on each other's shoulders despite security being vehemently against it the previous night. WHY SHOULD I GO? Muz's message of bringing people together doesn't just include the patrons themselves, but the crew who puts it all together. This huge group of fun, like-minded and kind people are doing it all just to make sure that people have a good time — and, wandering around the festival grounds and up the mountain, you can see that they've passed that test with flying colours. There's no doubt that nostalgic sense of camaraderie has been achieved, as festivalgoers run into each other on the ski chairlift and the mosh pit, surrounded by their party people all week. That feeling is why so many of the punters are repeat guests, because that vibe is hard to appreciate before seeing and feeling it for yourself. Snow Machine Queenstown 2023 ran from Tuesday, September 5–Sunday, September 10 in Queenstown, New Zealand. Head to the Snow Machine website for information about Snow Machine Japan, and keep your eye out for early-bird registration to Snow Machine Queenstown 2024. Images: Chris Kay / Pat Stevenson / Han Lowther / Daniel Hilderbrand.
Now, before you get us all wrong, this is a guide to hotels where you can swing back and forth on actual swings and hammocks. It's not for the other kind of swingers. These hotels have swings on the beach, by the pool, at the bar and in the rooms — on which you can gleefully rock back and forth and take in spectacular views in total comfort. Read on to find our favouriting swinging spots. Recommended reads: The Best Hotels in Sydney The Best Hotels in Melbourne The Best Hotels in Brisbane The Best Pet-Friendly Hotels in Australia SHINTA MANI, CAMBODIA You'll rethink your kitchen chairs after a stay at Shinta Mani, where the streetside Kroya restaurant boasts dreamy swings on a breezy terrace. The idea of swings and food might sound messy, but you'll soon get the hang of things in no time. Plus, these swings are huge — you really shouldn't be falling off them. The excellent Cambodian dining options available will also make practice a pleasure rather than a chore (perhaps only the steady-handed should order crab bouillabaisse). American architect and interiors whizz Bill Bensley styled the hotel and added in all the swinging details. NALADHU PRIVATE ISLAND RESORT, MALDIVES Why doesn't every hotel have beach hammocks and in-room swing chairs? Naladhu Private Island Resort, set between a lagoon and the sea, boasts both. That's not all it has, either: each of the 19 intimate beach houses comes with its own private pool and romantic semi-outdoor glass-sided bath and shower. With all this in your villa, don't be surprised if you never reach the main pool, flanked by inviting sun loungers and overlooking the lagoon. When you want to have both feet planted firmly on the ground, head to the Living Room, a thatched-roof restaurant with an openair hardwood deck, to feast on local seafood as the sun sets over the water. COQUI COQUI COBA, MEXICO This luxury Mexican resort is a swinger's paradise. Within the Coqui Coqui Coba suites and villas, you'll find hammocks hanging in the centre of rooms, wooden swings in the bathrooms and hammocks simply used as decorations on the walls. You can even head down to the pool located by the lagoon and surrounded by Mayan-inspired towers to swing about on one of the outdoor hammocks all day long. Order some food and cocktails from its restaurant and swing here while watching the sun set over the mountains. THE GRAY, ITALY The swinging scene at Milan's The Gray revolves around the lobby, where a giant fuchsia-upholstered swing with lipstick-red cords drops from the ceiling: a memorable first impression, regardless of whether you're bold enough to go and sit on it. If you take the swing as a promise of the unexpected, you won't be let down. The rooms have ivory-silk curtains that whoosh open at the touch of a button; there are Jacuzzis in bathrooms; the restaurant has black-velvet chairs, grass-topped tables and spoons and forks suspended from light fittings. It's all over the top and we love it. SAL SALIS, AUSTRALIA A little closer to home, this swingers accommodation is set right on the Ningaloo Reef, where the desert meets the sea — an extraordinary and unique part of Australia that should be on all travel bucket lists. The 16 off-grid wilderness tents are located right on the beach, surrounded by little else but untamed nature. Swing in your hammock all day long, gazing into your stupid-beautiful views with an ice-cold beer at hand, or get out on a sea kayak to explore the nearby reefs full of colourful sea life. Not only is this one of the best accommodations for swingers, it's also one of the best glamping spots in Australia. COMO COCOA ISLAND, MALDIVES COMO Cocoa Island is your quintessential luxury Maldives resort that's home to villas hovering on stilts above clear blue waters. It's the kind of place you see in honeymoon brochures and would expect to be the next location of The White Lotus. It is pure luxury. It's also where swingers can hop from beachside hammock to beachside hammock throughout a long sunny day. When you grow tired of your own private pool and the waters full of turtles and dolphins, you can hit up some of the swings dotted about the island. Bring a good book and a few beers with you and spend your holiday swinging by the sea. RUSCHMEYER'S, UNITED STATES This grown-up, summer camp-style boutique hotel in the Hamptons is home to 19 detached rooms surrounding a large swath of grass that provides a back-to-basics luxury — with swings, a tepee and lawn chairs aplenty. Swingers will even find hammocks in some of the Ruchmeyer's bedrooms. And come night-time, the lawns host summer parties and outdoor cinemas. This means you can swing here all day and all night long. GAYANA MARINE RESORT, MALAYSIA At Gayana Eco Resort, you can take swinging to whole new heights: this eco-luxe hideaway has jungle paths with a canopy walk and zip line, so you can whoosh through the trees like an over-caffeinated monkey. For calmer moments, there's also an excellent spa with horizon-view rooms and a selection of massages, scrubs, facials and beauty treatments. There's even an on-site marine research centre: a hub devoted to giant-clam breeding and coral restoration programmes, where guests can feed man-sized groupers in floating pens, plant coral, or scoop up starfish and squishy sea cucumbers in the touch tanks. WALDORF ASTORIA LOS CABOS This Los Cabos resort is huge and opulent. The 115 individually decorated guestrooms feature fireplaces, private plunge pools and balconies overlooking the private beach. Swingers won't find any swings in their rooms, but there are plenty dotted about the resort. On the beach, stacks of hammocks line the shores, while the beach bar has swapped out the stools, preferring guess to sip cocktails while sitting on wooden swings. These may get a little dangerous once you've had a few bevs, so you best head to the beachside hammocks or one of the four Waldorf Astoria restaurants soon after. THE KOROWAI, INDONESIA Each of Korowai's wood-framed rooms are carved into the limestone cliff overlooking Bali's famous Impossible Beach (known for surfing, not partying). Marvel at the ridiculous uninterrupted 180-degree views across the ocean from the privacy of your own little balcony adorned with traditional Balinese décor — including many hammocks and crochet nets. It's one of the most romantic places to stay in Bali. The glitz and glam of other Uluwatu resorts doesn't exist here. Instead, you and your partner will feel as if you've found your own hidden oasis. But, when or if you do want to get into town, the hospitable resort staff will rent you a scooter or organise a taxi ride. Plus, there are a few walkable restaurants nearby if you somehow get tired of dining at their restaurant overlooking the beach. Top images: Naladhu Private Island Resort Feeling inspired to book a swinging getaway? Book your next dream holiday with Concrete Playground Trips — with deals on flights, stays and experiences at destinations around the world.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from September's haul. BRAND NEW STUFF YOU CAN WATCH FROM START TO FINISH NOW STARSTRUCK Living up to its splendid first date with audiences has never been a problem for Starstruck. When the Rose Matafeo (Baby Done)-starring BBC and HBO series first strode into streaming queues in 2021, its initial episode was an all-timer in the charming stakes, as was the show's entire six-instalment debut season. When Starstruck returned for a second run in 2022, its next go-around instantly proved as much of a smart, savvy and charismatic delight, too. Season three continues the trend, and keeps demonstrating that no romantic rendezvous, no matter how idyllic, can just keep repeating itself. Plot-wise, Starstruck has always had one couple at its centre: New Zealander-in-London Jessie (Matafeo) and British actor Tom (Nikesh Patel, Four Weddings and a Funeral). Frequently, however, they're not actually together, with the show charting the ins and outs of a complicated relationship that started with a New Year's Eve meet-cute and one-night stand. The hook from the get-go: that Tom is an A-list star, which Jessie doesn't know until after they've hooked up. So, Starstruck asks what it's like to live the Notting Hill life. In season three, it more accurately ponders what comes after that's been and gone. Season two might've finished with a scene right out of The Notebook, and with echoes of Bridget Jones' Diary as well, but its follow-up quickly establishes that Jessie and Tom didn't get their happy-ever-after ending — they're no longer together, and haven't been for some time. This return starts with a bold move, spending a few minutes zipping through Jessie and Tom's romance since season two via a heartbreaking montage. That choice is also deeply fitting for a show that's exceptional at endings. One of the best newcomers of its debut year and best returning series of its second, Starstruck's excellence is like a perfect bouquet, with vibrancy blooming everywhere — in Matafeo's lead performance, the show's ability to unpack a genre it clearly loves, its glorious nods to rom-coms past, and its astute insights into 2020s-era dating and life, to name a mere few. How its star, creator and co-writer wrapped up both season one and two was equally as sublime, though. So, season three goes all in on something cherished and blissful approaching its conclusion. Starstruck streams via ABC iView. Read our full review. FLORA AND SON No filmmaker believes in the power of music quite like John Carney. In Flora and Son, the Once, Begin Again and Sing Street writer/director again lets his favourite refrain echo, this time with an Irish single mother, her rebellious teenage boy and the American guitarist who she pays to give her lessons via zoom. The eponymous Flora (Eve Hewson, Bad Sisters) feels like she's never had an adulthood of her own after falling (swiftly, not slowly) pregnant at the age of 17 to musician Ian (Jack Reynor, The Peripheral) — whose big claim to fame is that his band once opened for Snow Patrol — then being a mum through their relationship highs and lows. When she salvages a thrown-out instrument for now-14-year-old Max (Orén Kinlan, Taken Down) but he doesn't want it, she decides to give it a try herself. It's an escape from simply getting by, arguing with Ian, coping with Max's run-ins with the law and young mother-style existential malaise. It could be a path to a new future, too. And, with her teen also into music — but hip hop, rap and EDM, or whatever will impress his crush (feature first-timer Alex Deegan) — it's a way to bring Flora and son closer together. Music is in Hewson's blood given that she's the daughter of Paul Hewson, aka U2's Bono, with the Behind Her Eyes and The Knick star well-cast — and magnetic, and also endlessly charismatic — as the forthright, sweary, just-trying-to-get-by Flora. There's both yearning and energy in her electrifyingly lived-in performance, and in the melodic and soulful tunes that her character pens with teacher Jeff (Joseph Gordon-Levitt, Poker Face) via video chats as they reflect upon their lives, loves, hopes and dreams via songwriting. Flora and Son boasts lovely performances all round, in fact. Kinlan is a dynamic find who deserves many more credits on his resume, Gordon-Levitt charms quietly and softly, and sparks fly when Carney gets the latter in the same space as Hewson through an easy but nice visual touch. The movie's moniker makes plain where its heart belongs, though, as Flora and Max learn not just about themselves but about their complicated bond with each other by making music. As always with this filmmaker's work, the original soundtrack is sublime. Also, the mood feels like a warm but clear-eyed hug. Flora and Son streams via Apple TV+ from Friday, September 29. SEX EDUCATION Before it introduced anxious teen sex counsellor Otis Milburn (Asa Butterfield, Flux Gourmet), his fellow-therapist mother Jean (Gillian Anderson, The Great), his ever-exuberant best friend Eric Effiong (Ncuti Gatwa, the next Doctor Who), and his whip-smart and rebellious crush Maeve Wiley (Emma Mackey, Emily), Sex Education's very-first episode started with trembling lights. With that debut back in January 2019, depictions of adolescent sexuality on-screen earned a welcome shake up as well. Horny high schoolers struggling with life, love and lust are such a pop culture staple that they inhabit their own genre, which this British series has always recognised. But when a show bursts onto streaming queues with a roll in the sheets that ends with a guy (Barbie's Connor Swindells as Adam Groff) faking an orgasm with his girlfriend (Living's Aimee-Lou Wood as Aimee Gibbs), it's clearly not interested in sticking with the usual tropes — and it wants its audience to know it. Candidly and enthusiastically subverting well-worn cliches about growing up and exploring all things carnal has always been Sex Education creator, lead writer and executive producer Laurie Nunn's focus in her first major project beyond the stage and shorts. It was true in that attention-grabbing premiere run, then 2020 and 2021's equally excellent second and third seasons, and now the show's big finish. Another key element right through to the series' fourth and final go-around, which caps off its tale with as much charm, heart, humour and maturity as ever: knowing that it's far more relatable to be open, honest, warm, authentic, inclusive and diverse than to just spill out the same old coming-of-age story. Here's a third factor that's also long been crucial to Sex Education: understanding that life doesn't begin or end with surging hormones. So, as change sweeps in — and goodbyes as well — this series couldn't be better placed to handle it. Otis is still as uncertain as always when season four kicks off. With his old school shuttered and snapped up by developers, he's forced into a new start, as well as a new bid to become the on-campus sex therapist, competing with existing student O (Thaddea Graham, Wreck). While Eric doesn't want them to be dubbed outsiders from the get-go, he fits in easily when he sees "all the gays everywhere", in his excited words. The fact that Maeve is at university in the US just after they've just come to terms with their feelings for each other was always going to hold Otis back, of course. The pair are finally more than friends, but also on different continents. Sex Education streams via Netflix. Read our full review. EL CONDE What if Augusto Pinochet didn't die in 2006? What if the Chilean general and dictator wasn't aged 91 at the time, either? What if his story started long before his official 1915 birthdate, in France prior to the French Revolution? What if he's been living for 250 years because he's a literal monster of the undead, draining and terrifying kind? Trust Chilean filmmaking great Pablo Larraín (Ema, Neruda, The Club, No, Post Mortem and Tony Manero) to ask these questions in El Conde, which translates as The Count and marks the latest exceptional effort in a career that just keeps serving up excellent movies. His satirical, sharp and gleefully unsubtle version of his homeland's most infamous leader was born Claude Pinoche (Clemente Rodríguez, Manchild), saw Marie Antoinette get beheaded and kept popping up to quell insurgencies before becoming Augusto Pinochet. Now holed up in a farm after faking his own death to avoid legal scrutiny — aka the consequences of being a brutal tyrant — the extremely elderly figure (Jaime Vadell, a Neruda, The Club, No and Post Mortem veteran) is also tired of eternal life. The idea at the heart of El Conde is a gem, with Larraín and his regular co-writer Guillermo Calderón plunging a stake into a despot while showing that the impact of authoritarianism rule stretches on forever (and winning the Venice International Film Festival's Best Screenplay Award this year for their efforts). The execution: just as sublime in a film that's both wryly and dynamically funny, and also a monochrome-shot visual marvel. A moment showing Pinoche licking the blood off the guillotine that's just decapitated Antoinette is instantly unforgettable. As Pinochet flies above Santiago in his cape and military attire in the thick of night, every Edward Lachman (The Velvet Underground)-lensed shot of The Count — as he likes to be called by his wife Lucia (Gloria Münchmeyer, 42 Days of Darkness), butler Fyodor (Alfredo Castro, The Settlers) and adult children — has just as much bite. El Conde's narrative sets its protagonist against an accountant and nun (Paula Luchsinger, Los Espookys) who digs through his crime and sins, and it's a delight that punctures. As seen in the also magnificent Jackie and Spencer, too, Larraín surveys the past like no one else. El Conde streams via Netflix. NO ONE WILL SAVE YOU Thanks to Justified, Short Term 12, Booksmart, Unbelievable and Dopesick, Kaitlyn Dever has already notched up plenty of acting highlights; however, No One Will Save You proves one of her best projects yet while only getting the actor to speak just a single line. Instead of using dialogue, this alien invasion flick tells its story without words — and also finds its emotion in Dever's expressive face and physicality. Her character: Mill River resident Brynn Adams, who has no one to talk to long before extra-terrestrials arrive. The local outcast due to a tragic incident from her past, and now living alone in her childhood home following her mother's death, Brynn fills her time by sewing clothes, making models of her unwelcoming small town like she's in Moon and penning letters to her best friend Maude. Then she's woken in the night by an intruder who isn't human, flits between fighting back and fleeing, and is forced into a battle for survival — striving to save her alienated existence in her cosy but lonely abode from grey-hued, long-limbed, telekinetic otherworldly interlopers with a penchant for mind control. With Spontaneous writer/director Brian Duffield's script matched by exacting A Quite Place-level sound design and The Witcher composer Joseph Trapanese's score, this close encounter of the unspoken kind is a visual feat, bouncing, bounding and dancing around Brynn's house and the Mill River community as aliens linger. Every single frame conveys a wealth of detail, as it needs to without chatter to fill in the gaps. Every look on Dever's face does the same, and every glance as well; this is a performance so fine-tuned that this would be a completely different film without her. Bringing the iconic 'Hush' episode of Buffy the Vampire Slayer to mind, No One Will Save you is smartly plotted, including in explaining why it sashays in silence. Just as crucially — and this time recalling everyone's favourite home-invasion film, aka Home Alone — it's fluidly and evocatively choreographed. There's also a touch of Nope in its depiction of eerie threats from space, plus a veer into Invasion of the Body Snatchers, all without ever feeling like No One Will Save is bluntly cribbing from elsewhere. The result: a new sci-fi/horror standout. No One Will Save You streams via Disney+. CASSANDRO The story of luchador Saúl Armendáriz comes to the screen in Cassandro, which takes its title from the American-born Mexican performer's ring name. As writer/director Roger Ross Williams (Life, Animated) works through with help from his charismatic star Gael García Bernal (Werewolf By Night), Armendáriz first came to wrestling in a mask — as an amateur living in El Paso but heading over the border to Juarez to get scrapping — then made a big switch to take on an exótico identity. That's where the openly gay competitor not only found himself, but also earned fame. He takes convincing, however, as this affectionate and thoughtful feature unpacks. Of course he wants to be able to express himself, bounce between the ropes with glamour and joy, carve out an accepting space and have crowds showering him with love. But exóticos have been traditionally positioned to lose. Dressed in drag, they've been used to show up the masculine strengths of their opponents. That homophobic situation isn't one that Armendáriz wants to embrace, but trainer Sabrina (Roberta Colindrez, A League of Their Own) thinks that he could make a difference, subvert the trend, stand out and become a better wrestler. Frequent documentarian Williams, who won an Academy Award for Best Documentary Short for Music by Prudence, knows a great story — and stellar talent. Cassandro has both, including Armendáriz's rise to become the 'Liberace of Lucha Libre', the many ups and downs on that path, his relationship with his mother Yocasta (Perla De La Rosa, Villa, itinerario de una pasión), and Bernal's layered performance in his shoes and spandex. There's both passion and heartbreak in the actor's portrayal — shyness as Saúl and blossoming confidence as Cassandro as well — in another of Bernal's big career highlights. Indeed, he puts in a tour-de-force effort as the film explores Armendáriz's devotion to his mum; his complicated feelings about his absent, disapproving dad (Robert Salas, Family Portrait); his secret liaisons and not-so-clandestine love for married fellow luchador Gerardo (Raúl Castillo, The Inspection); his flirtations with the assistant (Benito Antonio Martínez Ocasio aka Bad Bunny, Bullet Train) to his key promoter (Joaquín Cosio, Narcos: Mexico); and what it means to get a shot in the ring with icon silver-masked El Hijo del Santo (as himself). Cassandro streams via Prime Video. MIRACLE WORKERS: END TIMES The wrong Daniel Radcliffe-starring franchise is sprawling on forever. Sorry, Harry Potter diehards — it's Miracle Workers that should keep coming back. Of course, Radcliffe hasn't shown up in the Fantastic Beasts movies, and is highly unlikely to in the upcoming HBO Harry Potter TV series that's planning to step through each book again, devoting a season to every one of the series' tomes. His stint there is done and, now, his time with frequently hilarious television anthology comedy has also come to an end. How is the Guns Akimbo, The Lost City and Weird: The Al Yankovic star sending off only his second major small-screen role after 2012–13's A Young Doctor's Notebook & Other Stories? With a fourth season called Miracle Workers: End Times that's the Mad Max equivalent of season one's Good Omens-esque heavenly sci-fi (back in 2019), season two's medieval parody Dark Ages (in 2020) and season three's pioneer western Oregon Trail (in 2021). Yes, Radcliffe rocks leather while attempting to survive in a dystopian future wasteland. Yes, he's ace, as are his returning co-stars Steve Buscemi (Bupkis), Geraldine Viswanathan (The Beanie Bubble), Jon Bass (She-Hulk: Attorney at Law) and Karan Soni (Spider-Man: Across the Spider-Verse). As always, creator Simon Rich — who based the first season on his book What in God's Name and the second on short story Revolution — brings back his five key actors but shakes up everything else except Miracle Workers' sense of humour. New setting, new scenario, new era, new characters, new links between its main players: that's all on offer again, as is Radcliffe and Viswanathan's new on-screen guises being drawn together. Radcliffe plays Sid, a road warrior befitting the Australian flicks he's riffing on, and husband to Viswanathan's war lord Freya Exaltada. That's another of End Times' shifts: getting Radcliffe and Viswanathan to explore an established relationship rather than hop into classic rom-com territory. Sid and Freya are giving setting down in Boomtown instead of wreaking havoc in the postnuclear apocalyptic realm a try, with their war dog Scraps, played by Bass, at their feet. Buscemi shows up as Morris 'The Junkman' Rubinstein, who becomes Sid's new boss. Soni brings in The Terminator nods as killbot TI-90, aka Tai. And the jokes keep coming in a series that wraps up with one of its best runs. Miracle Workers streams via Stan. NEW SHORTS ARRIVING IN FULL BEFORE SEPTEMBER IS OUT THE WONDERFUL STORY OF HENRY SUGAR, THE SWAN, THE RATCATCHER AND POISON Fresh from stepping into a play as a live production in a TV show in Asteroid City, and also flicking through a magazine's various articles in The French Dispatch before that, Wes Anderson now gets an author sharing his writing in The Wonderful Story of Henry Sugar. The 39-minute short film features Ralph Fiennes (The Menu) as Roald Dahl, who did indeed pen the tale that gives this suitably symmetrically shot affair its name — the book it's in, too — with the account that he's spilling one of several in a film that enthusiastically makes Anderson's love of layers known in its playful structure as much as its faux set. So, Dahl chats. The eponymous Henry Sugar (Benedict Cumberbatch, Doctor Strange in the Multiverse of Madness) does as well. And, Dr Chatterjee (Dev Patel, The Green Knight) and his patient Imdad Khan (Ben Kingsley, Shang-Chi and the Legend of the Ten Rings) also have a natter. The stories within stories within stories (within stories) share the fact that Khan has learned to see without his eyes, Chatterjee couldn't be more fascinated and Sugar wants to learn the trick for himself — to help with his gambling pastime. In his three decades as a filmmaker, Anderson has only ever made both features and shorts with one of two people responsible for their ideas: himself, sometimes with Owen Wilson (Haunted Mansion), Noah Baumbach (White Noise), Jason Schwartzman (Spider-Man: Across the Spider-Verse) and/or Roman Coppola (Mozart in the Jungle) contributing; and Dahl. With the latter, first came Anderson's magnificent stop-motion Fantastic Mr Fox adaptation — and now The Wonderful Story of Henry Sugar sits among a series of four new shorts, all releasing before September is out, that are based on the author's work. This is still a dream match, with the director's beloved jewel and pastel colours, dollhouse-esque visuals, moving sets, love of centred framing and dialogue rhythm all proving a treat in this account of personal and spiritual growth. The cast is as divine on-screen as it sounds on paper, too, especially Cumberbatch and Patel. The next in the set, the 17-minute The Swan, pushes Rupert Friend (High Desert) to the fore in a darker tale about a bully. With The Ratcatcher and Poison arriving, too, the only quibble is with the decision to release all four shorts separately, rather than package them together as an anthology film. The Wonderful Story of Henry Sugar streams via Netflix, as is The Swan. The Ratcatcher arrives on Friday, September 29, followed by Poison on Saturday, September 30. Read our full review. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK THE CHANGELING It isn't by accident that watching The Changeling feels like being read to, rather than simply viewing streaming's latest book-to-TV adaptation. Landing from the pages of Victor LaValle's novel of the same name, this horror-fantasy series is obsessed with stories, telling tales and unpacking what humanity's favourite narratives say about our nature, including myths and yarns that date back centuries and longer. Printed tomes are crucial in its characters lives, fittingly. Libraries, bookstores, dusty boxes stacked with old volumes, beloved childhood texts, a rare signed version of To Kill a Mockingbird with a note from Harper Lee to lifelong friend Truman Capote: they all feature within the show's frames. Its protagonists Apollo Kagwa (LaKeith Stanfield, Haunted Mansion) and Emma Valentine (Clark Backo, Letterkenny), who fall in love and make a life together before its first episode is out, even work as a book dealer and a librarian. And, The Changeling also literally reads to its audience, because LaValle himself relays this adult fairytale, his dulcet tones speaking lyrical prose to provide a frequent guide In a show created and scripted by Venom, Venom: Let There Be Carnage, Fifty Shades of Grey and Saving Mr Banks screenwriter Kelly Marcel, there's nothing more potent and revealing than a story, after all — and The Changeling believes in the power of tales to capture, explain, transport, engage, caution and advise, too. Aptly, New Yorkers Apollo and Emma meet amid books, in the library where she works and he frequents. It takes convincing to get her to agree to go out with him, but that leads to marriage and a child. The Changeling's astute thematic layering includes Apollo's repeated attempts to wrangle that first yes out of Emma, however, setting up a train of thought that has many future stations. In-between early dates and domesticity, Emma also takes the trip of a lifetime to Brazil, where an old woman awaits by Lagoa do Abaeté. The locals warn the visitor to stay away but she's mesmerised. What happens between the two strangers sends the narrative hurtling, with the lakeside figure tying a red string around Emma's wrist, granting her three wishes, but advising that they'll only come true when the bracelet falls off by itself. The Changeling streams via Apple TV+. Read our full review. GEN V Instead of Gen V, you could call this spinoff The Boys Jnr and it'd fit — to a point. The superheroes are younger, with the series' eight-episode first season focusing on students attending Godolkin University, rather than adults. The minutiae of their lives is teen-centric, including dates and crushes, dorms and lectures, making new friends and peer pressure, and the like. Their worries largely aren't world-weary, been-there-seen-that, years-of-existential-malaise woes. There's nothing smaller about the hefty, hearty, utterly gleeful splashes of gore and violence — the guts and penises, too — in the latest show inspired by Garth Ennis and Darick Robertson's comic book, however. Prime Video's next dive into this satirical caped-crusader world after the OG series (which has dropped three seasons, with a fourth on the way) and the animated The Boys Presents: Diabolical stems from the 'We Gotta Go Now' storyline, and embraces making The Boys with younger characters but zero other tone and vibe changes. So springs an OTT coming-of-age tale that's gruesome, irreverent, subversive, funny and filled with bodily fluids. Set at the same time that The Boys' fourth season will take place when it hits, Gen V follows the blood-bending Marie Moreau (Jaz Sinclair, Chilling Adventures of Sabrina) as she scores an enrolment at Godolkin University that could change her life. Dwelling under the cloud of a past tragedy until now, her scholarship to the Vought-approved college is the ticket to her dreams, with becoming the first Black woman in The Seven her ultimate aim. As she rooms with Emma Meyer (Lizze Broadway, Based on a True Story), who can scale down her size — and meets the campus cool clique, including literally hot top pupil Luke 'Golden Boy' Riordan (Patrick Schwarzenegger, The Staircase), his persuasive girlfriend Cate Dunlap (Maddie Phillips, Teenage Bounty Hunters), the magnetic Andre Anderson (Chance Perdomo, also Chilling Adventures of Sabrina) and the gender-shifting Jordan Li (Never Have I Ever's London Thor and Shining Vale's Derek Luh) — all isn't exactly what it seems at her new school, though. While a few key cameos pop up, Gen V's focus is firmly on the franchise's newbies, their supe and uni experiences, and the mystery around them — and it's as entertaining as The Boys to watch. Gen V streams via Prime Video from Friday, September 29. Read our full review. SOLAR OPPOSITES It isn't the approach that Rick and Morty has taken, as the trailer for its upcoming seventh season shows, but Solar Opposites' method of handling its big casting change is genius. In its own sneak peek before its fourth season arrived, the other animated sitcom with Justin Roiland as a co-creator revealed how it was moving on after ties being cut due to domestic abuse allegations — and it was as glorious then as it is in full episodes. Enter Dan Stevens, star of everything from Downton Abbey, The Guest and Colossal to Legion, I'm Your Man and Gaslit, as the new source of Korvo's voice. He's using his British accent and sounds absolutely nothing like his predecessor as a result, but the change couldn't be easier to work in. When a show is about aliens living a life of mayhem on earth — chaos caused in no small part by their non-stop array sci-fi gadgets — anything can and does happen, including the lead Shlorpian out of its core quartet suddenly sporting new tones. That's the only shift that season four of Solar Opposites makes. Before the first new episode is out, with the series as anarchic and hilarious as ever, Stevens feels like he's always been in the role. Across an 11-episode run, Solar Opposites does what it has since 2020 — and well — following Korvo, his boyfriend Terry (Thomas Middleditch, Silicon Valley), and their replicants Jesse (Mary Mack, Kiff) and Yumyulack (Sean Giambrone, The Goldbergs) as they experience life among humans. This time around, that means getting jobs, which devolves into a fight to get a ping-pong table and a one-upping battle to impress a client; the crew's artificial intelligence AISHA (Tiffany Haddish, The Afterparty) giving online dating a go; bringing a dinosaur back to life just to get a pet; getting stuck among stock photos; and new birthday traditions. Smart, perceptive and sidesplittingly funny, Solar Opposites parodies the ridiculousness of human life from two angles, however — not just witnessing the Shlorpians grapple with adjusting, but also observing the society that evolves in the wall of Jesse and Yumyulack's bedroom thanks to the annoying folks that they've shrunk down for a range of petty slights. Cherie (Christina Hendricks, Good Girls) is there for serving the wrong food at Benihana, for instance, and is now caught up in a religious war, with the show's writers consistently finding an ideal balance between its two plot threads. Solar Opposites streams via Disney+. A RECENT-ISH TV GEM YOU MIGHT'VE MISSED LODGE 49 When Monarch: Legacy of Monsters starts streaming before 2023 is out, it'll see father and son Kurt Russell (Fast and Furious 9) and Wyatt Russell (Under the Banner of Heaven) co-star as older and younger versions of the same character. That's dream casting, although the younger of the pair already scored a stellar part with his first TV lead in Lodge 49. Debuting in the US in 2018, then ending with its second season in 2019 — due to low ratings, sadly — this Long Beach-set dramedy chases bliss. The potential solution for former surfer-turned-pool cleaner Sean 'Dud' Dudley (Russell): the titular place. It's the town's chapter of a worldwide fraternal order called the Order of the Lynx, complete with rituals, secrets, a lengthy history, and a motley crew of eclectic and eccentric characters. Among them are plumbing salesman Ernie Fontaine (Brent Jennings, All American), journalist Connie Clark (Linda Edmond, Only Murders in the Building) and her patrol officer husband Scott Miller (Eric Allan Kramer, CSI: Vegas), alchemy professor Blaise St John (David Pasquesi, White House Plumbers) and the lodge's Sovereign Protector Larry Loomis (Kenneth Walsh, The Kids in the Hall). The now-late Walsh's pre-Lodge 49 resume includes Twin Peaks — and, while nothing will ever match David Lynch's TV masterpiece, and also this series doesn't dare try, the two share a an embrace of being their own distinctive, idiosyncratic and surreal kinds of television shows. Here, the tone is lighter, but the always-optimistic Dud and Twin Peaks' Agent Dale Cooper don't lack in similarities as outsiders entering an insular world filled with unique personalities and odd happenings. Easygoing in tone, too, and also sunnily shot, Lodge 49 muses on what it means to seek happiness, how anyone can ever hope to find it, the search to fit in, what matters in a time of increasing disconnection, signs and omens, and the enduring value of friendship, especially when found in unlikely places. Russell is perfectly cast as the amiable Dud, but everything about this show, its quirks and its mysteries is wonderful. Two ten-episode seasons aren't enough, especially given how quickly loveable and bingeable those seasons prove. Lodge 49 streams via AMC+. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July and August this year. You can also check out our running list of standout must-stream shows from this year as well — and our best 15 new shows of 2023's first six months, top 15 returning shows over the same period and best 15 straight-to-streaming movies from January–June 2023, too. Top image: Netflix ©2023
One of the top ways to treat yourself is to check into one of the best hotels in Sydney for a few nights. At these joints, you get a little bit of everything (or even a whole lot of everything). You get fresh plush sheets (this may seem basic, but we all know how good this feels), room service that you can eat in bed, pampering packages at award-winning spas, pools with epic views and just about anything else your luxurious self desires. And Sydney is packed with five-star hotels and brilliant boutique stays that will help you live your best life. So check out our guide to the best hotels in Sydney, perfect for those after a luxury staycation or out-of-town visitors in need of a base for exploring the city. Recommended reads: The Best Dog-Friendly Hotels in Sydney Sydney's Best Spa Experiences The Eight Best Glamping Spots in NSW The Best Luxury Getaways Near Sydney
If you're looking for another reason to be proud of this wide, brown land that we call Australia, have you considered becoming a huge fan of our indie games scene? Like our musicians who grace festival stages overseas, and movies that go gangbusters at foreign box offices, Aussie-made indies regularly take the internet by storm and garner awards around the world. With increased development funding from state and federal governments, the future is looking bright for Australian games. But there are already a bunch of bangers you can download and play today — like the five below. UNPACKING Who would've thought that one of the most arduous personal tasks that you can undertake would turn out to be such great fodder for a game? Developed by Brisbane-based studio Witch Beam, Unpacking puts you in the shoes of a woman as she opens unmarked boxes and distributes her belongings throughout the various spaces that she moves into over the course of her life, starting with her childhood bedroom and carrying through university dorms, sharehouses and more. It's immensely satisfying gameplay, with enough of a puzzle element to add rewarding "aha!" moments throughout. Despite having no dialogue and very little text, Unpacking is rich with a narrative borne through details, from the items that stay with its character over the course of her life to the limitations you encounter when trying to fit yourself into certain living situations. And, without giving too much away, there is a twist at the end of moving into your boyfriend's apartment that will send your emotions skyrocketing. Available on: PC/Mac, Nintendo Switch, Xbox One/S/X, Playstation 4/5, iOS, Android. UNTITLED GOOSE GAME There's no more succinct way to sum up Untitled Goose Game than the opening line of the description written by Melbourne-based developers House House: "it is a lovely morning in the village, and you are a horrible goose". As you might have guessed, this game sees you controlling a feathered menace whose sole purpose is to sow gentle chaos throughout a quintessential small English town. Each area has a checklist of broad objectives — from stealing a farmer's keys to trapping a small boy in a phone booth — and it's up to you to figure out how they can be achieved by honking, flapping, waddling around and generally being a mischievous little shit. With graphics that could've come straight from a children's book and a soundtrack based on Debussy's Preludes that reacts to what you do in the game, it's an experience both refined and hilarious — and, thanks to a multiplayer update, you and a friend can live out your avian scamp dreams together. Available on: PC/Mac, Nintendo Switch, Xbox One/S/X, Playstation 4/5. HOLLOW KNIGHT Metroidvania is a genre with almost four decades of history behind it — the name springs from Metroid and Castlevania, which both debuted in the 80s — so for a modern iteration to be considered a masterpiece, it has to come correct. Hollow Knight, developed by Adelaide's Team Cherry, satisfies that requirement. Set in an underground insect kingdom decimated by a supernatural plague, you play as the Knight, a little sword-wielding bug who must descend into the gloomy ruins to discover what happened, as well as the part you play in what comes next. With tight, frenetic combat, brutal boss battles, compelling exploration, a stirring soundtrack and gorgeous, moody visuals, it's a game that will command your attention for a long time. Sequel Silksong is tantalisingly just over the horizon, so there's never been a better time to start your descent into Hallownest. Available on: PC/Mac, Nintendo Switch, Xbox One/S/X, Playstation 4/5. THE FROG DETECTIVE TRILOGY The intersection of the Venn diagram of 'crime' and 'wholesome' is razor slim, but sitting dead in the centre is the Frog Detective trilogy, developed by Worm Club out of Melbourne. As the name suggests, you're Frog Detective — the second-best detective around, in fact — and, over the course of three cases, you tackle a potential ghost, an invisible wizard and a hat thief, conducting your investigations in first person with the help of your trust magnifying glass and notebook. The blocky, bright polygonal art is both retro and adorable, and your interactions with the various characters that inhabit each game are relentlessly charming. It's not the most taxing game in terms of puzzles — you'll mostly be finding objects and giving them to the right person — but that makes the Frog Detective series the perfect entry-level games to enjoy with kids. Of course, if you're an adult that loves cute and funny experiences, it's perfect for you too. Available on: PC/Mac. THE ARTFUL ESCAPE We've all had dreams of becoming a rock star. In The Artful Escape by Melbourne's Beethoven & Dinosaur, you can live out this fantasy on a cosmic scale. The game sees you controlling Francis Vendetti, the teenage nephew of a deceased folk music legend who is about to make his debut performing his uncle's songs. The only problem: he doesn't want to simply strum, he wants to wail. A chance encounter sends him out into the universe to overcome his doubts and find his true artistic self, the details of which are in your hands. It features a star-studded voice cast (Rocky's Carl Weathers, Wes Anderson favourite Jason Schwartzman, Kingsman's Mark Strong and Game of Thrones' Lena Headey all lend their talents), plus a story that balances heartfelt and hilarious deftly. On the gameplay front, it tends towards simplicity, with basic platforming and Simon Says-esque button prompts forming the bulk of the experience; however, it more than makes up for this with a eye-wateringly psychedelic visual spectacle and a button dedicated to searing guitar solos. Available on: PC, Nintendo Switch, Xbox One/S/X, Playstation 4/5.
Sometimes, you just want your own space at a restaurant or bar, especially if you're celebrating — that's when you hunt for the best private dining rooms in Sydney. Within these secluded parts of the venue, you can be as loud as you like (or escape all the noise of the public areas), order from bespoke menus, control the room's tunes and sometimes even have access to a private bar and bartender. Whether it's your best mate's surprise birthday, your annual Christmas party, or you're, say, Drake and would like to damn well enjoy your Australian tour dinner in peace, these venues have the best private dining rooms in Sydney — ready to go whenever needed. Recommended reads: The Best Restaurants in Sydney The Best Bars in Sydney The Best Wine Bars in Sydney The Best Pubs in Sydney
Head into Sydney's Odd Culture in Newtown, or its new accompanying bottle shop and small bar SPON, and you'll be greeted with a stack of tasty wine and snack pairings. The venue's chicken liver pâté with potato chips and fish sauce caramel is one of the Harbour City's best bar snacks. The same can be said down in Melbourne, where Odd Culture's Fitzroy digs boasts the same addictive trio on its snack menu. And, all three offer charcuterie from LP's Quality Meats — all of which can be paired with a white, red, skin-contact, rosé or pét-nat. But, sometimes you're not on the hunt for something as extravagant as pâté and instead are hankering for a snack with a bit more nostalgic familiarity. Well, not to worry — we've asked Odd Culture Group's Beverage Manager Jordan Blackman (Odd Culture, The Duke of Enmore, The Old Fitz) for suggestions for the best wines to pair with schoolyard snacks, all of which are available in-store or online at SPON. (And, yes, SPON ships beyond New South Wales.) If you've ever craved a natty wine with a full box of cheese and bacon Shapes, or wondered what drop would partner well with a berry Roll-Up, we've got you covered. ROLL-UPS Jordan: "If we're talking Roll-Ups, then we simply can't go past grenache. Candied fruit with a lick of spice — a match made in heaven. Grab a bottle of 2021 Les Fruits Gonzo made from a blend of grenache and cinsault. Bright and crunchy with juicy red fruits (think strawberry, raspberry and cherry) and gentle tannin. Great chilled, great at room temp. It goes without saying we're talking about the best flavour of Roll-Ups here — and that's strawberry." OVALTEENIES Jordan: "Why do they call it Ovaltine? The mug is round. The jar is round. They should call it Roundtine. Anyway. Steering away from anything too hectic that might overwhelm the sweet, delicate chocolate malt of our precious Ovalteenies, I'd crack into some Ngeringa Altus from Mount Barker. Inspired by Vin Santo by way of Tuscany, it's sweet yet oxidative and insanely complex — crème caramel, Turkish delight, hazelnut and dried fruits drenched in honey." CHEESE AND BACON SHAPES Jordan: "My mind immediately gravitated towards Bandol rosé from the south of France — weighty, powerful and made from mourvèdre, often said to be quite 'meaty'. In the spirit of keeping things homegrown, I've gone with a longstanding favourite: 2022 Poppelvej Dead Ohio Sky Rosé which clearly draws inspiration from the Bandol. Organically grown Mourvèdre from McLaren Vale with texture turned up to eleven, it's serious, savoury and spicy all the while refreshing and moreish — kind of like cheese and bacon Shapes?" LE SNAK Jordan: "Cheese and crackers, but not just any ordinary cheese and/or cracker — elevate your lunchbox with Le Snak and a bottle of 2021 Harkham Aziza's Chardonnay. Hands down, one of my favourite cuvées — zero adds, clean as a whistle, alive! Naturally fermented and rested in seasoned French oak, these two play almost too well together coaxing out notes of fresh sourdough, vanilla biscuits and whipped cream while racy acidity keeps everything in check." JUMPY'S Jordan: "Apparently there are other flavours of Jumpy's than chicken? 2022 Trutta Pétillant Naturel Blanc is the obvious choice here. A blend of chardonnay and riesling, this organic fizz is brimming with energy, bright acidity and reminds us of another nostalgic Australian snack — oh, glorious Splice! Saline, zippy and ultimately refreshing — a perfect match for couch snacks of the kangaroo-shaped kind. We love salty snacks with our bubbles." Head to SPON's website — or in-store if you're in Sydney — if you want to get your hands on any of the mentioned wines. SPON is open at 256 King Street, Newtown 12pm–10pm Monday–Thursday, 12pm–12am Friday and 11am–12am Saturday.
Few things excite the summertime senses of Sydneysiders more than ice cream. Aside from beer and the beach, it's one of the most definitive features of an Australian summer. While a Golden Gaytime from 7-Eleven will always hold a place in our hearts (and rightfully so), it's hard to fit one in with all the flavours that need to be sampled around town. Think black sesame and champagne sorbet and tahini ice cream you eat with a fork. To help you make the difficult decision as to just what ice cream to eat today, we've compiled a list of the best ice cream and gelato joints in Sydney. Venture forth on this icy sojourn and work your way through this list over summer. Recommended reads: The Best Bubble Tea in Sydney The Best Waterside Brunch Spots in Sydney The Best Beaches in Sydney The Best Italian Restaurants in Sydney [caption id="attachment_716745" align="alignnone" width="1920"] Kitti Gould[/caption] MAPO, NEWTOWN This Newtown ice cream joint is scooping quality gelato with a focus on sustainable ingredients. Italian-born owner Matteo Pochintesta is an architect-turned-gelato maker who trained under the owner of Milan's gelateria Ciacco — and returned to Sydney last year to put his skills to the test. Sure, there are plenty of gelato shops along King Street, but Mapo brings a purist's sensibility to the local ice cream game, focusing on the highest quality ingredients and all seasonal fruit. Signature flavours include the pistachio, made with certified premium Sicilian nuts, and the single-origin chocolate gianduja — both are vegan. Other traditional Italian flavours include the fior di latte and the stracciatella (chocolate chip). Flavours are limited to 12–14 at a time, with plenty of specials on offer, like its previous cold brew coffee gelato collab with Potts Point's Room Ten. GELATO MESSINA, VARIOUS LOCATIONS Sure, people were making gelato in Sydney before Gelato Messina — but it was Messina that made it cool. And, even though it's grown from a single shop in Darlinghurst to an ice cream empire that includes 19 gelato stores in NSW, it's still just as popular. The epic cabinet is always stocked with 40 flavours at a time — 35 regulars and five weekly specials — that are all made with Messina's own milk. Some flavour suggestions: the apple pie ice cream (it contains real home-baked cinnamon spiced apple pies), the tiramisu (a must try for any self-respecting coffee addict), salted coconut and mango (vegan and fresh) and the salted caramel and white chocolate (a crowd favourite). Also expect collabs, degustations and special cake options at its Sydney gelato stores. Gelato Messina's HQ is in Marrickville, and outposts can be found in Rosebery, Darlinghurst, Surry Hills, Brighton Le Sands, Martin Place, Harris Farm, Newtown, Tramsheds, Bondi, Circular Quay, Darling Square, Miranda, Manly, Norwest, Randwick, Parramatta, Surry Hills, Penrith and The Star. [caption id="attachment_652781" align="alignnone" width="1920"] Kitti Gould[/caption] CICCONE & SONS, REDFERN While the bigger players dominate much of the attention in Sydney's gelato scene, the smaller businesses, like Redfern's Ciccone & Sons, are harbouring some of the city's most lickable delights. Ciccone's menu, displayed on an old-school red felt letter board, is limited to all seasonal flavours that are churned on-site daily using jersey milk. It is serious about quality ingredients elsewhere too, using fresh fruit, whole nuts and fine chocolate across the board. In summer, things lean a little more to the fresh and fruity side with coconut and watermelon granitas and sorbettos making an appearance. The gelataria is also licensed, and you can now grab a Ciccone negroni from the takeaway fridge — along with gelato-on-a-stick and tubs for two. Anytime of the year, the team here create some of the best gelato in Sydney. COW & THE MOON, ENMORE This tiny shop on Enmore Road looks fairly inconspicuous from the outside, but it is a true local gem. Cow & the Moon make all of its gelato in-house using a recipes developed over the past 27 years. The traditional flavours are all winners here — including the gianduia, pistachio and tiramisu — as are the raspberry white chocolate and the strawberry balsamic pannacotta. In the lucrative field of sorbets, the chocolate is one of the best around. Cow & the Moon also turns out espresso tonics, affogatos and gelato cakes to boot. Grab a cone and a seat out front to enjoy your Sydney gelato while you watch the Enmore locals in action. SMALL JOYS GELATO, FIVE DOCK Here's the scoop — this gelateria in Five Dock is slinging artisan gelato with Asian-inspired flavours at the core. The innovative Sydney gelato spot strikes a balance between maintaining tradition and experimenting with new flavour combinations. Head inside and you'll be met with an Italian pozzetti-style display, with the cold treats housed in silver tin casings to ensure the texture and temperature of the scoops remain perfect. While this set-up screams traditional, the combinations of flavours may surprise you. Small Joys Gelato has 10–12 flavours available on its ever-changing rotation, which is tweaked and announced on the Small Joys Gelato Instagram page every three weeks. The flavours take inspiration from Asia, hence the appearance of some non-traditional and unexpected flavour pairings. This includes the likes of Hong Kong milk tea, pistachio sea salt, peanut butter jam toast and strawberry shizo. There's also a range of exciting sorbets on rotation, including a mango lemon myrtle flavour, umeshu (Japanese liquor) and coconut lime. RIVARENO GELATO, DARLINGHURST, BARANGAROO, POTTS POINT AND PARRAMATTA There aren't many foods that can bring a smile to a Sydneysider's face quite as quickly as gelato. Australian-born, Italian-influenced entrepreneur Kieran Tosolini knew this all too well when he brought his Bologna-based chain Rivareno back with him to Crown Street. All flavours are made in small batches daily at each of the seperate Darlinghurst, Potts Point, Barangaroo and Parramatta stores. The most popular varieties include the mascarpone — which comes with a splash of Sicilian dessert wine, Arabica coffee and dark chocolate slivers — and the Cremino Rivareno, which offers swirls of white chocolate and hazelnut ganache. If you're after something more refreshing, try a sorbet or granita, made using fresh fruit. HAKIKI, NEWTOWN Newtown's cult favourite Turkish ice creamery Hakiki has been impressing Sydneysiders since early 2015. It has earned quite the reputation for its traditional Maras-style ice cream — which is smooth and creamy, yet drip-free and melt-resistant, until the second it hits your mouth. The signature serve is so thick, it's best tackled with a knife and fork. The ingredient that gives the ice cream this unusual texture is an orchid root grown in southern Turkey. Alongside classic Anatolian treats like baklava, turkish delight and rich coffee (which are each gelato flavours as well), the team whips up a range of traditional and innovative ice cream varieties — from old favourites like pistachio and hazelnut to the ever-popular melon and feta and the moreish grape molasses and tahini. It's home to both the best gelato and ice cream in Sydney. DUO DUO, STRATHFIELD Deep-fried ice cream is the kind of confection that delivers the best of two worlds: cold and creamy, warm and crunchy. This singular treat takes the starring role in the flagship Strathfield store from longtime Sydney food truck Duo Duo. When it comes to its deep-fried ice cream, the specialty is made with pandan and coconut, but you can fry just about every flavour available. Beyond this, there's a classic gelato bar out front scooping classics like vanilla bean and pistachio, alongside more inventive flavours like durian, macha, taro, Vietnamese iced coffee and Thai milk tea. Duo Duo is even slinging fresh doughnuts — filled with either Biscoff, crème brûlée, strawberry and custard. This Sydney ice cream joint has the lot. Top image: Gelato Messina
Where would we be without the portmanteau? The world may not miss Brangelina, but we would certainly be far worse off without glamping. Camping's not for everyone. Some of us have every intention of immersing ourselves in nature, breathing the sea air and setting up a temporary home away from home for the weekend. But the thought of camp stretchers, unidentifiable crawly things and eating tinned peaches can dampen a jolly holiday pretty damn quickly. Glamping effortlessly fuses the fun of camping with the glamorous creature comforts of hotel stays, like a refrigerator stocked with champers or the aesthetic refinement of looking like a giant book. Check out the best places to go glamping in NSW (within a few hours' drive of Sydney). All the hard work is done for you at each of these sites. Recommended reads: The Best Glamping Sites in Australia The Best Hotels in Sydney The Best Beach Camping Sites in NSW The Best Luxury Stays Near Sydney [caption id="attachment_852431" align="alignnone" width="1920"] Destination NSW[/caption] SIERRA ESCAPE, MUDGEE Sierra Escape — the luxe glamping retreat in Mudgee — is located 260 kilometres northwest of Sydney. The 280-acre property boasts spectacular views and is home to wildlife, including kangaroos, deer and various native birds. So yeah, basically, it's paradise. The Carinya tent — if you can even call something this opulent a tent — includes floor-to-ceiling windows, large indoor and outdoor freestanding bathtubs and a firepit area. It's insulated for all seasons, and there's even a deck out front where you can kick back and watch the sunset from one of the best places to go glamping in NSW. PAPERBARK CAMP, JERVIS BAY One word: ridiculous. Paperbark Camp is the ultimate in fine camping, located just a three-hour drive south of Sydney. Think food, wine and paradisiac natural surrounds with the pristine waters of Jervis Bay at your toes. The idea for this glamping site near Sydney was initially conceived during a trip to Africa — sitting elevated on timber decks and lit by a soft solar-powered glow, these intimate luxury safari-style tents boast wrap-around verandahs for an immersive bush experience without the creepy-crawlies. The food is fresh and local, including fish caught in the bay, mushrooms from Mittagong and wines predominantly from New South Wales vineyards. Paperbark's tents feature queen or king beds, tea-making facilities and en suite bathrooms — including some with free-standing baths. It's no wonder why it also made our list of the best glamping sites in Australia. TANJA LAGOON CAMP Stay in a safari tent, minus the lions. Instead, you'll find kangaroos, koalas and sooty owls surrounding you. This super-secluded parcel of private land in the middle of a lagoon-tipped national park is a real haven, with only four tents on the property. Tanja Lagoon's tents aren't the kind that are going to packed up any time soon; each comes with an ensuite bathroom, handcrafted queen-size bed, sofa/daybed, writing desk, kitchen, barbecue and, if you go the deluxe option, a bathtub to fit two. The NSW glamping tents sit on their own expansive decks made of locally sourced timber, most of it milled nearby, since Tanja Lagoon Camp is an eco-orientated operation. If reading on your daybed isn't activity enough, there's canoeing, swimming, mountain biking, wine tasting and gallery-going to be done. [caption id="attachment_852400" align="alignnone" width="1920"] Destination NSW[/caption] BUBBLETENT, CAPERTREE Overlooking the scenic Capertree Valley 200 kilometres northwest of Sydney, these low-impact campsites provide a secluded night under the stars with all the comforts of a luxury NSW glamping experience. The clear walls of the bubbletent provide you with uninterrupted views of the night's sky and the expansive Capertree Valley canyon from your bed while protecting you from the elements or any of the area's critters. These off-grid glamping sites near Sydney look over the world's second biggest canyon and one of Australia's best bird-watching areas. Each bubbletent is fitted out with everything you need for a relaxing weekend away including electric blankets, a fire pit, a cheese board and a telescope for marvelling at your surroundings. All you need to bring is yourself, your dinner and your favourite bottle of vino to sip at sunset. ROAR AND SNORE, TARONGA ZOO If waking up to the call of an elephant is not your 5am cup of tea, you better sit out on Roar and Snore at Taronga Zoo. Otherwise? It's an unmissable Sydney experience if you don't have the cash for an actual Sahara night safari. Snuggled on the Mosman headland, the Taronga Zoo safari tents — super comfortable and fully set up — are perched atop the country's most famous zoo (with the stunning Sydney Harbour views the giraffes enjoy daily). A buffet dinner and a personal night tour by a zookeeper make this one helluva NSW glamping experience with a difference. Just don't get too close to the snakes before bedtime unless you enjoy python-filled dreams. MARRAMARRA LODGE, HAWKESBURY RIVER This ultra-luxe glamping site near Sydney is set within the picturesque Marramarra National Park, right on the Hawkesbury River. Arrive in style, by boat from Mooney Mooney or Brooklyn, before setting yourselves up in one of the large open-plan safari tents. Each of the Marramarra Lodge tents boasts a king-sized bed, large riverstone-clad bathroom, aircon, all your linen and towels, a fully stocked mini bar, and tea- and coffee-making facilities. You can even get room service delivered. But the best feature has got to be the private timber deck that offers up uninterrupted views across this stunning spot that's just an hour out of Sydney. COCKATOO ISLAND Crisp white linen. Happening island bar. Antipasto and woodfired pizzas. Need we say more? Sleep in splendour under the industrial cranes of Cockatoo Island in a stunning waterfront location smack bang in the middle of Sydney Harbour. it is easily one of the best glamping sites in Sydney. Creature comforts roam free on the island — a large camping kitchen, multiple BBQ areas, your own fridge, microwave and a boiling water system. While you can bring along your own tent if you're a seasoned camper, the glamping packages can include a pre-erected Safari Bow tent, two camping beds with mattresses, all bedding, towels, sun lounges, an esky and a lantern. Just bring your BBQ tongs, cutlery, plates and excessive sunset snacks. MAYFIELD GARDEN, OBERON Oberon's Mayfield Garden boasts a luxurious eco-friendly camping retreat in one of the world's largest privately-owned cool climate gardens. Located three hours west of Sydney's CBD, this NSW glamping spot is seriously impressive, overflowing with acres of vibrant flowers and towering trees. In the gardens, you'll find expansive green spaces filled with bridges, paths, sculptures, stonework and vibrant flora, an English-inspired maze, a croquet court, a family chapel, interactive games and rowboats to take out on the lake. The Mayfield Restaurant offers a seasonal modern Australian menu based around produce grown on sight. Campers will be treated to a complimentary dinner at the restaurant, plus breakfast delivered to their tent, and can add a lavish sunrise or sunset picnic to their experience. Top images: Sierra Escape courtesy of Destination NSW and Cameron D'Arcy
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are ten that you can watch right now at home. BARBIE No one plays with a Barbie too hard when the Mattel product is fresh out of the box. As that new doll smell lingers, and the toy's synthetic limbs gleam and locks glisten, so does a child's sense of wonder. The more that the world-famous mass-produced figurine is trotted through DreamHouses, slipped into convertibles and decked out in different outfits, though — then given non-standard makeovers — the more that playing with the plastic fashion model becomes fantastical. Like globally beloved item, like live-action movie bearing its name. Barbie, the film, starts with glowing aesthetic perfection. It's almost instantly a pink-hued paradise for the eyes, and it's also a cleverly funny flick from its 2001: A Space Odyssey-riffing outset. The longer that it continues, however, the harder and wilder that Lady Bird and Little Women director Greta Gerwig goes, as does her Babylon and Amsterdam star lead-slash-producer Margot Robbie as Barbie. In Barbie's Barbie Land, life is utopian. Robbie's Stereotypical Barbie and her fellow dolls (including The Gray Man's Ryan Gosling as Stereotypical Ken) genuinely believe that their rosy beachside suburban excellence is infectious, too. And, they're certain that this female-championing realm — and the Barbies being female champions of all skills, talents and appearances — has changed the real world inhabited by humans. But there's a Weird Barbie living in a misshapen abode. While she isn't Barbie's villain, not for a second, her nonconformist look and attitude says everything about Barbie at its most delightful. Sporting cropped hair, a scribbled-on face and legs akimbo, she's brought to life by Saturday Night Live great Kate McKinnon having a blast, and explained as the outcome of a kid somewhere playing too eagerly. Meet Gerwig's spirit animal; when she lets Weird Barbie's vibe rain down like a shower of glitter, covering everything and everyone in sight both in Barbie Land and in reality, the always-intelligent, amusing and dazzling Barbie is at its brightest and most brilliant. Barbie is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. TALK TO ME An embalmed hand can't click its fingers, not even when it's the spirit-conducing appendage at the heart of Talk to Me. This is an absolute finger snap of a horror film, however, and a fist pump of a debut by Australian twins Danny and Michael Philippou. As RackaRacka, the Adelaide-born pair have racked up six-million-plus subscribers on YouTube via viral comedy, horror and action combos. As feature filmmakers, they're just as energetic, eager and assured, not to mention intense about giving their all. Talk to Me opens with a party that's soon blighted by both a stabbing and a suicide. It segues swiftly into a Sia sing-along, then the violent loss of one half of the Aussie coat of arms. A breakout hit at the 2023 Sundance Film Festival, where it sparked a distribution bidding war won by indie favourite A24, it's constantly clicking, snapping and ensuring that viewers are paying attention — with terror-inducing imagery, a savvy sense of humour, both nerve and the keenness to unnerve, and a helluva scary-movie premise that's exceptionally well-executed. The picture's outstretched mitt is the Philippous' Ouija board. That withered and scribbled-on paw is also a wildly unconventional way to get high. In a screenplay penned by Danny with fellow first-timer Bill Hinzman, but based on Bluey and Content executive producer Daley Pearson's short-film concept — yes, that Bluey — shaking hands with the distinctive meat hook is a party trick and dare as well. When the living are palm to palm with this dead duke, in flows a conjuring. A candle is lit, "talk to me" must be uttered, then "I let you in". Once heads are kicking back and the voices start, no one should grasp on for more than 90 seconds, as Hayley (Zoe Terakes, Nine Perfect Strangers) and Joss (Chris Alosio, Millie Lies Low) explain. But, as she navigates the anniversary of her mother's death, Mia (Sophie Wilde, The Portable Door) is up for going as far as she can. Here, being consumed by sinister spirits, not consuming booze, is an escape. That, and filming whatever twisted chaos happens when you connect with the otherworldly. It isn't all fun and frights and games, though; when her best friend Jade's (Alexandra Jensen, Joe vs Carole) 14-year-old brother Riley (Joe Bird, First Day) takes part, traumatic consequences spring. Talk to Me is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Danny Philippou. THE NEW BOY Warwick Thornton, Cate Blanchett, Deborah Mailman, Nick Cave and Warren Ellis: name a better Australian quintet. The director of Samson & Delilah and Sweet Country, the two-time Oscar-winner and recent Tár tour de force, the local screen mainstay, and the Bad Seeds bandmates and seasoned film composers all combine not for the ultimate Aussie dinner party, but for The New Boy. None are debuting in their jobs. All are exceptional. They're each made better, however, by the luminous and entrancing Aswan Reid. As well as playing the titular part, the 11-year-old first-time actor lives it among such a wealth of acclaimed and experienced talent — and he's such a find in such excellent company, while saying little in words but everything in every other way, that Thornton's third fictional feature owes him as much of a debt as its applauded and awarded household names. There's a spark to Reid from the moment that he's first spied grappling with outback law enforcement under blazing rays as Cave and Ellis' (This Much I Know to Be True) latest rousing score plays. His sun-bleached hair couldn't be more fitting, or symbolic, but it's the confident way in which he holds himself as New Boy, plus the determined look on his face, that sears. Wily and wiry, the feature's eponymous figure is toppled by a boomerang, then bagged up and transported to the remote Catholic orphanage doted on by Sister Eileen (Blanchett, Nightmare Alley) in the 1940s. The cop doing the escorting notes that the kid is a bolter, but the nun is just as fast in her kindness. She sees what Thornton wants his audience to see: a boy that beams with his presence and through his sense of self, even though he's been snatched up, taken from his Country and forced into a Christian institution against his will. Sister Eileen is as drawn to him as the movie, but — and not just due to the red wine she likes sipping and the subterfuge she's keeping up about the resident father's absence — she isn't as certain about what to do. The New Boy is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Warwick Thornton. RED WHITE & BRASS Watch Red, White & Brass and you'll never see the pre-game or half-time entertainment at a big sporting match the same way again. Of course, if Rihanna, or Beyoncé with Destiny's Child, or a heap of hip hop and rap legends are taking to the stage at the Super Bowl, you won't question it — but if there's a community band on the turf, you might start wondering when they first picked up their instruments, why and if it was only four weeks ago to make it to this very gig. Are they just out there because they were that desperate to see their team play? And, because they missed out on expensive and instantly sold-out tickets? Were they so eager, in fact, that they bluffed their way into a gig by claiming to already be a musical group, then had to speedily do anything and everything to learn how to get melodic, and obviously not embarrass themselves, in a passion-fuelled whirlwind of pretence and practice? A band solely forming to score access to a rugby game sounds like pure screenwriting confection. Often enough, though, when tales like that make it to the silver screen, it's because they're so wild that they can only be true. Such is the case with Red, White & Brass' premise, as it notes at the outset, with co-writer Halaifonua (Nua) Finau scripting the story with first-time feature director Damon Fepulea'i from his very own experiences. Back in 2011, New Zealand hosted the Rugby World Cup, which was a source of particular excitement to Aotearoa's Tongan population, and especially to avid aficionados at a Wellington church. The kind of fans that were showing their devotion by decking out their homes in the Tongan flag top to bottom, hitching the red-and-white cloth to every free space on their cars and carrying around the symbol on their phone cases, they were determined to see Tonga play France in their own home city, and willing to whatever it takes to do so — wholesomely, in the type of underdog story about fervour, ingenuity, self-belief and luck that engagingly makes for an easy and warm-hearted cinema crowd-pleaser. Red, White & Brass is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with John-Paul Foliaki and Damon Fepulea'i. CARMEN Breaking down a classic tale best known as an opera, rebuilding it as a lovers-on-the-run drama set across the US–Mexico border and making every moment burst with emotion, Benjamin Millepied's Carmen is a movie that moves. While its director is a feature debutant, his background as a dancer and choreographer — he did both on Black Swan, the latter on Vox Lux as well, then designed the latest Dune films' sandwalk — perhaps means that the former New York City Ballet principal and Paris Opera Ballet Director of Dance was fated to helm rhythmic, fluid and rousing cinema. His loose take on Georges Bizet's singing-driven show and Prosper Mérimée's novella before it, plus Alexander Pushkin's poem The Gypsies that the first is thought to be based on, is evocative and sensual. It's sumptuous and a swirl of feelings, too, as aided in no small part by its penchant for dance. And, it pirouettes with swoon-inducing strength with help from its stunningly cast leads: Scream queen and In the Heights star Melissa Barrera, plus Normal People breakout and Aftersun Oscar-nominee Paul Mescal. When Mescal earned the world's attention in streaming's initial Sally Rooney adaptation, he had viewers dreaming of fleeing somewhere — Ireland or anywhere — with him. Carmen's namesake (Barrera) absconds first, then has PTSD-afflicted Marine Aidan (Mescal) join her attempt to escape to Los Angeles. Carmen runs after her mother Zilah (flamenco dancer Marina Tamayo) greets the cartel with thunderous footwork, but can't stave off their violence. Aidan enters the story once Carmen is smuggled stateside, where he's a reluctant volunteer border guard in Texas alongside the trigger-happy Mike (Benedict Hardie, The Drover's Wife The Legend of Molly Johnson). As the picture's central pair soon hurtle towards California, to Zilah's lifelong friend Masilda's (Rossy de Palma, Parallel Mothers) bar, they try to fly to whatever safety and security they can find. That may be fleeting, however, and might also be in each other's arms. Carmen is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Benjamin Millepied. HOW TO BLOW UP A PIPELINE Every story is built upon cause and effect. One thing happens, then another as a result, and so a narrative springs. Inspired by Andreas Malm's non-fiction book of the same name, How to Blow Up a Pipeline isn't just strung together by causality — it's firmly, actively and overtly about starting points, consequences and the connections between. Here's one source for this impassioned tale about determined and drastic environmental activism: the warming world. Here's an originator for that, too: fossil fuels, humanity's reliance upon them and the profits reaped from that status quo. Now, a few outcomes: pollution, catastrophic weather changes, terminal illnesses, stolen and seized land, corporate interests prioritised over ecological necessities, and a growing group that's driven to act because existence is at stake. Turning a text subtitled Learning to Fight in a World on Fire into a fictional feature, How to Blow Up a Pipeline joins all of the above, stressing links like it is looping string from pin to pin, and clue to clue, on a detective's corkboard. In his second feature after 2018's smart and effective camgirl horror Cam, writer/director Daniel Goldhaber isn't trying to be subtle about what dovetails in where. With co-screenwriters Jordan Sjol (a story editor on Cam) and Ariela Barer (also one of How to Blow Up a Pipeline's stars), he isn't attempting to rein in the film's agenda or complexity. This movie tells the tale that's right there in its name, as eight people from across America congregate in Texas' west with a plan — an octet of folks who mostly would've remained loosely connected, some strangers and others lovers and friends, if they weren't desperate to send a message that genuinely garners attention. Goldhaber's latest is explosive in its potency and thrills, and startling in its urgency, as it focuses on a decision of last resort, the preparation and the individual rationales before that. How to blow up hedging bets on-screen? That's also this tightly wound, instantly gripping, always rage-dripping picture. How to Blow Up a Pipeline is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SISU Lean, mean and a Nazi-killing machine: that's Sisu and its handy-with-a-hunting-knife (and pickaxe) protagonist alike. This stunningly choreographed Finnish action film's title doesn't have a literal equivalent in English, but writer/director Jalmari Helander's (Rare Exports: A Christmas Tale) latest effort means stoic, tenacious, resolute, brave and gritty all in that four-letter term; again, both the movie and the man at its centre fit the description. Former soldier Aatami Korpi (Jorma Tommila, also Rare Exports: A Christmas Tale) has one aim. After he strikes gold and plenty of it in Lapland's far reaches, he's keen to cash in. For someone who has already lost everyone and everything to World War II, that requires transporting his haul; however, the year is 1944 and German troops still lurk even as the combat winds down. Accordingly, getting those gleaming nuggets from the wilderness to a bank means facing a greedy and unrelenting platoon led by Helldorf (Aksel Hennie, The Cloverfield Paradox), who can spy a payday and an exit strategy for himself. Before anything yellow shimmers, Nazi-filled tanks are sighted, a single shot is fired or a blow swung, Sisu explains its moniker as "a white-knuckled form of courage and unimaginable determination". Text on-screen also advises that "sisu manifests itself when all hope is lost." As a film, Sisu may as well be shorthand for John Wick meets Inglourious Basterds meets Django, the iconic 1966 spaghetti western that Quentin Tarantino riffed on with Django Unchained, too — plus all of that meets the work of legendary spaghetti western director Sergio Leone as well. The carnage is that balletic. The Nazi offings are that brutal, roguish and inventive. And valuing deeds over dialogue as a lone figure dispatches with nefarious forces against an unforgiving landscape, and no matter what they throw at him, is firmly the setup. Sisu is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INDIANA JONES AND THE DIAL OF DESTINY Old hat, new whip. No, that isn't Dr Henry Walton 'Indiana' Jones' shopping list, but a description of Indiana Jones and the Dial of Destiny. While the fifth film about the eponymous archaeologist is as familiar as Indy films come, it's kept somewhat snapping by the returning Harrison Ford's on-screen partnership with Fleabag's Phoebe Waller-Bridge. When this 15-years-later sequel to 2008's Indiana Jones and the Kingdom of the Crystal Skull begins — swinging into cinemas after 1981's Raiders of the Lost Ark, 1984's Indiana Jones and the Temple of Doom and 1989's Indiana Jones and the Last Crusade, too — Indy's trademark fedora and strip of leather have already enjoyed ample action. So has the George Lucas-created franchise's basic storyline. If you've seen one Indy outing in the past 42 years, you've seen the underlying mechanics of every other Indy outing. And yet, watching Ford flashing his crooked smile again, plus his bantering with Waller-Bridge, is almost enough to keep this new instalment from Logan and Ford v Ferrari filmmaker James Mangold whirring. Across the quintet of Indy flicks — a number contractually locked in at the outset, even if it took almost half a century to notch them all up — a trinket always needs recovering. Whether it's a relic, stone, cup, carving or, as here, a device by Ancient Greek mathematician, philosopher and inventor Archimedes that might facilitate time travel, nefarious forces (typically Nazis) always want said item as well. Also, only antics that've influenced the likes of Tomb Raider, National Treasure and Jungle Cruise can ensure that whatever whatsit is at the heart of whichever picture stays out of the wrong hands. The object in question falls into those mitts at some point, of course. Indy goes globetrotting and cave diving to save it, and skeletons and creepy-crawlies tend to get in his way. Reliably, he has female company. Frequently, there's a young offsider tagging along. A constant: the whole escapade bounding to the tune of John Williams' rousing theme, which is now acoustically synonymous with adventure. Indiana Jones and the Dial of Destiny is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE BOOGEYMAN Teenagers are savage in The Boogeyman, specifically to Yellowjackets standout Sophie Thatcher, but none of them literally take a bite. Grief helps usher a stalking dark force to a distraught family's door; however, that malevolent presence obviously doesn't share The Babadook's moniker. What can and can't be seen haunts this dimly lit film from Host and Dashcam director Rob Savage, and yet this isn't Bird Box, which co-star Vivien Lyra Blair also appeared in. And a distressed man visits a psychiatrist to talk about his own losses, especially the otherworldly monster who he claims preyed upon his children, just as in Stephen King's 1973 short story also called The Boogeyman — but while this The Boogeyman is based on that The Boogeyman, which then made it into the author's 1978 Night Shift collection that gave rise to a packed closet full of fellow movie adaptations including Children of the Corn, Graveyard Shift and The Lawnmower Man, this flick uses the horror maestro's words as a mere beginning. On the page and the screen alike, Lester Billings (David Dastmalchian, Boston Strangler) seeks therapist Will Harper's (Chris Messina, Air) assistance, reclining on his couch to relay a tragic tale. As the new patient talks, he isn't just shaken and shellshocked — he's a shadow of a person. He's perturbed by what loiters where light doesn't reach, in fact, and by what he's certain has been lurking in his own home. Here, he couldn't be more adamant that "the thing that comes for your kids when you're not paying attention" did come for his. And, the film Lester has chosen his audience carefully, because Will's wife recently died in a car accident, leaving his daughters Sadie (Thatcher) and Sawyer (Blair) still struggling to cope. On the day of this fateful session, the two girls have just returned to school for the first time, only for Sadie to sneak back when her so-called friends cruelly can't manage any sympathy. The Boogeyman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MEG 2: THE TRENCH Jaws, but bigger. Jurassic Park but sharks. Like a prehistoric underwater predator scooping up a heap of beachgoers in one hefty mouthful, describing what The Meg and its sequel Meg 2: The Trench are each aiming to be is easy. Ridiculous big-screen fun that sets Jason Statham (Fast X) against multiple megalodons, his scowl as shiny as their razor-sharp teeth: they're the type of waters that this creature-feature franchise also wants to paddle in. Since debuting in cinemas in 2018, all things The Meg have always had a seriousness problem, however. They're at their best when they're also at their silliest, but they're rarely as entertainingly ludicrous as they're desperate to be. This five-years-later follow-up might task Statham with shooting harpoons while riding a jet ski at a tourist-trap holiday destination called Fun Island — and also busting out the line "see ya later, chum", which lands with such a sense of self-satisfaction that it feels like the entire reason that the movie even exists — but such gleeful preposterousness is about as common as a herbivore with a meg's massive chompers. Again based on one of author Steve Alten's books — he's penned seven so far, so more flicks are likely — Meg 2: The Trench doesn't just want to ape the Jurassic series. It does exactly that overtly and unsubtly from the outset, but this film is also happy to brazenly treat multiple movies from a few decades back as fuel for its choppy antics. When the feature starts, it's 65 million years ago, dinosaurs demonstrate the cretaceous period's food chain, then a megalodon shows who's boss from the water. Obviously, life will find a way to bring some of this sequence's non-meg critters into the present day. Next comes a dive in The Abyss' slipstream, before embracing being a Jaws clone again — even shouting out to Jaws 2 in dialogue — but with a Piranha vibe. Before it's all over, Meg 2: The Trench also flails in Mega Shark Versus Giant Octopus' direction, just with a visibly larger budget. Meg 2: The Trench is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May, June, July and August, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
Desperate to get out of the big smoke and into nature, but still waiting for that next paycheque to hit? Here's your solution: book one of NSW's best free camping spots. Sydney is surrounded by stunning campgrounds that don't cost a cent. All you need is a tent, supplies and enough petrol to reach your destination (and back — a minor detail worth remembering). Whether you want to sleep on the banks of the state's most pristine river, wake up to panoramas of Heritage-listed wilderness, rest within a cooee of a good coffee, or stay around the corner from an old fashioned country pub, it's all possible. Scroll to discover some of the best free camping spots near Sydney. Recommended reads: The Best Beach Camping Spots in NSW The Best Multi-Day Hikes to Conquer Near Sydney The Best Spots Where You Can Camp, Hike and Swim with Your Dog in NSW The Best Mountain Hikes Near Sydney [caption id="attachment_844086" align="alignnone" width="1920"] Mount Wilson, Destination NSW[/caption] CATHEDRAL FERNS RESERVE, MOUNT WILSON This pretty campground is on the outskirts of Mount Wilson, a village just north of Mount Tomah in the Blue Mountains. Run by the local council, the site is an expansive, flat grass area dotted with beautiful eucalypts and deciduous trees. Just ten minutes walk away is the Cathedral of Ferns, 22 acres of rainforest canopied by towering trees and filled with mossy stones and ferns. If you can, visit at night, keeping an eye out for fireflies. Facilities are limited to bins, toilets, fire pits and fairly new barbecue facilities. Cathedral Reserve is about two hours northwest of the city, with a stopover in Bilpin a definite possibility on your way up or back. [caption id="attachment_789764" align="alignnone" width="1920"] Wentworth Falls Track, Destination NSW[/caption] INGAR CAMPGROUND, WENTWORTH FALLS If you're craving mountain time, but don't want to jostle with crowds at tourist attractions, go experience another side of the Blueys at Ingar Campground. This gorgeous little spot is just a hop, skip and jump away from Wentworth Falls, home to one of the state's best scenic mountain walks. In warmer months, take a dip in the nearby dam or bring a kayak and make it a paddle. While relaxing at your campsite, keep an eye out for sugar gliders, possums and bandicoots, who are all common in these parts. Ingar Campground is 90 minutes west of Sydney in the Blue Mountains National Park. Among the facilities are toilets, barbies and picnic tables — helping make this one of the best free campgrounds in NSW. [caption id="attachment_844090" align="alignnone" width="1920"] Destination NSW[/caption] THE PINES, OLNEY STATE FOREST Sleep among pine trees at this roomy campground in Olney State Forest, which you'll find just west of Lake Macquarie. The site is an excellent springboard for exploring the Watagan Mountains. Alternatively, for a stroll that doesn't involve any driving, head along the Pines Walking Trail, which passes through rainforest before reaching a rockpool. Alternatively, you could take the Abbotts Falls Walking Trail, which carries you into blue gum forests. The Pines is about two-and-a-half hours north of Sydney. Toilets, fireplaces and picnic tables make up the facilities. [caption id="attachment_844110" align="alignnone" width="1920"] Flickr[/caption] BENDEELA, KANGAROO VALLEY This picturesque spot is on the banks of the Kangaroo River in the lovely Kangaroo Valley. If you're keen to get active, then embark on a paddling escapade, try your hand at fishing or take a swim. Alternatively, jump in your car and explore the local area, stopping by these foodie spots, conquering a few bush walks in Morton National Park and swinging by Fitzroy Falls. Bendeela is about two-and-a-half hours southwest of Sydney. Facilities include drinking water and toilets, and Kangaroo Valley village is about ten minutes away by car. It is a free NSW campground but you do need to book your place in advance. [caption id="attachment_844113" align="alignnone" width="1920"] Bob Turners Track, Colo Heights, Destination NSW[/caption] COLO MEROO CAMPGROUND, WOLLEMI NATIONAL PARK Colo River is one of the most picturesque waterways in the state and this magical campground puts you just 100 metres from the water. Spend your days swimming, looking out for platypuses and losing yourself in the dizzying sandstone cliffs that tower above, or venture over to the Bob Turner Walking Track close by. Come nighttime, prepare for millions of stars. It's a good idea to arrive prepared: the only way to get here is on foot, along a 2.5-kilometre trail, and you'll need to carry all your food and water. Also, if rain's been falling, be sure to check flood warnings. Colo Meroo is in Wollemi National Park, about 90 minutes northwest of the city. Facilities at the free NSW campsite consist of toilets and barbies. [caption id="attachment_668779" align="alignnone" width="1920"] NSW National Parks[/caption] WHEENY CREEK CAMPGROUND, WOLLEMI NATIONAL PARK You could easily spend a week doing, well, very little, at this idyllic spot, which inhabits a tranquil gully along Wheeny Creek. There's a sandy beach, a swimming hole, crowds of lush ferns and tall gum trees which provide plenty of shade. The picnic spots on site offer a perfect place to set up dinner for the night before getting some shut-eye to build the energy to explore the lush surrounds of Wollemi National Park's southern end. Wheeny Creek is about 80 minutes northeast of Sydney. As far as facilities go, there are toilets and barbies only, but Kurrajong is a short drive away so there's no need to panic should you forget the wine. [caption id="attachment_844134" align="alignnone" width="1920"] Grose Valley, Destination NSW[/caption] ACACIA FLAT, BLUE MOUNTAINS Head deep into the Blue Mountains and you'll be waking up to magnificent vistas of heritage-listed wilderness. Start your journey at Perrys Lookdown which looks directly onto the sandstone cliffs, heath-covered plateaus and ancient Blue Gum Forest of Grose Valley. From there, conquer the Perrys Lookdown to Gum Forest Walking Track, a steep, adventurous, four-kilometre trail that takes you towards the valley floor where you'll find the free campground Acacia Flat. Perrys Lookdown and Acacia Flat lie two hours and 15 minutes west of Sydney. Facilities at the NSW camping site are limited to toilets. Editor's note: Perrys Lookdown and Anvil Rock will be closed from 3 October to 20 December 2023 due to road and trail upgrades. [caption id="attachment_825008" align="alignnone" width="1920"] Hawksbury River kayaking, Destination NSW[/caption] GENTLEMANS HALT, HAWKESBURY RIVER This one's for fit campers, as it's a ten-kilometre walk-in — and you'll have to carry all your supplies. The good news is you can count on big rewards for your efforts. The campground perches right on the banks of the Hawkesbury River and, given its remoteness, you might well find that your only fellow creatures are lyrebirds, bandicoots, wedge-tailed eagles and sea eagles. If you've ever wondered what Sydney's wild places were like before European invasion, this is about as close as you'll get. Gentlemans Halt lies at the end of Canoelands Ridge Walking Track in Marramarra National Park, about 90 minutes northwest of the Sydney CBD. If all the hiking hasn't worn you out, you can also head around to the other side of the river where you'll find kayak hire. At the campsite, toilets, picnic tables and barbecues comprise the facilities. And while it is technically a free NSW campsite, there is a $6 booking fee. Top image: Olney State Forrest, Destination NSW
There's something special about hitting up the best Sydney brewery bars where you can sip on beers right next to the very tanks they were made in. You feel a part of the process, even if you're just sitting there with a bunch of mates, watching on as the master brewers do all the hard work. And we Sydneysiders are blessed to have so many to choose from. While many of them lay in the Inner West, Sydney has brewery bars everywhere. You won't have to travel far to find long lists of creative craft beers (that you can also buy to take home) served alongside gastropub eats. But these spots tend to be hidden behind roller shutters in industrial areas. So, read on to discover where the best Sydney brewery bars can be found — and what beers you'll likely be sampling. Recommended reads: The Best Pubs in Sydney The Best Wine Bars in Sydney The Best Bottle Shops in Sydney The Best Bars in Sydney
Oh springtime, we missed you. Chase away those winter blues and bring back the sunshine. With sunshine comes warm air and warm smiles, festivities and just a great vibe blooming like a bright flower across the city. The springtime is chockablock for Brisbane, especially if you're in town for some of September's several music festivals, aka the Brisbane Music Trail. This eclectic offering combines the strengths of BIGSOUND, Brisbane Festival, Sweet Relief! and Future Art. Quite the offering, no? It's set to be a hectic few weeks for festivalgoers, and you'll need to take breaks. When it comes to accommodation, you can nab a sweet deal of general entry to Sweet Relief! plus a luxury stay for two at Crystalbrook Vincent. Otherwise, we've done the legwork to pick apart the River City for the finest bars and restaurants to rest your feet and ears in between gigs this September.
Get ready to embark on a tantalising culinary journey that will transport you straight to the sun-kissed shores of the Amalfi Coast — all without leaving Aussie soil. Together with Aperol, we've scoured every corner of this vast land to curate a guide to the bars and restaurants that capture the essence of coastal Italy's gastronomic wonders. From echoing laidback osterias to swanky harbourside bars exuding Riviera-style opulence, our roundup is a tribute to the vibrancy of Italian culture infused with an Australian twist. So, fasten your seatbelts and prepare for an unforgettable expedition. Your table overlooking the azure seas awaits — no boarding pass required.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from August's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW HEARTSTOPPER Whether they attend Truham Grammar School or the neighbouring Higgs Girls School, most of Heartstopper's teenagers have much to say, often via text. But perhaps the most apt line of the entire Netflix series so far is uttered by Isaac Henderson (first-timer Tobie Donovan), the quiet bibliophile among the show's main friendship group. "I read all these books where people fall in love and I still have absolutely no idea," Isaac advises in the web-to-page-to-screen hit's second season. As a webcomic, a graphic novel and also a TV series that proved an instant smash when it debuted in 2022, Alice Oseman's creation couldn't better embody this reflection. Heartstopper is Isaac's yearning and confusion turned into art, even as the series remains sweet and joyous in every episode. Isaac gets his own storyline in season two, exploring what that lament means to him as he unpacks his own identity, and it's among the show's weighty narrative threads. But everyone in Heartstopper, from central couple Charlie Spring (fellow debutant Joe Locke) and Nick Nelson (Kit Connor, Little Joe) to their maybe-more-than-friends pals Tao Xu (newcomer William Gao) and Elle Argent (Yasmin Finney), plus classmates Tara Jones (Corinna Brown, Daphne) and Darcy Olsson (Kizzy Edgell), live his telling statement in their own ways. Tales about getting swept away by first love adore conveying the rush, buzz and head-over-heels effervescence evoked by the pivotal experience. Awkwardness often factors in, but rarely the reality that no one ever truly knows what they're doing when it comes to romance. A chronicle of coming of age and also coming out, Heartstopper makes the truth that every teen is just doing their best and following their heart one of the show's core guiding concepts. And mostly, usually with each other's help as they traverse the full onslaught of adolescent emotions, this supremely likeable, relatable crew of high schoolers knows that they don't, can't and won't ever have all the answers. Brought to the screen by Oseman as the series' creator and writer, plus director Euros Lyn (Dream Horse) behind the lens — together, they've respectively penned and helmed all 16 episodes, eight in season one and that amount again in season two — Heartstopper spent its debut offering watching Charlie and Nick gravitate into each other's orbits. When the pair were sat next to each other in form class at the beginning of a new term, a friendship and then more swelled. Season two finds them officially and happily boyfriends, and with Nick's mother Sarah (Olivia Colman, Secret Invasion) supportive about Nick's bisexuality. Telling the rest of the world when he chooses to is part of his latest journey, always with the protective Charlie by his side. Heartstopper streams via Netflix. Read our full review. TELEMARKETERS No one likes it when their phone rings from an unknown number, whether "no caller ID" or digits that you don't recognise flash up on your mobile's screen. Telemarketers isn't going to change that response. It won't dampen the collective ire that the world holds towards the pushy people on the other end of the line, either. HBO's thrilling three-part docuseries doesn't just reinforce what viewers already feel about the nuisance industry that thinks it can interrupt your day and life with a spiel that no one wants, and impact your bank balance in the process. In addition, it spins a true tale that demonstrates why a deep-seated dislike of telemarketing is so well-founded, and also why cold-calling operations can be so insidious. This true-crime story about the New Jersey-based Civic Development Group surpasses even the most call centre-despising audience member's low expectations of the field — and it's gripping, can't-look-away, has-to-be-seen-to-be-believed stuff. In fact, it's also an account of a tenacious duo revealing a billion-dollar fraud, and bringing this stunning whistleblower documentary to the masses. "Every other telemarketer who drives you crazy in the whole world is because of CDG," advises one of the series' interviewees. That might seem like a big claim, but co-directors Sam Lipman-Stern (Live From the Streets) and Adam Bhala Lough (The New Radical) step through its truth. The former knows the outfit's approach from experience, working there for seven years from the age of 14 after dropping out of high school, while the latter is the filmmaker cousin he wasn't aware of. Lipman-Stern is Telemarketers' on-screen guiding hand, too, but his ex-colleague Patrick J Pespas is its heart and soul. As seen early, Pespas is called a "telemarketing legend". Although he's happy snorting heroin on-camera in 2000s-era footage, he's switched on to CDG's shonkiness; more than that, he's determined to expose it even if it takes two decades. Everywhere that Lipman-Stern and Pespas look from there, this tale gets worse. It's no wonder that Uncut Gems and Good Time filmmakers Benny and Josh Safdie are among Telemarketers' executive producers, plus Eastbound & Down's Danny McBride, Jody Hill and David Gordon Green. Telemarketers streams via Binge. Read our full review. JUSTIFIED: CITY PRIMEVAL The man knows how to rock a hat: Timothy Olyphant (Full Circle), that is. He knows how to play a determined lawman with a piercing stare and an unassailable sense of honour, too, and television has been all the better for it for nearing two decades. Pop culture's revival culture has benefited as well — first with HBO's 2004–06 western masterpiece Deadwood returning as 2019's Deadwood: The Movie, and now with 2010–15's US Marshal drama Justified making a comeback as miniseries Justified: City Primeval. Olyphant was perfect in both the first time around, and proves the same the second. Indeed, Deadwood: The Movie's only problem was that it was just a made-for-TV film, not a another season; Justified: City Primeval's sole issue is that it spans only eight episodes, and that a next date with the Stetson-wearing Raylan Givens hasn't yet been locked in. This continuation of Justified's initial six seasons arrives eight years after the show ended for viewers, but also finds Raylan with a 15-year-old daughter. And it's with Willa (Vivian Olyphant, Timothy Olyphant's real-life offspring) that he's hitting the road when a couple of criminals reroute their plans. Now based in Miami, Florida rather than Justified's Harlan, Kentucky, Raylan is meant to be taking Willa to camp, only to be forced to detour to Detroit, Michigan to testify. It isn't a brief stop, after the Deputy US Marshal makes the wrong impression on Judge Alvin Guy (Keith David, Nope), then is personally requested to investigate an assassination attempt against the same jurist — teaming up with local detectives who are adamant about Detroit's particular ways, including Maureen Downey (Marin Ireland, The Boogeyman), Norbert Beryl (Norbert Leo Butz, The Girl From Plainville) and Wendell Robinson (Victor Williams, The Righteous Gemstones). You can take Raylan out of rural America and into the Motor City, as Justified: City Primeval does, but even with silver hair atop his calm glare he's still Raylan. So, he'll always stride around like a lone gunslinger who has seen it all, will confront anything, and is perennially valiant and resolute — and silently exasperated about humanity's worst impulses, too — as Justified: City Primeval welcomes. New location, passing years, the responsibilities of fatherhood, more and more lowlife crooks (including Boyd Holbrook, Indiana Jones and the Dial of Destiny): they haven't changed this character, and audiences wouldn't have wanted that to happen. Justified: City Primeval streams via Disney+. Read our full review. KILLING IT Craig Robinson slays snakes. If Killing It was initially pitched with those four words and those four words alone, it still would've been easy to greenlight. When the latest comedy from Brooklyn Nine-Nine co-creator Dan Goor and executive producer Luke Del Tredici first arrived in 2022, it leaned in, too, with terminating serpents the whole point of the contest at the centre of the comedy's debut season. The place: Florida, home to the python-teeming Everglades. The year: 2016, in the lead up to the US election. The reason for vanquishing vipers: a $20,000 payday, which Craig — also the name of Robinson's character — needed to enact his vision of becoming a saw palmetto farmer. Killing It served up far more than just Robinson, a B99 guest and The Office star, polishing off reptiles, however, and not simply because Claudia O'Doherty (Our Flag Means Death) joined in as the hammer-swinging Jillian. As a satire of the type of society that has people resorting to seeking a better future by offing animals competitively, and a nation that celebrates the American dream as the pinnacle of existence without recognising how unachievable that notion is, this series has always sunk its fangs in. Getting Killing It's characters bludgeoning wildlife was a savvy signifier of a horribly broken system in season one. In season two, slaughtering serpents is old news, but venomous foes definitely aren't. They're the uncaring bureaucracy, the shameless corporations, the shaking-down gangs, the car thieves, the cruel insurance bodies, the nation's entire health scheme, the manipulative bosses, the rude customers and the cash-splashing rich. They're absolutely everyone with a solely in-it-for-themselves perspective, which is almost everyone. When Killing It's latest eight-episode go-around kicks off, its central pair have followed through on the saw palmetto plan — albeit at a cost, with Craig's low-level criminal brother Isaiah (Rell Battle, Superior Donuts) now on the lam and posing as a doctor in Phoenix. Their farm is up and running, and perennial-optimist Jillian isn't is the only one who's hopeful. The two business partners even have a buyer for their berries — and, while their margins are thin, they're getting by. Alas, whether they're dealing with a possible giant snail problem, being blackmailed into taking on new colleagues or becoming the subject of a hostile takeover, Craig and Jillian swiftly realise that snakes still lurk everywhere. Killing It streams via Stan. Read our full review. IT'S ALWAYS SUNNY IN PHILADELPHIA No one should start watching It's Always Sunny in Philadelphia's 16th season with its eighth and last episode (last for this season, that is; the already record-breaking TV comedy, which became the longest-running live-action American sitcom ever with its 15th season, has been renewed for a 17th and 18th go-around). Still, the final instalment from this current batch, called 'Dennis Takes a Mental Health Day', is one the show's best-ever chapters. As a character study of It's Always Sunny in Philadelphia's most arrogant and abrasive member of its main quintet, aka Dennis Reynolds (Glenn Howerton, Blackberry) — and yes, given his company, that's some feat — it's phenomenal in stepping through how his twisted mind works. A whopping 170 episodes in, it's also a prime example of the series' constant eagerness to push and stretch itself. Season 16 also features It's Always Sunny in Philadelphia instalments that are so classic that they could've aired years ago, not that the program ever repeats itself, but this run also keeps challenging how It's Always Sunny in Philadelphia tells its tale, unpacks Dennis and company, and satirises Pennsylvania's worst Irish bar owners. Howerton remains mesmerising as one of the show's Reynolds twins throughout season 16; however, so does Kaitlin Olson (Hacks) as his sister Dee. This far in, Charlie Day (Bupkis), Rob McElhenney (Mythic Quest) and Danny DeVito (Haunted Mansion) could all play Charlie Kelly, Mac and Frank Reynolds in their sleep, too — but there's no coasting here, only going deeper into what makes the Paddy's Pub crew who they are. Their responses to any given outlandish situation, aka It's Always Sunny in Philadelphia's bread and butter, might seem predictable on the surface. Even what proves true, though, nothing is ever straightforward. Amid the scheming, plotting, conning, fighting, revenge plans and more, this bunch constantly unpack and parody America at its most problematic, and western attitudes overall as well. They're as sharp and ridiculous and hilarious now as they were in 2005. In their sights this time: inflation, gun violence, reality TV, chess, celebrity endorsements (complete with a spectacular couple of guest stars), child-friendly food and amusement joints, bowling and, of course, mental health. It's Always Sunny in Philadelphia streams via Disney+. VESPER Some films make their audience feel like they could reach out and touch their on-screen worlds, and French-Lithuanian-Belgian movie Vesper is one such picture. Here, that sensation springs from a key element: first-rate world-building efforts on writer/director duo Kristina Buožytė and Bruno Samper's (ABCs of Death 2) parts. This isn't a sci-fi blockbuster with a massive budget and seemingly thousands upon thousands of companies working on special effects. Rather, Vesper is far more modest in scale, as was its big-screen run, including film-festival berths and no general release Down Under. But without megabucks behind it, Vesper spins a dystopian tale that seems tangible — that, as you watch, feels like you could walk straight into, too — as it focuses on its titular teenager (Raffiella Chapman, His Dark Materials). Her quest: surviving after an ecological crisis while looking after her bedridden father Darius (Richard Brake, Barbarian). In this vision of what might come, the planet's plants and animals have become the victims of viruses that ravaged the globe, leaving insects and bacteria as humanity's main diet. Buožytė and Samper, scripting with Brian Clark (Compulsion), work in English with Vesper. That said, on their latest sci-fi feature after Vanishing Waves, they also frequently work in the space between what's uttered aloud. The narrative sticks with Vesper as she keeps attempting to scrounge up food and electricity, usually with Darius' consciousness floating in a drone by her side — a machine that looks like an old-school TV, but with a face drawn on. The film also charts its namesake's determination to avoid her nefarious uncle Jonas (Eddie Marsan, Operation Fortune: Ruse de Guerre), who trades in the blood of children to obtain seeds, which are used as currency and highly protected by towering bases called citadels. And, as it muses on what it truly means to endure and persist, and why, doing so amid grey-toned imagery, a fierce lead performance, meticulous attention to visual detail and expressive silences, it observes what occurs when Vesper finds Camellia (Rosy McEwen, The Alienist) after a crash, then has her perception of an already-tough life challenged. Vesper streams via Paramount+ and Prime Video. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK ONLY MURDERS IN THE BUILDING Corpses and killings don't normally herald joy on-screen, even in pop culture's current murder-mystery comedy wave, but Only Murders in the Building isn't just another amusing whodunnit. There's a particular warmth to this series. In each of its three seasons to-date, the New York-set show has unleashed amateur gumshoes upon a shock death, with its key trio sifting through clues and podcasting the details. Along the way, it has also kept telling a winning story about second chances and finding the folks who understand you. Only Murders in the Building's ten-episode third season relays that tale again, expanding its portraits of artist Mabel Mora (Selena Gomez, The Dead Don't Die), theatre director Oliver Putnam (Martin Short, Schmigadoon!) and veteran actor Charles-Haden Savage (Steve Martin, It's Complicated) — and of their friendship. Once more, it embraces the power of chemistry, both within its narrative and for audiences. That isn't new; when the show debuted in 2021, it felt like the murder-mystery comedy genre's version of a cosy embrace because its three leads were so perfectly cast and their odd-throuple characters so full of sparks. While Mabel, Oliver and Charles wouldn't be a trio if it wasn't for a building evacuation, a murder and a love of true-crime podcasts, their connection isn't merely fuelled by chatting about the murders in their building, with crossing each other's paths changing their respective lives. There's a death in season three's initial episode — it first occurred in season two's dying moments, to be precise — and, of course, ample sleuthing and talking about it follows. The victim: Ben Glenroy (Paul Rudd, Ant-Man and the Wasp: Quantumania), a silver-screen star best-known for playing a zoologist who fights crime by turning into a snake in the blockbuster CoBro franchise. (Yes, if those movies weren't just Only Murders in the Building's Ant-Man gag, existed IRL and starred Rudd, they'd be a hit.) But Only Murders in the Building's latest run also opens with Mabel, Oliver and Charles in places that they wouldn't be if they were solo. Largely, that applies emotionally: Mabel is more grounded and open, and now thinking about the future more than the past; Oliver has faced his career fears, resurrecting his showbiz bug with a new show; and Charles is less misanthropic and more willing to take new chances. They're also frequently in a different location physically thanks to Oliver's comeback production Death Rattle (which is where Meryl Streep fits in). No, the series isn't now called Only Murders in the Building and on Broadway. Only Murders in the Building streams via Star on Disney+. Read our full review. THE LOST FLOWERS OF ALICE HART In The Lost Flowers of Alice Hart, blooms are rarely out of sight and petals never evade attention. Adapted from Holly Ringland's 2018 novel, the seven-part Australian miniseries is set on a farm that cultivates native flora. It dubs the women who tend to them, an ensemble from various backgrounds largely seeking refuge from abusive pasts, "flowers" as well. Whether stem by stem or in bunches, its characters use florets as their own secret language. And yet, as much as bouquets linger, getting all things floral on the mind, star Sigourney Weaver burns rather than blossoms. Fire is another of the show's strong recurring motifs, so it's still fitting that its biggest name is as all-consuming as a blaze. She needs to be that scorching: this is a story about endeavouring to survive while weathering woes that ignite everything in their path. Weaver also draws upon almost five decades of thriving before the camera, often playing steely, smart and sometimes-raging women. Her on-screen career began sparking with Alien, the film that made her an instant icon. Since then, everyone has heard her performances scream — and, in The Lost Flowers of Alice Hart, she's again dazzling. Flowers frequently surround Weaver's June Hart far and wide. With a carefully selected cutting, the shotgun-toting matriarch of Thornfield Flower Farm can say all she needs to. That's what the eponymous Alice (Ayla Browne, Nine Perfect Strangers) quickly learns about her grandmother when she arrives at the property following a tragedy, becoming one of the farm's flowers after losing her pregnant mother Agnes (Tilda Cobham-Hervey, Hotel Mumbai) and violent father Clem (Charlie Vickers, The Lord of the Rings: The Rings of Power). The Lost Flowers of Alice Hart is a tale about traumas, secrets and lies that lurk as deeply as the earth — about the choices and cycles that take root in such fraught soil, too. When nine-year-old Alice relocates fresh from hospital, the determined June, her doting partner Twig (Leah Purcell, The Drover's Wife The Legend of Molly Johnson) and their adopted daughter Candy Blue (Frankie Adams, The Expanse) aim to shower the girl with sunlight to blaze away her horrors. You can't just bury problems, however, then hope that something vivid and colourful will grow over the top. Dedicating its first half to Alice's childhood and its second to 14 years later, when she's in her early twenties (Alycia Debnam-Carey, Fear the Walking Dead), The Lost Flowers of Alice Hart understands this immutable fact in its core. The Lost Flowers of Alice Hart streams via Prime Video. Read our full review. RESERVATION DOGS There's only one thing wrong with the third season of Reservation Dogs: this batch of episodes is the show's last. There's a skill in knowing when something's time has come, but this teen-centric comedy about restless Indigenous North American adolescents is so rich in stories, perspectives and minutiae — and so resonant as well — that it feels like more and more could (and should) just keep following. Ending Reservation Dogs when this ten-episode run wraps up is also an example of the show taking its own message to heart, however. As co-created, executive produced and written by Sterlin Harjo (Mekko) and Taika Waititi (Thor: Love and Thunder) — the former its guiding force — Reservation Dogs knows that little lasts. It hangs out with its characters as they learn about life's transience at every moment, whether they're chasing their dreams of leaving the reservation that they've always called home or they're grappling with loss. So, of course the series is moving on. In the process, its farewell season is proving even more moving and thoughtful than ever, even after its debut year delivered one of the best new TV shows of 2021 and its second spin served up one of the best returning shows of 2022. The last time that viewers saw the Rez Dogs — the OG quartet of Bear (D'Pharaoh Woon-A-Tai, Beans), Elora (Devery Jacobs, Rutherford Falls), Willie Jack (Paulina Alexis, Ghostbusters: Afterlife) and Cheese (Lane Factor, The Fabelmans), plus Jackie (Elva Guerra, Dark Winds), the somewhat-reluctant newcomer to the group — they had finally made the trip to California that they'd been working towards their entire lives. Season three picks up with the group still far away from home, and still journeying even when they do return. Elora considers both her past and her future. Bear goes wandering on his own, including through several revelatory encounters. Harjo still isn't afraid to veer away from his leads along the way, whether sliding into history to explore myths, traditions or horrors inflicted upon Indigenous children. Reservation Dogs finds a story, be it big or small, for everyone within its frames. Bear, Elora, Willie Jack and Cheese especially will be deeply missed, but Woon-A-Tai, Jacobs, Alexis and Factor shouldn't ever be far from screens after this exceptional breakthrough. Reservation Dogs streams via Binge. PHYSICAL Rose Byrne made her acting debut in the 90s, with Echo Point, Wildside, the OG Heartbreak High and Two Hands among her earliest credits. Physical sends the Australian star a decade further back, and the results have kept proving insightful and astute across three seasons. Created by Annie Weisman after the writer and producer previously pondered domesticity in Desperate Housewives and Suburgatory, the series bends and stretches with Byrne (Insidious: The Red Door) as Sheila Rubin, a San Diego housewife when the first episode dropped in 2021 — and an aerobics star not long afterwards. Slipping into a leotard, then getting the blood pumping, isn't just exercise for Physical's protagonist. The late, great Olivia Newton-John mightn't have sung "let's work through our troubles while working up a sweat" (unsurprisingly; it isn't catchy), but that's the thrust here. Among those struggles: Sheila's opinion of herself, including of her body; her relationship with food as a result; the self-critical voice in her head; and her marriage to Danny (Rory Scovel, Babylon) and its impact on her self-esteem. Physical takes the darkly comedic approach to Sheila's ups and downs, including the self-loathing, the lack of fulfilment, the catharsis that aerobics brings and the professional path that it sets her on. In the show's ten-episode third and final season — three being the magic number, just like with Reservation Dogs — its central figure is doing well but wants more, including national exposure and fame. Sheila has also learned to be kinder to herself, at least as herself. When Hollywood actor Kelly Kilmartin (Zooey Deschanel, Dreamin' Wild) encroaches into her territory, she's the new scolding tone in Sheila's brain. Physical has always boasted a stellar cast that can flip between laughs and drama as swiftly as the show does, which is often, and Deschanel is no exception as a newcomer in this swansong run. That said, Byrne's comic chops keep proving a dream (see also: this year's Platonic), while Dierdre Friel (Second Act) is a constant scene-stealer as Sheila's friend and business partner Greta. Physical packs an emotional punch, too, as it embraces Sheila's imperfect journey and her imperfections in general. Physical streams via Apple TV+. AHSOKA In this or any other galaxy, whether here, near or far, far away and a long time ago, Star Wars streaming shows can't all be Andor. In cinemas, the franchise's movies can't all be Rogue One: A Star Wars Story, either. So, in both formats, they aren't always the weightiest and most grounded instalments that the series has ever delivered, all while demonstrating about as much interest in nostalgia as Jar Jar Binks has in not being annoying. The latest TV effort in the George Lucas-started space-opera saga, Ahsoka doesn't want to follow exactly in the last new Star Wars small-screen entry's footsteps, however, even if it's another sidestep tale about battling evil that champions folks who are rarely at the fore. Instead, it has intertwined aims: serving up a female-led chapter and drawing upon the franchise's animated realm. So, as it tells of eponymous ex-Jedi padawan Ahsoka Tano (Rosario Dawson, Clerks III), it links to streaming's three seasons of The Mandalorian and 2021–22's The Book of Boba Fett, and also springs from animated film Star Wars: The Clone Wars and the TV series it spawned, plus fellow animated shows Star Wars Rebels and Tales of the Jedi. Ahsoka's inter-franchise Star Wars links are strong, then, but it isn't just for fans who've watched every frame that the saga has ever sent hurtling across screens. Cue diving deeper beyond the obvious Star Wars fodder while still engaging more-casual franchise viewers. Cue another tale of mentors and students, too, with Ahsoka once a pupil to Anakin Skywalker (Hayden Christensen, Obi-Wan Kenobi) before he went to the dark side. Then, she passed on knowledge herself to rebellious, flame-haired Mandalorian Sabine Wren (Natasha Liu Bordizzo, Guns Akimbo). Thanks to the man who became Darth Vader, Ahsoka is wary about the Jedi order and cautious in general. Via her prior time with Sabine, she knows the difficulties of being a guide to a headstrong protégée. While the series gives its central figure nefarious foes to battle, it also has her grappling with her past traumas, mistakes and regrets. She's guarded there, too; when rebel crew member and now-New Republic general Hera Syndulla (Mary Elizabeth Winstead, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)) suggests that the way forward might involve enlisting Sabine's help, Ahsoka is uncertain. But only the youngest of the main trio can unlock a pivotal orb that holds a map that could lead to exiled Imperial officer Grand Admiral Thrawn (Lars Mikkelsen, The Kingdom) and Ahsoka's fellow one-time padawan Ezra Bridger (Eman Esfandi, The Inspection). Ahsoka streams via Disney+. Read our full review. A STONE-COLD CLASSIC FILM TO WATCH (OR REWATCH) IMMEDIATELY OLDBOY Spike Lee (Da 5 Bloods) remaking your movie is a massive compliment, but Park Chan-wook's magnificent Oldboy didn't ever need that tick of approval. The former's US-set and English-language version of the latter's stone-cold Korean classic is great as its own film — albeit maligned when it released ten years ago, so much so that it skipped a cinema date Down Under as a result — but the latter's original is a work of brutal, powerful and astonishing art for the ages. That's Park's wheelhouse, of course. When it arrived in 2003, his Oldboy was the middle chapter in the acclaimed auteur's Vengeance Trilogy, after all, following 2002's Sympathy for Mr Vengeance and preceded by 2005's Lady Vengeance. Joint Security Area, Thirst, Stoker, The Handmaiden, TV's The Little Drummer Girl, 2022's very-best film Decision to Leave: Park's resume is filled with remarkable efforts; however, that he'll always be synonymous with Oldboy, as well as its hammer and live octopus, isn't because nothing else on his filmography beats it. Every Park movie is its own gem in its own way — again, Decision to Leave was the finest film of 2022 — but this one is 100-percent designed to hit hard. The story: it's 1988, Oh Dae-su (Choi Min-sik, Big Bet) gets drunk and misses his daughter's fourth birthday, then needs a pal to collect him from the police station. But the sloshed businessman doesn't make it home. Instead, he's forced to spend 15 long years in a hotel room that he can't leave, all while being imprisoned by kidnappers that are committed to keeping him alive, too. Of course a quest for revenge springs from there. Adapted loosely from a Japanese manga of the same name, Oldboy's narrative throws up surprise after surprise before, during and after its protagonist's captivity, though. Every element of the plot makes a statement. Every decision that Park makes as a filmmaker does, too. This is a raw, dark exploration at human nature, as helmed with incisiveness, anchored by a stunner of a lead performance and featuring a corridor-set action scene to end all action scenes — and it's always worth watching, be it on a screen big or small, for the first time or as a revisit. Right now, a date with Oldboy also means celebrating its 20th anniversary. Oldboy streams via Shudder and AMC+. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June and July this year. You can also check out our running list of standout must-stream shows from this year as well — and our best 15 new shows of 2023's first six months, top 15 returning shows over the same period and best 15 straight-to-streaming movies from January–June 2023, too.
If you're looking for ways to spoil the leading man in your life (whether dad or father figure), we're here to help. Let's face it, your local pizza joint doesn't quite cut it (unless it's Bella Brutta) and the decibels at your favourite hole-in-the-wall ramen shop might be a little too high to allow for a meaningful chat. This is your chance to deliver something memorable and earn brownie points on the side. Take your dad out this year on Father's Day for an exceptional dinner, a long boozy brunch or a morning coffee — all at some of our city's best parent-friendly eateries and drinking establishments. You've got enough selection anxiety on your hands with presents, so we've picked out our favourite dad-worthy spots. These are the best Father's Day restaurants, bars and cafes in Sydney. Recommended reads: The Best Pubs in Sydney The Best Restaurants in Sydney The Best Wine Bars in Sydney The Best Italian Restaurants in Sydney THREE BLUE DUCKS, ROSEBERY Three Blue Ducks has everything you need to impress dad on Father's Day. Hearty, approachable eats; top-notch coffee from Single O; the endorsement of beloved MasterChef judge and co-owner Andy Allen — they're all covered. While the full suite of tasty goodies will be on offer on dad's day, Three Blue Ducks' expansive Rosebery eatery is offering a few special deals. If you're heading in for brekkie, the kitchen is rolling out fried chicken and waffles with bacon and maple syrup butter for $25. Later in the day, there will be two special Father's Day menu items: coal-roasted king prawns and cherry wood-smoked pork ribs. NOUR, SURRY HILLS Want to take dad to a buzzing Surry Hills space with contemporary Middle Eastern cuisine that you can really unpack in your lunch chat? Nour's pastel-heavy, airy interior is enough to fool diners into thinking they'll get by-the-numbers dining experience — but they'd be sorely mistaken. The lineup here mixes tried-and-true classics with bold experimentations. Culinarily conservative dads will be stoked with the glazed lamb shoulder, wagyu beef skewers and chicken bits shawarma, while those with a more experimental streek can opt for mussel-topped hummus — or the raw bluefin tuna with caramelised kishk and bulgur. MISC, PARRAMATTA Out west, spoil dad with an unforgettable Mediterranian spread within the heart of Parramatta Park at the expansive and sleek venue Misc. The impressive 300-seat cafe and diner is the workings of Executive Chef Sebastian Geray, Menu Collaborator Joel Bennetts and Restaurateur Jad Nehmetallah (the last of whom you may recognise from Gogglebox). Swing by in the morning for Stitch coffee, plus Misc's takes on cafe favourites like zucchini, kefalograviera and pea fritters, or a mushroom toastie with gruyere, caramelised onion and pickles. Later in the day, the menu is designed to be shared, with plenty of freshly sliced charcuterie, dips and buttery woodfired bread available alongside beef tartare, lamb ragu and roasted half chicken. DA ORAZIO, BONDI Orazio D'elia's beloved red-doored Italian restaurant Da Orazio returned to its original Bondi home in 2022. The 90-seat Hall Street spot is approachable with a touch of special-occasion luxury to it — so, perfect for Father's Day. Pizzas can be ordered for the table if you've got picky eaters in the family, or you can really elevate your meal with a spread of antipasti featuring marinated olives, marinated anchovies and terracotta-baked eggplant parmigiana. If you've booked for four or more and your fam is known to get into ordering-based tiffs, you can opt for the reasonably priced $75 set menu featuring schiacciatina, salumi, calamari fritti, spicy vodka rigatoni, salad, a selection of pizzas and chocolate bomboloni for dessert. THE GREENS, NORTH SYDNEY Challenge dad to a spot of lawn bowls at The Greens this Father's Day. What was once a daggy bowlo has been transformed into a buzzy garden bar with million-dollar Sydney skyline views. Inside the North Sydney spot, floor-to-ceiling glass doors allow sunlight to stream into a plant-filled brasserie, which is fitted out with curved booths and long communal tables. If it's a sunny day, head outside to the rustic garden, where you'll find plenty of daybeds and picnic settings adjacent to the lawns — and order a cocktail jug (a carafe of Pimm's perhaps) to share on the day of celebration. On Father's Day, the hilltop venue is offering a complimentary keepsake glass for all dads, plus a $30 lamb roast with a pint. YULLI'S BREWS, ALEXANDRIA Alexandria brewery Yulli's is pulling out all stops for Father's Day. If you have a craft beer-loving dad, there will be brewery tours at 12pm, 2pm and 4pm — all including a tasting paddle of beers for $30. There'll also be a DJ spinning dad-friendly tunes from 3pm, as well as a couple of food specials, most notably a $17 mushroom wellington pie. All of the brewery's usual crowd-pleasing vegan eats will also be on offer, including pan-fried massaman curry buns, chilli and lime potato cakes, southern-fried cauliflower and pad see ew. Plus, it's a real family affair with kids and dogs welcome. If you're going for a brewery tour, make sure to book in advance. ARMORICA, SURRY HILLS Perhaps your dad is a fan of French fare? If so, the new Surry Hills outpost from the Franca team is the perfect spot to treat the father figure in your life. While the full Armorica menu is on offer on Father's Day — including the restaurant's famous chocolate bar for dessert — the kitchen is offering a special steak frites menu to celebrate all the meat-loving dads. There are four different steak options available, ranging from a special little treat to an all-out dose of extravagance. Take your pick from the 250-gram rump cap ($39), the 250-gram sirloin ($45), the bone-in tenderloin ($70) or the half-kilo rib-eye ($130). All four options are served with a side of fries and your choice of béarnaise, mushroom or bone marrow butter. HAPPYFIELD, HABERFIELD Tucked into a corner of Ramsay Street in Haberfield is one of Sydney's best cafes, Happyfield. This sunny yellow spot knows how to nail breakfast, with stacks of pancakes paired with Pepe Saya butter; next-level brekkie burgers like the McLovin Muffin loaded with a chicken sausage patty, folded eggs, cheddar, chipotle mayo and chicken 'n' herb salt; and even shrimp po' boys for the family members who like to eat lunch for breakfast. There's something for every dad here. Plenty of veggie options also grace the menu and the coffee list is extensive. Plus, if a boozy brunch is on the table, there's an adults-only section of the menu featuring espresso martinis, mimosas, boutique Australian wines and craft beers. THE NEWPORT, NEWPORT Before we start, expect The Newport to be busy on Father's Day. That doesn't mean that you should avoid it — there's plenty of room, just make sure to book early. Run by hospitality powerhouse Merivale, the Northern Beaches gem has a strong focus on food and live entertainment. Don't expect a single-service counter or a straightforward menu at this renovated pub. Instead, you'll feel a bit like you're walking through a permanent food festival with all of the different dining options on offer. We'd gun for one of Vinnie's (Merivale pizza guru Vincenzo Biondini) pizzas. But there's also a kiosk and seafood market, and a cafe menu. If you'd prefer something a touch fancier, head inside and treat your dad for a meal at the 1930s-style bistro Bert's. FABBRICA PASTA BAR, BALMAIN The Love Tilly Group has been busy lately, adding two new venues to its renowned roster of restaurants and bars: the expansive Palazzo Salato in the CBD and Fabbrica Pasta Bar inside The Exchange Hotel in Balmain. The latter is an idyllic spot to head for a Father's Day feed across the ANZAC Bridge, especially for those dads who want to feel like they're on the cutting edge of the new restaurants popping up in Sydney. The Balmain spot's menu balances the traditional with the boundary-pushing. Keep it simple with cacio e pepe spaghetti and ricotta-stuffed zucchini flowers, or really impress the old man with a 'nduja and prawn pasta alongside tender Cape Grim short rib. [caption id="attachment_707972" align="alignnone" width="1920"] Leticia Almeida[/caption] THE BAXTER INN, CBD If you want to truly treat the special man in your life, The Baxter Inn in Sydney's CBD is hosting a special Father's Day celebration. This one is for the whisky-loving fathers, with a guided tasting through rare whiskies available at the charming inner-city bar for $102.74 per person. Attendees will be treated to a cocktail on arrival, paired beers throughout the experience, and a trip through some hard-to-find and off-the-beaten-path spirits at the hands of some of the whisky industry's most in-the-know folks. [caption id="attachment_777187" align="alignnone" width="1920"] Kitti Gould[/caption] OUT OF TOWN: MOTEL MEZZA SOCIAL BAR, WYONG If dad lives outside of Sydney, there are still plenty of top-notch options for Father's Day. For a touch of luxury on the Central Coast, book the fam into Motel Mezza. The red-brick restaurant specialises in flavour-packed Middle Eastern eats in a luxurious space inspired by 1930s-era hotel lobbies. Kick your feast off with falafel and chilli prawns, before moving on to heftier dishes like the barramundi sayadieh and slow-cooked chicken wings tossed in Lebanese spices. For more out-of-town ideas, check out our list of the best regional NSW restaurants.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are nine that you can watch right now at home. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Reality is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. SPIDER-MAN: ACROSS THE SPIDER-VERSE There's nothing small about Hollywood's superhero obsession, with its 30-movies-deep-and-counting cinematic universes, competing caped-crusader realms, ever-growing spread across screens big and small, and determination to enlist every actor ever (and some actors more than once). That decades have passed, many spandex-clad characters have cycled through a few faces now, and reuniting past and present versions of beloved crime-fighters is the current trend: none are minor matters, either. And yet, when 2018's Spider-Man: Into the Spider-Verse took pop culture's favourite web-slinger back to its animated roots, it made those flesh-and-blood flicks and shows, as well as the expensive special effects behind them, look positively trivial and cartoonish. Five years later, the first sequel to the deservedly Academy Award-winning masterpiece plasters around the same sensation like a Spidey shooting its silk. Give this latest take on Stan Lee and Steve Ditko's iconic character by directors Joaquim Dos Santos (The Legend of Korra), Kemp Powers (Soul) and Justin K Thompson (Into the Spider-Verse's production designer) 2024's Best Animated Feature Oscar immediately. All the money in the world can't make people in tights standing against green screens as visually spectacular and emotionally expressive as the Spider-Verse films. If it could, Spider-Man: Into the Spider-Verse and now Spider-Man: Across the Spider-Verse wouldn't be so astonishing and exhilarating, look so stunning and feel so authentic. Spider-Man's eight stints in theatres with either Tobey Maguire, Andrew Garfield or Tom Holland behind the mask — and all of the latter's pop-ups in other Marvel Cinematic Universe entries, too — have splattered around plenty of charm, but they'll now always swing far below their animated counterparts. Indeed, when Spider-Man: No Way Home tried to emulate the Spider-Verse by pointing its fingers into the multiverse, as Marvel's live-action world is now fixated upon, it paled in comparison. And, that isn't just because there was no Nicolas Cage-voiced 30s-era spider-vigilante Spider-Man Noir, or a spider-robot, spider-pig, spider-car or spider-saur; rather, it's because as the Spider-Verse movies tell of Miles Morales (Shameik Moore, Wu-Tang: An American Saga), Spider-Gwen (Hailee Steinfeld, Hawkeye), Peter B Parker (Jake Johnson, Minx), Miguel O'Hara/Spider-Man 2099 (Oscar Isaac, Moon Knight) and more, they truly do whatever a Spider-Man movie can. Spider-Man: Across the Spider-Verse is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOY RIDE Before it busts out licking lucky cats, K-pop-style Cardi B covers, cocaine enemas, threesome injuries and intimate tattoos, Joy Ride begins with a punch. For most of the movie, Audrey Sullivan (Ashley Park, Beef) and Lolo Chen (Sherry Cola, Good Trouble) are nearing 30, travelling in China and going on a wild journey in a gleefully raucous comedy. In the 1998-set prologue in White Falls, Washington, though, they're five-year-olds (debutants Lennon Yee and Milana Wan) first meeting, being taunted by a racist playground bully and responding with the outgoing Lolo's fist. Crazy Rich Asians and Raya and the Last Dragon screenwriter Adele Lim uses her directorial debut's opening scene not just to start a fast and firm friendship, but to establish the film's tone, sense of humour and, crucially, its willingness to fight. Joy Ride will ultimately get sentimental; however, this is a movie that beats up cultural prejudices and stereotypes by letting its four main female and non-binary Asian American characters grapple with them while being complicated and chaotic. Hollywood should be well past representation being such a noteworthy factor. That should've happened long before Bridesmaids and Bachelorette gave The Hangover's template a ladies-led spin more than a decade ago, and prior to Girls Trip spending time four Black women on a raucous weekend away six years back. Reality proves otherwise, sadly, so Joy Ride openly addresses the discrimination and pigeonholing slung Audrey, Lolo, and their pals Kat (Everything Everywhere All At Once Oscar-nominee Stephanie Hsu) and Deadeye's (comedian and movie first-timer Sabrina Wu) ways — and in Audrey's case, after being adopted as a baby by the white Sullivans (The Recruit's David Denman and Bridesmaids' co-writer Annie Mumolo), internalised. With its booze- and sex-fuelled antics, Lim's film could've simply been formulaically entertaining, just with Asian American characters in Asia. It certainly doesn't hold back with its raunchy setpieces. But it's a better and more thoughtful feature because it engages with the diasporic experience; "I'm just a garbage American who only speaks English," Audrey chides herself, which the picture she's in unpacks. Joy Ride is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NO HARD FEELINGS Has Jennifer Lawrence entered her Jennifer Coolidge era? With the spirit of American Pie lingering over No Hard Feelings like unpaid property taxes — a pivotal part of the movie's plot — the Silver Linings Playbook Oscar-winner and Winter's Bone, Hunger Games, X-Men and mother! star is flirting with that direction and loving it. No one sticks their genitalia in a warm home-baked dessert or talks about band camp in Lawrence's latest film, but it is a sex comedy about an inexperienced teenager that includes parents giving clumsy advice. It also involves getting lucky with an older woman; while Lawrence is only 32 and plays it here, an age gap — as well as the chasms between millennials and zoomers, and with the generations prior — is essential to the narrative. The spirit of Coolidge, a game Lawrence, gags about Hall & Oates' 1982 earworm 'Maneater' — a storyline that somewhat riffs on its lyrics, in fact — and battles over class, generational differences and gentrification: that's No Hard Feelings. Based on a real-life Craigslist ad, it's also the next movie from filmmaker Gene Stupnitsky, who penned Bad Teacher and made his feature directorial debut with Good Boys. Where the latter took a Superbad-esque setup but swapped 17-year-olds out for sixth graders, his second flick as a helmer tells a coming-of-age tale on two levels. Percy Becker (Andrew Barth Feldman, White Noise) is the introverted brainiac whose helicopter parents (Daybreak's Matthew Broderick and Life & Beth's Laura Benanti) want to live a little before he hits Princeton University, while Maddie Barker (Lawrence, Causeway) is the bartender and Uber driver who's been in a state of arrested development ever since giving up her plans to surf California's beaches when her mother got sick. No Hard Feelings is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ELEMENTAL When Pixar is at its best and brightest, the animation house's gorgeous and heartfelt films flow across the silver screen. They glow with colour, creativity, sincerity and emotion. In movies such as WALL-E, Inside Out, Soul, Toy Story 4, Up and Ratatouille, the Disney-owned company's work floats beyond the ordinary as it flickers — and yet, it's also grounded in genuine feelings and insights, even while embracing the now Pixar-standard "what if robots, playthings, rats and the like had feelings?" setup over and over. Accordingly, it makes sense that the studio's Elemental draws upon the sensations that its features usually inspire. It seems like something that was always destined to happen, in fact. And, it's hardly surprising that its latest picture anthropomorphises fire, water, air and earth, and ponders these aspects of nature having emotions. What's less expected is how routine this just-likeable and sweet-enough film is, with the Pixar template lukewarm instead of an inferno and hovering rather than soaring. Elemental also treads water, despite vivid animation, plus the noblest of aims to survey the immigrant experience, opposites attracting, breaking down cultural stereotypes and borders, and complicated parent-child relationships. The Captain Planet-meets-Romeo and Juliet vibe that glinted through the movie's trailers proves accurate, and also something that the feature is happy sticking with exactly as that formula sounds. Although filmmaker Pete Sohn (The Good Dinosaur) draws upon his own upbringing as the son of Korean expats growing up in New York City and its distinctive neighbourhoods — that his family ran a grocery store is worked in as well — and his own marriage, his second stint as a director is too by-the-numbers, easy and timid. Elemental looks like a Pixar film, albeit taking a few visual cues from Studio Ghibli in some character-design details (its bulbous grassy creatures noticeably resemble Totoro), but it largely comes across like a copy or a wannabe. Elemental is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE LITTLE MERMAID For anyone without a scaly tail, communing with the ocean can be a routine dip, a refreshing splash or a sail into choppy waters. In Disney's latest dance with merpeople and the humans that its main mythical sea creature yearns for (and desperately wants to learn more about), all three prove true. The next in the Mouse House's long line of live-action remakes — albeit with ample CGI helping to bring its sea-dwelling characters to life, but no hand-drawn animation — the new The Little Mermaid from director Rob Marshall (Mary Poppins Returns) is often content to wade where its beloved 1989 predecessor went before. That's the Disney do-over standard. Sometimes, though, this new effort is its own delightful paddle; when 'Under the Sea' echoes against a literal sea of colour, movement, creatures and energy, it's a dazzling Golden Age Hollywood-esque spectacular. There's no escaping the movie's bloat when it's not merrily floating, however, due in no small part to inflating the storyline from the original's 83 minutes to a hefty 135 minutes. This day at the cinematic beach — glowing highs and waterlogged lows included — keeps the same basic narrative that viewers loved 34 years ago, as loosely inspired by Hans Christian Andersen's 19th-century fairy tale of the same name. A quote from that text opens the film as Alan Menken's revisited Oscar-winning score starts to swell, advising "but a mermaid has no tears, and therefore she suffers so much more". The curious and adventurous Princess Ariel (Halle Bailey, Grown-ish) cries through her siren's song instead, lamenting the strict no-humans rule enforced by her father King Triton (Javier Bardem, Lyle, Lyle Crocodile). And, in rebellious teen-style, she acts out by sneaking off to scour the ocean floor's shipwrecks with her fish best friend Flounder (voiced by Jacob Tremblay, Luca), even when Sebastian the crab (Daveed Diggs, Snowpiercer) is tracking her every move, and stashing trinkets from the world on land in a secret cave. The Little Mermaid is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. JOHN FARNHAM: FINDING THE VOICE There's no need to try to understand it: John Farnham's 1986 anthem 'You're the Voice' is an instant barnstormer of a tune. An earworm then, now and for eternity, it was the Australian song of the 80s. With its layered beats, swelling force and rousing emotion, all recorded in a garage studio, it's as much of a delight when it's soundtracking comedy films like the Andy Samberg-starring Hot Rod and the Steve Coogan-led Alan Partridge: Alpha Papa as it is echoing out of every Aussie pub's jukebox. Making a noise and making it clear, 'You're the Voice' is also one of the reasons that Farnham's 1986 album Whispering Jack remains the best-selling homegrown release ever nearing four decades since it first dropped. But, as John Farnham: Finding the Voice tells, this iconic match of track and talent — this career-catapulting hit for a singer who'd initially tasted fame as a teen pop idol two decades prior — almost didn't happen. Whispering Jack also almost didn't come to fruition at all, a revelation so immense that imagining Australia without that album is like entering Back to the Future Part II's alternative 80s. Writer/director Poppy Stockwell (Scrum, Nepal Quake: Terror on Everest) and her co-scribe Paul Clarke (a co-creator of Spicks and Specks) know this, smartly dedicating a significant portion of Finding the Voice to that record and its first single. The titbits and behind-the-scenes anecdotes flow, giving context to a song almost every Aussie alive since it arrived knows in their bones. Gaynor Wheatley, the wife of Farnham's late best friend and manager Glenn, talks about how they mortgaged their house to fund the release when no label would touch the former 'Sadie (The Cleaning Lady)' crooner. Chris Thompson, the English-born, New Zealand-raised Manfred Mann's Earth Band musician who co-penned 'You're the Voice', chats about initially declining Farnham's request to turn the tune into a single after the latter fell for it via a demo. John Farnham: Finding the Voice is available to stream via 7plus, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INSIDIOUS: THE RED DOOR Horror franchises like their doors to stay open: years may pass, stars and filmmakers may come and go, but every popular series eventually waltzes back onto screens. That's been true of Halloween, Scream, Candyman, A Nightmare on Elm Street, The Texas Chain Saw Massacre, Friday the 13th and more. It's also accurate of Insidious, which is up to five features in 12 years and returns after its longest gap to-date. For viewers, half a decade has elapsed since this supernatural saga last hit cinemas in 2018's underwhelming Insidious: The Last Key, one of two prequels alongside Insidious: Chapter 3 (because that was the only way to keep bringing back MVP Lin Shaye). For Insidious' characters, though, Insidious: The Red Door takes place nine years after the events of Insidious: Chapter 2. That flick was the last until now to focus on Josh (Patrick Wilson, Moonfall) and Renai Lambert (Rose Byrne, Platonic), plus their haunted son Dalton (Ty Simpkins, The Whale) — and it's their tale the franchise leaps back into. Not only starring but debuting as a director, Wilson makes Insidious: The Red Door an answer to the question that no one, not even the most dedicated horror fans, has likely asked: how are the Lamberts doing after their demonic dalliances? The portrait painted when the movie begins is far from rosy, with Josh and Renai divorced, Dalton resenting his dad, and something niggling at both father and son about their past. Neither the Lambert patriarch nor his now college-bound boy can remember their experiences with unpleasant entities in the astral plane, however, thanks to a penchant for handy hypnotism. So, Insidious: The Red Door poses and responds to another query: what happens when that memory-wiping mesmerism stops working? Insidious: The Red Door is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. TRANSFORMERS: RISE OF THE BEASTS In the breakout movie of 2022, Michelle Yeoh was everything and everywhere. Multiverses are like that. Now, the Oscar-winner voices a space-robot peregrine falcon in Transformers: Rise of the Beasts, and viewers should wish that this only existed in Everything Everywhere All At Once's kaleidoscope of realities. Alas, in this very realm, the newest Transformers film is indeed flickering through projectors. The toy-to-screen series it belongs to is now seven live-action entries in and — apart from 2018 spinoff-slash-prequel Bumblebee — largely still as dull as a smashed headlight. Set in 1994, the current instalment is a sequel to the last 1987-anchored franchise flick, which focused on the yellow-hued mechanised alien that can morph into a car, and also a prequel to 2007's saga-spawning Transformers. It draws upon the Transformers: Beast Wars animation, comics and video games, too, and feels in every frame like a picture that purely exists to service intellectual property that does big box-office business (2011's Transformers: Dark of the Moon and 2014's Transformers: Age of Extinction each made over a billion dollars). Michael Bay, Hollywood's go-to director for maximalist action carnage, might've been enthusiastic about Transformers when he started the silver-screen series nearly two decades back — the Ambulance filmmaker was definitely devoted to crashing together pixels replicating chrome in all five titles he helmed, including 2017's Transformers: The Last Knight — but these movies can't be anyone's passion projects. They show zero feeling, and seem to keep rolling out because the saga assembly line has already been established. New faces and a new guiding force behind the lens (director Steven Caple Jr, Creed II) can't dislodge that sensation with Transformers: Rise of the Beasts. The five-person team responsible for the script give no signal that they even wanted to. The feature's latest two leads (In the Heights' Anthony Ramos and Swarm's Dominique Fishback) do resemble people better than most flesh-and-blood characters in the Transformers world, welcomely, although one gets a sick-kid backstory and another a bad boss. Were the Transformers themselves asked to write the most cliched screenplay they could? Transformers: Rise of the Beasts is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May, June and July, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
Jetsetting overseas may not have been on the cards for you this year, but if you're still craving the excitement of new cuisines and experiences, you don't have to fly across the world for a scenic Mediterranean feast or authentic Indian street food. With its huge variety of restaurants and bars, it's no wonder that Parramatta is rapidly becoming one of the most popular dining destinations in Sydney. From morning to night; from casual eats to luxe dining; from a pre-show dinner to sky-high cocktails — Parramatta has got you covered. In this guide, we've done the legwork for you of picking out a few spots for every occasion, so that your next date night, family celebration or girls' brunch in the River City is an absolute breeze.
When winter comes a roaring, so many of us seek out the best pho in Sydney. This hot brothy goodness full of herbs and spices, veges, noodles and some kind of protein always hits the spot —especially if you're fighting a cold on the couch. A big steaming bowl of classic pho will surely put you right. And lucky for us Sydney kids, the city is packed with Vietnamese restaurants that serve up a damn good noodle soup. Whether you're looking to dine out or get something delivered, each of the spots on this list will serve up some of the best pho in Sydney — warming up the cockles of your cold, cold heart. Recommended Reads: The Best Banh Mi in Sydney The Best Ramen in Sydney The Best Thai Restaurants in Sydney
His hotel concierges are charismatic and committed, while his lobby boys are devoted and delightful. His foxes are nothing short of fantastic, and his dogs are as resourceful as they are adorable. Every time he turns his attention to a family dynamic — be it siblings, strained parent-child relationships or friendships so close they feel like bonds of blood — dysfunction always reigns supreme. And, when all of the above occurs, it does so within immaculately symmetrical yet immensely eccentric frames. Yes, we're talking about Wes Anderson, and the distinctive body of work the American filmmaker has splashed across cinema screens over the past 27 years. Usually chronicling some kind of caper, often featuring a retro 60s and 70s soundtrack, and styled so meticulously that each image could happily hang on anyone's wall (in fact, he's even curated museum exhibitions), his films are like no one else's. Often brought to life by a familiar cast of faces — Owen Wilson, Luke Wilson, Jason Schwartzman, Bill Murray, Jeff Goldblum, Anjelica Huston, Tilda Swinton, Willem Dafoe, Adrien Brody, Bob Balaban and Edward Norton, to name a few — they firmly resonate on their own frequency. And, understandably so, they've amassed quite a following. But, from a filmography to-date that spans from the indie charm of Bottle Rocket to the out-of-this-world antics of Asteroid City, which is the best? As always, that's a subjective question. Like ranking Studio Ghibli movies, it's also a task made all the more difficult by a simple fact: Wes Anderson has never made a bad film, not once. That said, while some are flatout masterpieces that will always stand the test of time, others are entertaining but don't necessarily demand multiple rewatches. That's what we found when we revisited the 11 films currently on his resume, and soaked in his inimitable cinematic creations. And, here are the results: our rundown of Anderson's big-screen output from worst — again, not that there's any such thing as a terrible Anderson flick — to best. 11. MOONRISE KINGDOM By virtue of their format, a ranked list always requires something to come in last place. Moonrise Kingdom earns that honour on Wes Anderson's filmography — not because it isn't great, which it is, but because it's the movie on his resume that sticks in the mind the least. A bittersweet story about first love and finding a home, it's also the rare Anderson film that feels as much a part of its genre as part of the director's oeuvre. In other words, it's definitely an Anderson flick, but it also charts rather recognisable coming-of-age territory. Still, watching 12-year-olds Suzy Bishop (Kara Hayward, Us) and Sam Shakusky (Jared Gilman, Paterson) set the New England island of New Penzance aflutter when they run off in the name of romance is typically charming. Moonrise Kingdom streams via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. 10. THE DARJEELING LIMITED In Anderson's fifth film, three brothers take a train across India in the eponymous locomotive. During their trip, Francis (Owen Wilson, Ant-Man and the Wasp: Quantumania), Jack (Jason Schwartzman, Spider-Man: Across the Spider-Verse) and Peter (Adrien Brody, Poker Face) work through their sibling baggage while literally carting around matching orange-hued, monogrammed baggage. It's been a year since they last crossed paths at their father's funeral, and life isn't treating any of them kindly — with Anderson and co-writers Schwartzman and Roman Coppola balancing the brothers' existential malaise with episodic antics both on the train and off. As stylish as any Anderson-directed feature, The Darjeeling Limited is served best by its performances, as well as its touching blend of sadness and humour. The Darjeeling Limited streams via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. 9. BOTTLE ROCKET When Anderson made his feature directorial debut back in 1996, he did so with this crime-comedy caper about three friends planning a series of heists in the absence of any other direction in their lives. Based on a short film of the same name that he helmed two years prior, and co-written with Owen Wilson, who also stars, Bottle Rocket establishes many of the filmmaker's trademarks from the outset — including his penchant for witty interactions, as well as his love of dressing his characters in coordinated outfits. Owen Wilson plays Dignan, the driving force; however, as his recently voluntarily institutionalised best friend Anthony, this is Luke Wilson's (Fired on Mars) time to shine. A third Wilson, their elder brother Andrew (Father Figures), also pops up, because of course he does. Bottle Rocket streams via Google Play, YouTube Movies, iTunes and Prime Video. 8. ISLE OF DOGS A literal underdog tale about scrappy canines, a plucky orphan and a pooch-hating politician with an evil scheme, Isle of Dogs is one of the most Wes Anderson-esque movies the filmmaker has ever made. Filled with heart, humour and witty dialogue, this doggone delight is constructed with the tail-wagging enthusiasm of man's best friend — and, as well as sporting all the beloved Anderson traits (quirky quests, spirited characters, symmetrical compositions, a distinctive colour palette and a huge cast among them), it tells a stellar story. The setup: when his uncle, Megasaki City's mayor, bans all dogs to Trash Island, 12-year-old Atari (Koyu Rankin, Raymond's Salon) risks his life to follow his four-legged companion. At every moment, the director fills his narrative to the brim like an overflowing bowl of dog treats, spoiling viewers like he'd spoil his own animal companion. Isle of Dogs streams via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. 7. THE LIFE AQUATIC WITH STEVE ZISSOU The Life Aquatic with Steve Zissou will always be Anderson's undersung gem. It's so quintessentially Anderson and, because it's his longest film, it's guilty of sprawling — but every absurdist moment is a marvel. The premise, casting Bill Murray (Ghostbusters: Afterlife) as a Jacques Cousteau-style oceanographer intent on getting revenge on the just-discovered jaguar shark that killed his best friend, is instantly amusing. Trapping a crew of offbeat folks at sea while Zissou pursues his quest provides plenty of comic as well as thoughtful moments, too. The soundtrack of David Bowie songs, including Portuguese-language covers by The Life Aquatic co-star Seu Jorge, sets the pitch-perfect mood. And, visually, Anderson's pans through a cross-section of the ship are always striking. Also, no one has ever watched this film and not immediately wanted a pair of Team Zissou sneakers. The Life Aquatic with Steve Zissou streams via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. 6. RUSHMORE In Anderson's 1998 breakout film, there's nothing that Max Fischer (Jason Schwartzman) loves more than Rushmore Academy. As the director conveys so engagingly, his 15-year-old protagonist has spent the bulk of his life at the exclusive private school — mainly starting extra-curricular clubs, as well as annoying both the headmaster (Brian Cox, Succession) and his classmates with his enthusiasm, all while barely caring about his grades. Then, just as he befriends a wealthy company owner (Bill Murray), Max falls for the new first-grade teacher (Olivia Williams, The Father). One of the best of Anderson's coming-of-age films, Rushmore deploys both Schwartzman and Murray to perfection, while weaving a smart yet also often dark comedy about learning to adjust your dreams. Rushmore streams via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. 5. FANTASTIC MR FOX Combine Anderson, a magnificent Roald Dahl-penned all-ages story and stunning stop-motion animation, and you get a match made in cinematic heaven. Dahl wrote the acclaimed 1970 children's novel about the canny and cunning titular fox, of course, while Anderson brings it to vibrant life with a voice cast that includes George Clooney (Ticket to Paradise), Meryl Streep (Don't Look Up), Jason Schwartzman, Bill Murray, Willem Dafoe (The Northman) and Owen Wilson (and via a script co-written with Frances Ha, Marriage Story and White Noise's Noah Baumbach, too). While Fantastic Mr Fox is Anderson's first animated feature, he's a natural when it comes to witty comedy paired with playfulness and a whole lot of sight gags. As for the story, it follows Mr Fox's (Clooney) efforts to outsmart a trio of mean farmers — and it's told here with energy, personality and Anderson's usual flair. Fantastic Mr Fox streams via Disney+, Netflix, SBS on Demand, Google Play, YouTube Movies, iTunes and Prime Video. 4. THE FRENCH DISPATCH Editors fictional and real may disagree — The French Dispatch of the Liberty, Kansas Evening Sun's Arthur Howitzer Jr (Bill Murray) among them — but it's easy to use Wes Anderson's name as both an adjective and a verb. In a sentence that'd never get printed in his latest film's titular tome (and mightn't in The New Yorker, its inspiration, either), The French Dispatch is another one of the most Wes Anderson movies Wes Anderson has ever Wes Andersoned. It spins three main stories and a couple of delightful interludes like it's laying out pieces from its titular magazine, and it's as symmetrical, idiosyncratic, thoughtful and delightful as the writer/director's work has even been. And the cast is packed, and glorious in offbeat performances as always, with Tilda Swinton (Three Thousand Years of Longing), Timothée Chalamet (Bones and All), Benicio Del Toro (No Sudden Move) and Jeffrey Wright (The Batman) among the standouts. The French Dispatch streams via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. 3. ASTEROID CITY Asteroid City is Anderson's 11th movie, also a desert spot known for a hefty crater caused 5000 years ago and a play about said locale. As the film itself tells viewers direct to-camera, however, the latter two — the setting and the theatre show — definitely aren't real, even within the world of the feature itself. Anderson gets especially playful in this film about a Junior Stargazer convention, the motley crew of folks that it brings to town in September 1955 and the otherworldly interloper who causes chaos. Staging a play within a TV show within a movie, he gets as smart and moving as his work has ever been to contemplate art, authenticity, and the emotions found in and processed through works of creativity, too. As the closest thing that the ensemble piece has to leads, Jason Schwartzman and Scarlett Johansson (Black Widow) are astronomically spectacular, as are the film's look, feel, insightful musings, sense of humour and crater-sized impact. Asteroid City releases in Australian cinemas on Thursday, August 10. Read our full review. 2. THE GRAND BUDAPEST HOTEL Many a well-known actor has graced Anderson's frames. Most have done so multiple times, with Bill Murray appearing in nine of his 11 films thus far. But no one has put in a performance quite like Ralph Fiennes (The Menu) as M. Gustave in The Grand Budapest Hotel. As the dedicated concierge at the titular holiday spot in the Republic of Zubrowka, he's a powerhouse — as amusing as he is charming, vibrant, confident, soulful, wily and determined. Indeed, it's no wonder that Anderson lets this layered tale of friendship, war, fascism and tragedy hang off his leading man. The rest of his ensemble cast works a treat, including Saoirse Ronan (See How They Run) and then-newcomer Tony Revolori (Servant), and this is one of Anderson's most aesthetically stunning creations. Still, without Fiennes, it would've lacked quite a bit of its ample magic. The Grand Budapest Hotel streams via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. 1. THE ROYAL TENENBAUMS In his first two films, Anderson focused on characters striving for greatness, be it through pulling off heists in Bottle Rocket or tying their identity to their school in Rushmore. In The Royal Tenenbaums, the titular family's three children were all once great. In fact, they were child prodigies. But as adults, their lives have seen more disappointment and joy, a truth that stern widower and finance whiz Chas (Ben Stiller, Locked Down), fiercely private playwright Margot (Gwyneth Paltrow, The Politician) and ex-tennis star Richie (Luke Wilson) are forced to face just as their father (Gene Hackman, Welcome to Mooseport) resurfaces and their mother (Anjelica Huston, John Wick: Chapter 3 — Parabellum) prepares to get remarried. Although undeniably whimsical, it's the most melancholy, poignant and deeply felt of the director's features. And, in its visuals and its performances, it's also oh-so-rich with affecting detail. The Royal Tenenbaums streams via Disney+, Google Play, YouTube Movies, iTunes and Prime Video.
When game day is on the horizon, you'll likely be in the market for one of the best sports bar in Sydney to catch a game — thankfully, there's no shortage of excellent spots that can accommodate all the sports fans in the harbour city. Sports bars are perfect for simulating the excitement and adrenaline you feel when you're at a game — with the bonus of not having to buy a ticket. So, whether you're looking to catch an international match with your mates or looking for a great spot to pre-game before heading to the stadium, we've got a list of the best sports bars in Sydney. Read on to see if your favourite spot made it to the list and, if not, maybe your new local will be found below. Recommended reads: The Best Pubs in Sydney The Best Bars in Sydney Sydney's Best Beer Gardens The Best Sydney Restaurants
Creating a list of the very best Thai restaurants in Sydney is no easy feat. We're spoilt for choice when it comes to places that serve up the perfect green curry, pad thai and tom yum soup. But while us Aussies love these classic dishes, each of Sydney's best Thai restaurants serves up stacks of other regional delicacies that must be ordered — either keeping traditional dishes as authentic as possible or totally reinventing them for a new audience. These are the Thai diners in Sydney where you can safely go off-piste. Ask the server for recommendations or simply close your eyes and pick something totally random. Let fate decide. Whatever option you choose, you won't be disappointed by the food, drinks and service at the best Thai restaurants in Sydney. Recommended reads: The Best Japanese Restaurants in Sydney The Best Indian Restaurants in Sydney The Best Restaurants in Sydney The Best Ramen in Sydney
Once upon a time, a list of the best vegan restaurants in Sydney would be incredibly short. But over the past decade or so, stacks of plant-based eateries have popped up all over the city — in the form of neighbourhood gastropubs, hole-in-the-wall takeaway joints and luxe fine diners. These spots have upped their game when it comes to the diverse range of food that can be made without any kind of animal product. No longer are Sydney vegans forced to choose between a sad-looking salad, a lentil burger and some lacklustre salt and pepper tofu. These days, the best vegan restaurants in Sydney (and the vegetarian restaurants that have heaps of vegan options) are graced with highly skilled chefs who put a heap of love and creative flair into their vegan eats. Some also have a strong spiritual connection to veganism, which is apparent in the menus and all-round atmosphere. No matter why you're deciding to go meat- and dairy-free, any of these Sydney vegan restaurants will deliver the goods. Recommended reads: The Best Vegetarian Restaurants in Sydney Sydney Date-Night Spots for When One of You Eats Plant-Based But the Other Doesn't (Yet) The Best Vegan Cafes in Sydney
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from July's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW THE BEAR The more time that anyone spends in the kitchen, the easier that whipping up their chosen dish gets. The Bear season two is that concept in TV form, even if the team at The Original Beef of Chicagoland don't always live it as they leap from running a beloved neighbourhood sandwich joint to opening a fine-diner, and fast. The hospitality crew that was first introduced in the best new show of 2022 isn't lacking in culinary skills or passion. But when chaos surrounds you constantly, as bubbled and boiled through The Bear's Golden Globe-winning, Emmy-nominated season-one frames, not everything always goes to plan. That was only accurate on-screen for Carmen 'Carmy' Berzatto (Jeremy Allen White, Shameless) and his colleagues — aka sous chef Sydney (Ayo Edebiri, I Think You Should Leave with Tim Robinson), baker-turned-pastry chef Marcus (Lionel Boyce, Hap and Leonard), veteran line cooks Tina (Liza Colón-Zayas, In Treatment) and Ebraheim (Edwin Lee Gibson, Fargo), resident Mr Fixit Neil Fak (IRL chef Matty Matheson), and family pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings). For viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. The Bear serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling second season. Actually make that ten more courses, one per episode, with each new instalment its own more-ish meal. A menu, a loan, desperately needed additional help, oh-so-much restaurant mayhem: that's how this second visit begins, as Carmy and Sydney endeavour to make their dreams for their own patch of Chicago's food scene come true. So far, so familiar, but The Bear isn't just plating up the same dishes this time around. At every moment, this new feast feels richer, deeper and more seasoned, including when it's as intense as ever, when it's filling the screen with tastebud-tempting food shots that relish culinary artistry, and also when it gets meditative. Episodes that send Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3), get Richie spending a week learning the upscale ropes at one of Chicago's best restaurants and jump back to the past, demonstrating how chaos would've been in Carmy's blood regardless of if he became a chef, are particularly stunning. The Bear season two streams via Disney+. Read our full review. THEY CLONED TYRONE Jordan Peele's Get Out and Us would already make a killer triple feature with Boots Riley's Sorry to Bother You. For a smart and savvy marathon of science fiction-leaning films about race in America by Black filmmakers, now add Juel Taylor's They Cloned Tyrone. The Creed II screenwriter turns first-time feature director with this dystopian movie that slides in alongside Groundhog Day, Moon, The Cabin in the Woods, A Clockwork Orange, Invasion of the Body Snatchers and They Live, too — but is never derivative, not for a second, including in its 70s-style Blaxploitation-esque aesthetic that nods to Shaft and Superfly as well. Exactly what drug dealer Fontaine (John Boyega, The Woman King), pimp Slick Charles (Jamie Foxx, Spider-Man: No Way Home) and sex worker Yo-Yo (Teyonah Parris, Candyman) find in their neighbourhood is right there in the film's name. The how, the why, the specifics around both, the sense of humour that goes with all of the above, the savage satire: Taylor and co-writer Tony Rettenmaier perfect the details. Ignore the fact that they both collaborated on the script for the awful Space Jam: A New Legacy, other than considering the excellent They Cloned Tyrone as a far smarter, darker and deeper exploration of exploitation when the powers that be see other people as merely a means to an end. On an ordinary day — and amid vintage-looking threads and hairstyles, and also thoroughly modern shoutouts to SpongeBob SquarePants, Kevin Bacon, Barack Obama, Nancy Drew and bitcoin — Fontaine wakes up, has little cash and doesn't win on an instant scratch-it. He chats to his mother through her bedroom door, tries to collect a debt from Slick Charles and, as Yo-Yo witnesses, is shot. Then he's back in his bed, none the wiser about what just happened, zero wounds to be seen, and going through the same cycle again. When the trio realise that coming back from the dead isn't just a case of déjà vu, they team up to investigate, discovering one helluva conspiracy that helps Taylor's film make a powerful statement. They Cloned Tyrone's lead trio amply assists, too, especially the ever-ace Boyega. Like Sorry to Bother You especially, this is a comedy set within a nightmarish scenario, and the Attack the Block, Star Wars and Small Axe alum perfects both the humour and the horror. One plucky and persistent, the other oozing charm and rocking fur-heavy coats, Parris and Foxx lean into the hijinks as the central threesome go all Scooby-Doo. There isn't just a man in a mask here, however, in this astute and inventive standout. They Cloned Tyrone streams via Netflix. GOOD OMENS Since 2019, witnessing David Tennant utter the word "angel" has been one of the small screen's great delights. Playing the roguish demon Crowley in Good Omens, the Scottish Doctor Who and Broadchurch star sometimes says it as an insult, occasionally with weary apathy and even with exasperation. Usually simmering no matter his mood, however, is affection for the person that he's always talking about: book-loving and bookshop-owning heavenly messenger Aziraphale (Michael Sheen, Quiz). With just one term and two syllables, Tennant tells a story about the show's central odd-couple duo, who've each been assigned to oversee earth by their bosses — Crowley's from below, Aziraphale's from above — and also conveys their complicated camaraderie. So, also since 2019, watching Tennant and Sheen pair up on-screen has been supremely divine. Good Omens, which hails from Terry Pratchett and Neil Gaiman's award- and fan-winning 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, was always going to be about Aziraphale and Crowley. And yet, including in its second season, it's always been a better series because it's specifically about Sheen as the former and Tennant as the latter. In this long-awaited return, neither Aziraphale nor Crowley are beloved by their higher-ups or lower-downs thanks to their thwarting-the-apocalypse actions. Season one saw them face their biggest test yet after they started observing humans since biblical times — the always-foretold birth of the antichrist and, 11 years later, cosmic forces rolling towards snuffing out the planet's people to start again — and saving the world wasn't what their leaders wanted. One fussing over his store and remaining reluctant to sell any of its tomes, the other continuing to swagger around like Bill Nighy as a rule-breaking rockstar, Aziraphale nor Crowley have each carved out a comfortable new status quo, though, until a naked man walking through London with nothing but a cardboard box comes trundling along. He can't recall it, but that birthday suit-wearing interloper is the archangel Gabriel (Jon Hamm, Confess, Fletch). He knows he's there for a reason and that it isn't good, but possesses zero memory otherwise. And, in the worst news for Aziraphale and Crowley, he has both heaven and hell desperate to find him — which is just the beginning of season two's delightful chaos. Good Omens streams via Prime Video. Read our full review. FULL CIRCLE Whether on screens big and small, when an audience watches a Steven Soderbergh project, they're watching one of America's great current directors ply his full range of filmmaking skills. Usually, he doesn't just helm. Going by Peter Andrews and Mary Ann Bernard — aliases from his parents' names — he shoots and edits as well. And he's prolific: since advising that he'd retire from making features after Side Effects, he's directed, lensed and spliced nine more, plus three TV shows. Among those titles sit movies such as Logan Lucky, Unsane, Kimi and Magic Mike's Last Dance; the exceptional two seasons of turn-of-the-20th-century medical drama The Knick; and now New York-set kidnapping miniseries Full Circle. The filmmaker who won Cannes Film Festival's Palme d'Or at 26 for Sex, Lies and Videotape, earned two Best Director Oscars in one year for Traffic and Erin Brockovich, brought the Ocean's franchise back to cinemas in 2001, and eerily predicted the COVID-19 pandemic with 2011's Contagion is in his element with his latest work. Six-part noir-influenced thriller Full Circle reunites Soderbergh with Mosaic and No Sudden Move screenwriter Ed Solomon, boasts a starry cast, involves money and secrets and deception, and proves a twisty and layered crime tale from the get-go. Full Circle starts with a murder, then a revenge plot, then a missing smartphone. These early inclusions all tie into an intricate narrative that will indeed demonstrate inevitability, cause and effect, the repercussions of our actions, and decisions looping back around. The pivotal death forms part of a turf war, sparking a campaign of retaliation by Queens-based Guyanese community leader and insurance scammer Savitri Mahabir (CCH Pounder, Avatar: The Way of Water). She enlists freshly arrived teens Xavier (Sheyi Cole, Atlanta) and Louis (Gerald Jones, Armageddon Time) to do the seizing under her nephew Aked's (Jharrel Jerome, I'm a Virgo) supervision; one of the newcomers is the brother of the latter's fiancée Natalia (Adia, The Midnight Club), who is also Savitri's masseuse. The target: Manhattan high-schooler Jared (Ethan Stoddard, Mysteries at the Museum), son of the wealthy and privileged Sam (Claire Danes, Fleishman Is in Trouble) and Derek Browne (Timothy Olyphant, Daisy Jones & The Six), and grandson through Sam to ponytailed celebrity chef Jeff McCusker (Dennis Quaid, Strange World). Savitri is convinced that this is the only way to stave off the curse she's certain is hanging over her business — a "broken circle", in fact. But, much to the frustration of the US Postal Inspection Service's Manny Broward (Jim Gaffigan, Peter Pan & Wendy), his go-for-broke agent Melody Harmony (Zazie Beetz, Black Mirror) is already investigating before the abduction. Full Circle streams via Binge. Read our full review. WHAM! "If you're gonna do it, do it right," sang Wham! on their 1985 single 'I'm Your Man'. When it comes to living the dream of becoming international pop sensations in your twenties, and with your childhood best friend by your side, George Michael and Andrew Ridgeley took those lyrics to heart. Wham!'s rise wasn't perfect, as the documentary that shares the group's name surveys, but the group's brief existence in the 80s saw them make their mark on history — and release quite the array of earworms. The songs, the ska band that Michael and Ridgeley formed first, the doubts, the struggles: documentarian Chris Smith (Fyre: The Greatest Party That Never Happened, Operation Varsity Blues: The College Admissions Scandal) steps through it all, including Michael's difficult decision to keep his sexuality closeted. The early club gigs to drum up a fandom, the big-break Top of the Pops appearance, catapulting to fame, becoming the first Western pop group to play China: that's all featured as well. And shorts — so, so, many shorts donned by both the man who'd become a massive solo star once Wham! split and the pal who volunteered to show him around on his first day at Bushey Meads School long before their Wham! success. Smith crafts an affectionate and insightful film that's unashamedly a tribute, celebrates all things 80s from the hair and the outfits to the aura of excess, but makes clear that the band was never just Michael's launching pad — even if it did cement his talents not just as a singer, but also as a writer and producer. A fast-paced array of archival footage tells the tale visually, aided by scrapbooks kept by Ridgeley's mother that chart their careers; candid interviews with Michael before his death and Ridgeley now fill in the details. Also echoing: Wham!'s hits from 'Wham Rap!' and 'Young Guns' to 'Club Tropicana' and 'Wake Me Up Before You Go-Go'. Each gets their engaging origin story, although none more so than the still-astonishing 'Careless Whisper', which record executives dismissed when they ignored the group's very first demo four decades ago. The behind-the-scenes material is relaxed and intimate, the live clips electrifying, and the joy on Michael's face while playing Live Aid with the likes of Freddie Mercury and David Bowie is genuine (even as he talks of his fears that he didn't belong in their company). Watching means getting Wham!'s catalogue stuck in your head, of course — yes, 'Last Christmas' as well. Wham! streams via Netflix. THE HORROR OF DOLORES ROACH It takes place in New York, not London. The era: modern times, not centuries back. Fleet Street gives way to Washington Heights, the demon barber to a masseuse nicknamed "Magic Hands", and pies to empanadas. There's still a body count, however, and people end up in pastries as well. Yes, The Horror of Dolores Roach namedrops Sweeney Todd early, as it needs to; there's no denying where this eight-part series takes inspiration, as did the one-woman off-Broadway play that it's based on, plus the podcast that followed before the TV version. On the stage, the airwaves and now via streaming, creator Aaron Mark asks a question: what if the fictional cannibalism-inciting character who first graced penny dreadfuls almost two centuries back, then leapt to theatres, films and, most famously, musicals, had a successor today? Viewers can watch the answer via a dramedy that also belongs on the same menu as Santa Clarita Diet, Yellowjackets and Bones and All. Amid this recent feast of on-screen dishes about humans munching on humans, The Horror of Dolores Roach is light yet grisly, but it's also a survivalist thriller in its own way — and laced with twisted attempts at romance, too. That knowing callout to Sweeney Todd: The Demon Barber of Fleet Street comes amid an early banquet of knowing callouts, as The Horror of Dolores Roach begins with a play based on a podcast that's wrapping up its opening night. Newspaper clippings in actor Flora Frias' (Jessica Pimentel, Orange is the New Black) dressing room establish that the show takes its cues from a woman who got murderous in the Big Apple four years prior, and helped get unwitting NYC residents taking a bite out of each other. Meet the series' framing device; before the stage production's star can head to the afterparty, she's face to face with a furious Dolores (Justina Machado, One Day at a Time) herself. The latter isn't there to slay, but to haunt the woman spilling her tale by sharing the real details. Two decades earlier, Dolores was a happy resident of Lin-Manuel Miranda's favourite slice of New York, a drug-dealer's girlfriend, and a fan of the local empanada shop. Then the cops busted in, The Horror of Dolores Roach's namesake refused to snitch and lost 16 years of her life. When she's released, gentrification has changed the neighbourhood and her other half is nowhere to be found. Only Luis Batista (Alejandro Hernandez, New Amsterdam) remains that remembers her, still in the empanada joint, and he couldn't be keener on letting her stay with him in his basement apartment below the store. The Horror of Dolores Roach streams via Prime Video. Read our full review. HUESERA: THE BONE WOMAN The sound of cracking knuckles is one of humanity's most anxiety-inducing. The noise of clicking bones elsewhere? That's even worse. Both help provide Huesera: The Bone Woman's soundtrack — and set the mood for a deeply tense slow-burner that plunges into maternal paranoia like a Mexican riff on Rosemary's Baby, the horror subgenre's perennial all-timer, while also interrogating the reality that bringing children into the world isn't a dream for every woman no matter how much society expects otherwise. Valeria (Natalia Solián, Red Shoes) is thrilled to be pregnant, a state that hasn't come easily. After resorting to praying at a shrine of Our Lady of Guadalupe in desperation, neither she nor partner Raúl (Alfonso Dosal, Narcos: Mexico) could be happier, even if her sister Vero (Sonia Couoh, 40 Years Young) caustically comments that she's never seemed that interested in motherhood before. Then, two things shake up her hard-fought situation: a surprise run-in with Octavia (Mayra Batalla, Everything Will Be Fine), the ex-girlfriend she once planned to live a completely different life with; and constant glimpses of a slithering woman whose unnatural body movements echo and unsettle. Filmmaker Michelle Garza Cervera (TV series Marea alta) makes her fictional narrative debut with Huesera: The Bone Woman, directing and also writing with first-timer Abia Castillo — and she makes a powerfully chilling and haunting body-horror effort about hopes, dreams, regrets and the torment of being forced into a future that you don't truly foresee as your own. Every aspect of the film, especially Nur Rubio Sherwell's (Don't Blame Karma!) exacting cinematography, reinforces how trapped that Valeria feels even if she can't admit it to herself, and how much that attempting to be the woman Raúl and her family want is eating away at her soul. Solián is fantastic at navigating this journey, including whether the movie is leaning into drama or terror at any given moment. You don't need expressive eyes to be a horror heroine, but she boasts them; she possesses a scream queen's lungs, too. Unsurprisingly, Cervera won the Nora Ephron Award for best female filmmaker at the 2022 Tribeca Film Festival for this instantly memorable nightmare. Huesera: The Bone Woman streams via Shudder. NIMONA Bounding from the page to the screen — well, from pixels first, initially leaping from the web to print — graphic novel-to-film adaptation Nimona goes all in on belonging. Ballister Boldheart (Riz Ahmed, Sound of Metal) wants to fit in desperately, and is willing to do whatever it takes to achieve it. In this animated movie's medieval-yet-futuristic world, there's nothing more important and acclaimed than being part of the Institute for Elite Knights, so that's his aim. Slipping into armour usually isn't possible for someone who grew up on the wrong side of this realm's tracks, as he did, but Ballister has been given a chance by Queen Valerin (Lorraine Toussaint, The Equalizer), who says that anyone can now be a hero. Alas, just as he's about to have his sword placed upon his shoulder with all the world watching, tragedy strikes, then prejudice sets in. Even his fellow knight-in-training and boyfriend Ambrosius Goldenloin (Eugene Lee Yang, Star Wars: Visions), who boasts family ties to legendary monster-slaying heroine Gloreth (Karen Ryan, Under the Banner of Heaven), believes that Ballister is responsible. His only ally? Nimona's namesake (Chloë Grace Moretz, The Peripheral), a shapeshifter who offers to be his sidekick regardless of his innocence or guilt. Nimona usually appears as a human girl, but can change into anything. The shapeshifter also wants to belong — but only by being accepted as she is. Unlike Ballister's feelings of inferiority about being a commoner, Nimona is happy with morphing from a kid to a rhinoceros, a whale to a shark, then between anything else that she can think of, and wouldn't give it up for anyone. Indeed, when Ballister keeps pestering her for reasons to explain why she is like she is, and asking her to remain as a girl, she's adamant. She already is normal, and she rightly won't budge from that belief. Animated with lively and colour animation that sometimes resembles Cartoon Saloon's Song of the Sea and Wolfwalkers, Nimona is a family-friendly adventure and, as penned as a comic by ND Stevenson (She-Ra and the Princesses of Power), also a clear, impassioned and sincere allegory for being true to yourself. As a film, directors Nick Bruno and Troy Quane (who also teamed up on Spies in Disguise) and screenwriters Robert L Baird (Big Hero 6) and Lloyd Taylor (another Spies in Disguise alum) ensure that it remains a thoughtful delight. Nimona streams via Netflix. RETURNING FAVOURITES TO CHECK OUT WEEK BY WEEK FUTURAMA Good news, everyone: Futurama keeps getting thawed out. The small screen's powers that be love defrosting the animated sci-fi series, and viewers should love watching the always-funny results. Not once but twice in the past quarter-century, Matt Groening's other big sitcom has been cancelled then respawned years later. It was true back in 2007 when the show was first reanimated, and it's true again now: whenever Futurama flies across the screen after a stint in stasis, it feels like no time has passed. Groening first spread his talents beyond The Simpsons back in 1999, riffing on Y2K excitement and apprehension, and also leaping forward in time. Futurama's 20th-century pizza delivery guy Philip J Fry (voiced by Billy West, Spitting Image) didn't welcome the 21st century, however; he stumbled into a cryogenic chamber, then awoke to greet the 31st. After tracking down Professor Hubert J Farnsworth (also West), his only living relative, he was soon in the delivery game again — but for intergalactic cargo company Planet Express, in a show that that satirises every vision of the future previously committed to fiction, and with one-eyed ship captain Turanga Leela (Katey Sagal, Dead to Me) and shiny-metal-assed robot Bender Bending Rodríguez (John DiMaggio, Transformers: Rise of the Beasts) by his side. Futurama's initial run lasted four seasons, four years and 78 episodes. Then, the show reappeared in 2007 as a direct-to-DVD movie, followed by three more, which were then turned into episodes for the show's fifth season. Alas, another trio of seasons later, Futurama said goodbye again. Thankfully, when a series not only peers at and parodies the next millennia, but takes an anything-goes approach that's brought everything from robot Santas and soap operas to human-hating alien news anchors and talking celebrity heads in jars, there's always room for a new spin. Still, getting the Planet Express soaring yet again does pose one difficulty: how do you undo a perfect finale? When the prior season ended in 2013, it wrapped up Fry and Leela's on-again, off-again romance in a smart, sweet and widely loved bow. The new instalments pick up exactly where that swansong left off, then unleash a "massive disruption in the flow of time" to move everyone to 3023, then restore the usual status quo. So, Fry, Leela, Bender, the Professor, Jamaican accountant Hermes Conrad (Phil LaMarr, Craig of the Creek), Martian intern Amy Wong (Lauren Tom, Dragons: The Nine Realms) and lobster-esque alien doctor Zoidberg (also West) resume their workplace sitcom antics — in vintage form. Futurama streams Disney+. Read our full review. WHAT WE DO IN THE SHADOWS Following in Taika Waititi and Jemaine Clement's footsteps isn't easy, but someone had to do it when What We Do in the Shadows made the leap from the big screen to the small. New format, new location, new vampires, same setup: that's the formula behind this film-to-TV series, which is now in its fifth season. Thankfully for audiences, Matt Berry (Toast of London and Toast of Tinseltown), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga) and Kayvan Novak (Cruella) were enlisted as the show's three key bloodsuckers in this US spinoff from the New Zealand mockumentary, all in roles that they each seem born for. The trio play three-century-old British aristocrat Laszlo, his 500-year-old creator and partner Nadja, and early Ottoman Empire warrior Nandor, respectively, who share an abode and the afterlife in Staten Island. In cinemas, the film already proved that the concept works to sidesplitting effect. Vampire housemates, they're just like us — except when they're busting out their fangs, flying, avoiding daylight, sleeping in coffins, feuding with other supernatural creatures and leaving a body count, that is. On TV, What We Do in the Shadows has been illustrating that there's not only ample life left in palling around with the undead, but that there's no limit to the gloriously ridiculous hijinks that these no-longer-living creatures can get up to. It was true as a movie and it's still true as a television show: What We Do in the Shadows sparkles not just due to its premise, but when its characters and cast are both as right as a luminous full moon on a cloudless night. This lineup of actors couldn't be more perfect or comedically gifted, as season five constantly demonstrates via everything from mall trips, political campaigns, pride parades and speed dating to trying to discover why Nandor's long-suffering and ever-dutiful familiar Guillermo (Harvey Guillén, Werewolves Within) hasn't quite started chomping on necks despite being bitten himself. Berry's over-enunciation alone is the best in the business, as is his ability to play confident and cocky. His line readings are exquisite, and also piercingly funny. While that was all a given thanks to his Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace history, What We Do in the Shadows is a group effort. Demetriou and Novak keep finding new ways to twist Nadja and Nandor's eccentricities in fresh directions; their characters have felt lived-in since season one, but they're still capable of growth and change. What We Do in the Shadows streams via Binge. Read our full review. THE AFTERPARTY When The Afterparty arrived on Apple TV+ in 2022, riding a wave of revived murder-mystery comedy love that Knives Out and Only Murders in the Building had helped wash over screens big and small, it made one big risky move. Throwing a motley crew of characters together, then offing one? Tried, tested and a favourite for a reason. The ensemble cast attempting to sleuth its way through a shock death? Flawless. The genre-bending setup that saw each episode in the season parody a different style of filmmaking? Perfectly executed. Having the words "how great is this party?" uttered over and over again? That's what could've proven dicey if The Afterparty wasn't in fact great; thankfully, it very much was. There's a reason that phrase kept being uttered, because superfluous detail isn't this show's style: as in all great whodunnits, everything happens, is mentioned or can be spotted with cause. Creator Christopher Miller and his fellow executive producer Phil Lord, a duo with Cloudy with a Chance of Meatballs, 21 Jump Street and 22 Jump Street, and The Lego Movie on their resumes as co-directors, know the format they're working with. Crucially, they know how carefully their audience will scrutinise every clue and element. And, in the show's first season and now the second season — they also know how to equally honour and spoof. Fittingly, The Afterparty feels like a murder-mystery comedy party as a result. Adoring, irreverent, willing to get loose and shake things up: that's the vibe and approach. In season one, the series' title was literal thanks to a high-school reunion with fateful post-soiree hijinks. In season two, a wedding brings a disparate group together — and, following the nuptials and reception, The Afterparty's moniker comes into play again. To the horror of the returning Aniq Adjaye (Sam Richardson, I Think You Should Leave with Tim Robinson) and his ex-classmate, now-girlfriend Zoe Zhu (Zoe Chao, Party Down), another body then puts a dampener on the festivities; however, this second go-around doesn't get a-solving just in one night. Aniq and Zoe have recovered from their last confrontation with a killing at a celebration by diving into their romance, but it's the latter's younger sister Grace (Poppy Liu, Dead Ringers) who's getting hitched. Her groom Edgar (Zach Woods, Avenue 5) sports both family money and a cryptocurrency-aided bank-balance boost, he's an all-work-no-play socially awkward type as a result and, when he's alive, he's more fond of his pet lizard than most humans. Then he's found face down after the afterparty, déjà vu arrives and so does the also-returning Danner (Tiffany Haddish, The Card Counter) to sift through the suspects. The Afterparty streams via Apple TV+. Read our full review, and our interview with Sam Richardson. MINX A full-frontal embrace of feminism, penises and 70s porn for women greeted audiences when Minx instantly cemented itself among 2022's best new TV shows. The setup: Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying) makes her dream of starting her own magazine come true, but for pornography publisher Doug Renetti (Jake Johnson, Spider-Man: Across the Spider-Verse). Created by Ellen Rapoport (Clifford the Big Red Dog) and executive produced by Paul Feig (Last Christmas), the show wasn't shy about the industry it dived into, even if its protagonist initially was. It wasn't afraid to push the strait-laced Joyce out of her comfort zone, see the empowering side of erotica for the fairer sex and champion the female gaze, either. The end result: a savvy, smart and breezy series that was as layered as it was astute and funny — and, yes, one that happily filled its frames with male genitalia. The show was quickly renewed, but also then cancelled in December 2022 during production as part of David Zaslav's cost-cutting measures at Warner Bros Discovery. Then, fellow American network Starz stepped in to save it. Watching Minx's bigger, richer and deeper second season, it's mindboggling to think that it almost didn't make it to screens. "Minx is back and better than ever," announces Doug with his usual shambling brand of swagger — the kind that Johnson long-perfected in New Girl, and also in film roles in Drinking Buddies and Win It All — and he isn't wrong. Of course, he's talking about the series' eponymous erotic mag, not the series itself, but he's on the money. First, though, the again vibrantly shot, styled and costumed show has season-one finale fallout to deal with, after Joyce and Doug ended their tumultuous working relationship. The former goes looking for a new publisher, with boardrooms overflowing with men dropping compliments and promising money awaiting. Then billionaire and ex-shipping industry titan Constance Papadopoulos (Elizabeth Perkins, The Afterparty) shows an interest in the magazine, in supporting and mentoring Joyce, and in having Doug involved — and the Minx gang, including former model Bambi (Jessica Lowe, Miracle Workers), photographer Richie (Oscar Montoya, Final Space), Doug's girlfriend and ex-secretary Tina (Idara Victor, Shameless), and Joyce's sister Shelly (Lennon Parham, Veep), are back together. Minx streams via Stan. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May and June this year. You can also check out our running list of standout must-stream shows from this year as well — and our best 15 new shows of 2023's first six months, top 15 returning shows over the same period and best 15 straight-to-streaming movies from January–June 2023, too. Top image: Parrish Lewis/Netflix.
These days, the best bakeries in Sydney are in hot competition for your dough. There aren't many that are just churning out simple white sandwich loaves — now it's all about sourdough, fruit loaves and the three CRs (croissants, cronuts and cruffins). While the local mum-and-dad bakery will always hold a soft spot in our hearts, there are some Sydney spots that are really taking the art of bread and pastry-making to a whole new level. We've compiled a list of where to find the butteriest croissants, softest sourdough and most innovative sweet treats around the city. Recommended reads: The Best Cafes in Sydney The Best Coffee Shops in Sydney's CBD The Best Boozy Bottomless Brunches in Sydney The Best Restaurants in Sydney
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are nine that you can watch right now at home. LIMBO When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen is back with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Limbo's setting: Coober Pedy in reality, but the fictional locale that shares its name on-screen. It unmistakably sports an otherworldly topography dotted by dugouts to avoid the baking heat, and hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Blaze), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo. Limbo is available to stream via ABC iView and Prime Video. Read our full review. RENFIELD It's a bloody glorious setup: Nicolas Cage, actor of a million unmissable facial expressions, star of almost every movie he's asked to be in (or so it can seem) and wannabe bloodsucker in 1988's must-be-seen-to-be-believed Vampire's Kiss, playing the dark one, the lord of death, the one and only Dracula. In Renfield, that stellar idea makes for frequently bloody viewing — cartoonishly, befitting an OTT horror-comedy with Nicolas Cage as Dracula. And the pièce de résistance that is Cage getting his fangs out as the Bram Stoker-created character, who was inspired by the IRL 15th-century Wallachian prince Vlad the Impaler? It is indeed glorious. The Transylvanian is the latest part he was born for, after stepping into his own shoes in The Unbearable Weight of Massive Talent, getting revenge over a pet pig in Pig, milking alpacas in Color Out of Space and screaming while dousing himself in vodka in Mandy (and, well, most things on his four-decade resume). Some movies have learned a simple truth, however: that putting Nicolas Cage in front of a camera and letting him unleash whatever version of Cage the film needs isn't always enough. That disappointment is usually on everything but Cage (see: his entrancing work in the otherwise average-if-lucky Willy's Wonderland, where he wordlessly battled demonic animatronics and made viewers wish he was around in the silent era), but Renfield has pre-emptively staked that lesson through its own heart. As the title makes plain, Cage's Dracula isn't the lead character. Instead, the long-suffering, insect-eating servant played by the feature's other welcome Nic, The Great's Nicholas Hoult, is in the sunlight. Accordingly, The Lego Batman Movie and Robot Chicken director Chris McKay doesn't even try to get his feature by on the Cageness of it all alone. That's a miscalculation. In fact, it's up there with the flick's Robert Montague Renfield pledging allegiance to the vampire that started all vampire obsessions. Renfield is at full power when Cage is front and centre, and feels like its blood is slowly being drained when he's out of the frame. Renfield is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INFINITY POOL Making his latest body-horror spectacle an eat-the-rich sci-fi satire as well, Brandon Cronenberg couldn't have given Infinity Pool a better title. Teardowns of the wealthy and entitled now seem to flow on forever, glistening endlessly against the film and television horizon; however, the characters in this particularly savage addition to the genre might wish they were in The White Lotus or Succession instead. In those two hits, having more money than sense doesn't mean witnessing your own bloody execution but still living to tell the tale. It doesn't see anyone caught up in cloning at its most vicious and macabre, either. And, it doesn't involve dipping into a purgatory that sports the Antiviral and Possessor filmmaker's penchant for futuristic corporeal terrors, as clearly influenced by his father David Cronenberg (see: Crimes of the Future, Videodrome and The Fly), while also creating a surreal hellscape that'd do Twin Peaks great David Lynch, Climax's Gaspar Noe and The Neon Demon's Nicolas Winding Refn proud. Succession veteran Alexander Skarsgård plunges into Infinity Pool's torments playing another member of the one percent, this time solely by marriage. "Where are we?", author James Foster asks his wife Em (Cleopatra Coleman, Dopesick) while surveying the gleaming surfaces, palatial villas and scenic beaches on the fictional island nation of Li Tolqa — a question that keeps silently pulsating throughout the movie, and also comes tinged with the reality that James once knew a life far more routine than this cashed-up extravagance. Cronenberg lets his query linger from the get-go, with help from returning Possessor cinematographer Karim Hussain. Within minutes, the feature visually inverts its stroll through its lavish setting, the camera circling and lurching. As rafters spin into view, then tumble into the pristine sky, no one in this film's frames is in Kansas anymore. Then, when fellow guest Gabi (Mia Goth, Pearl) gets James and Em into a tragic accident, which is followed by arrests, death sentences and a wild get-out-of-jail-free situation, no one is anywhere they want to be, either. Infinity Pool is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FAST X If you don't believe that Fast X will be one of the Fast and Furious franchise's last films, which you shouldn't, then it's time to face a different realisation. Now 22 years old, this family-, street racing- and Corona-loving "cult with cars" saga — its own words in this latest instalment — might one day feature every actor ever in its always-expanding cast. Dying back in 2013 hasn't stopped Paul Walker from regularly appearing a decade on. He's the first of the core F&F crew to be seen in Fast X, in fact, thanks to a flashback to 2011's Fast Five that explains why the series' flamboyant new villain has beef with the usual Vin Diesel (Guardians of the Galaxy Vol 3)-led faces. Playing said antagonist is Jason Momoa (Dune), who adds another high-profile name to a roster that also gains Brie Larson (Ms Marvel), Rita Moreno (West Side Story), Daniela Melchior (The Suicide Squad), Alan Ritchson (Reacher) and Walker's daughter Meadow this time around. It's no wonder that this 11th flick in the franchise (yes spinoff Hobbs & Shaw counts) clocks in at an anything-but-swift 141 minutes. It's also hardly surprising that living on-screen life a quarter mile at a time now seems more like a variety show than a movie, at least where all that recognisable talent is involved. There are so many people to stuff into Fast X that most merely get wheeled out for their big moment or, if they're lucky, a couple. Some bring comedy (the long-running double act that is End of the Road's Ludacris and Morbius' Tyrese Gibson), others steely glares and frenetic fight scenes (The School for Good and Evil and Dungeons & Dragons: Honour Among Thieves' always-welcome Charlize Theron and Michelle Rodriguez, respectively), or just reasons to keep bringing up Walker's retired Brian O'Conner (which is where Who Invited Charlie?'s Jordana Brewster still fits in). When more than a few actors pop up, it feels purely obligatory, like the F&F realm just can't exist now without a glimpse of Jason Statham's (Operation Fortune: Ruse de Guerre) scowl or getting Helen Mirren (Shazam! Fury of the Gods) going cockney. Fast X is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. YOU HURT MY FEELINGS When Seinfeld was the world's biggest sitcom, the show about nothing was also about everything. Its quartet of yada, yada, yada-ing New Yorkers was oh-so-specific, too, but also relatable. It's no wonder that the 90s hit made a star out of Julia Louis-Dreyfus, who ensured that Elaine Benes was a work of comedic genius — with a Best Supporting Actress Emmy and six other nominations to show for it — and someone who could've walked straight in off the street. In razor-sharp political farce Veep, the actor did much the same to ample accolades. Making a Vice President in a gleeful satire feel real is no mean feat. But Louis-Dreyfus is at her best, and a true sensation, whenever she's in leading-lady mode in front of writer/director Nicole Holofcener's lens. That's only happened twice so far; however, both 2013's Enough Said and now 2023's You Hurt My Feelings are as excellent as engaging, lived-in and astute character-led dramedies come. Holofcener's preferred type of tales rarely get a silver-screen run in these days of blockbuster franchises, endless sequels and remakes, and ever-sprawling cinematic universes. That battle earns an in-script parallel in You Hurt My Feelings, with novelist Beth (Louis-Dreyfus, You People) also struggling. Her first book, a memoir about her childhood with an emotionally abusive dad, didn't notch up the sales she would've liked. At lunches between Beth, her sister Sarah (Michaela Watkins, The Dropout) and their mother Georgia (Jeannie Berlin, Hunters), the latter still protests about how it was marketed. And, when she finally submits a draft of her next tome after toiling for years, Beth's editor (LaTanya Richardson Jackson, Grey's Anatomy) isn't as enthused. None of these situations give the movie its name, though, which stems from Beth's therapist husband Don (Tobias Menzies, This Way Up) and his opinion. When she overhears him tell her brother-in-law Mark (Arian Moayed, Succession) that he isn't that fussed about the new text, it's shattering, especially when he's been nothing but her heartiest cheerleader otherwise. You Hurt My Feelings is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE INSPECTION If war is hell, then military boot camp is purgatory. So told Full Metal Jacket, with Stanley Kubrick's masterpiece making that observation echo and pierce with the relentlessness of machine-gun fire. Now, The Inspection stresses the same point nearing four decades later, plunging into the story of a gay Black man enlisting, then navigating the nightmare that is basic training. This too is a clear-eyed step inside the United States Marine Corps, but drawn from first-time fictional feature filmmaker Elegance Bratton's own experiences. New Yorker Ellis French (Jeremy Pope, One Night in Miami) is the Pier Kids documentarian's on-screen alter ego — an out queer man who has spent a decade from his teens to his mid-20s homeless after being kicked out by his ashamed mother Inez (Gabrielle Union, Strange World), and pledges his post 9/11 freedom away for a place to fit in, even if that means descending into a world of institutional homophobia and racism. It would've been easy for Bratton to just sear and scorch in The Inspection; his film is set in 2005, "don't ask, don't tell" was still the US military forces' policy and discrimination against anyone who isn't a straight white man is horrendously brutal. Life being moulded into naval-infantry soldiers is savage anyway; "our job is not to make Marines, it's to make monsters," says Leland Laws (Bokeem Woodbine, Wu-Tang: An American Saga), Ellis' commanding officer and chief state-sanctioned tormentor. And yet, crafting a film that's as haunting as it is because it's supremely personal, Bratton never shies away from Ellis' embrace of the Marines in his quest to work out how he can be himself. There's nothing simple about someone signing up for such heartbreaking anguish because that's the only option that they can imagine, but this stunning movie is anything but simple. The Inspection is available to stream via iTunes and Prime Video. Read our full review.. SWEET AS On the silver screen, Australia's golden landscape is frequently the place where pain dwells. Even when spinning fiction, films such as Mystery Road, Goldstone, Sweet Country, High Ground, The Furnace and The Survival of Kindness scorch reality's horrors and heartbreaks into celluloid with ample help from an ochre-hued backdrop that can only belong to the land Down Under. In Sweet As, the red earth of Western Australia's Pilbara region similarly couldn't be more pivotal; however, this coming-of-age drama from first-time feature director and writer Jub Clerc (The Heights) — who previously contributed segments to anthology movies The Turning and Dark Whispers: Volume 1, draws upon her own adolescent experiences for her full-length debut, and crafts the first WA flick that's helmed and penned by an Indigenous female filmmaker — deploys its patch of Aussie soil as a place where teenagers find themselves. Murra (Shantae Barnes-Cowan, Firebite) is one of Sweet As' adolescents learning to be shutterbugs, albeit not by choice. With her mother Grace (Ngaire Pigram, also a Firebite alum) grappling with addiction, the 16-year-old is traversing a path to child services' care when her police-officer uncle Ian (Mark Coles Smith, Mystery Road: Origin) enrols her on a trip that she doesn't initially want to take. With youth workers Mitch (Tasma Walton, How to Please a Woman) and Fernando (Carlos Sanson Jr, Bump) as their guides and chaperones, Murra, Kylie (newcomer Mikayla Levy), Elvis (Pedrea Jackson, Robbie Hood) and Sean (fellow first-timer Andrew Wallace) are soon hurtling into the outback on a minibus with cameras in their hands — to snap the sights away from their ordinary lives, and also step beyond everything that they know, form new friendships, gain a different perspective and gaze as intently at themselves as they do at the earth from behind a lens. Sweet As is available to stream via iTunes and Prime Video. Read our full review. GUARDIANS OF THE GALAXY VOL. 3 Bickering and bantering. Battling all over space. Blasting retro tunes. That's Guardians of the Galaxy's holy trinity, no matter where its ragtag crew happens to be in the Marvel Cinematic Universe. Since 2014's Guardians of the Galaxy Vol. 1, Peter Quill aka Star-Lord (Chris Pratt, The Super Mario Bros Movie) and his pals have offered the MCU something shinier than the gold-hued Adam Warlock (Will Poulter, Dopesick): a reprieve from the ever-sprawling franchise's standard self-seriousness. Friends but really family, because Vin Diesel is involved, this superhero team got gleefully goofy in their initial big-screen outing, 2017 sequel Guardians of the Galaxy Vol. 2 and 2022's straight-to-streaming The Guardians of the Galaxy Holiday Special. They've popped up elsewhere across the comic-book film saga plying a sense of silliness, too. Welcomely, even when they're slipping into Avengers and Thor flicks, they've always felt like their own distinctive group surfing their own humorous but heartfelt wavelength, a power that isn't generally shared across Marvel's output. Arriving to close out the Guardians' standalone trilogy, Guardians of the Galaxy Vol. 3 zooms into the movie series' fifth phase with a difference: it's still a quippy comedy, but it's as much a drama and a tragedy as well. Like most on-screen GotG storylines, it's also heist caper — and as plenty of caped-crusader flicks are, within the MCU or not, it's an origin story. The more that a James Gunn-written and -directed Guardians film gets cosy within the usual Marvel template, however, the more that his branch of Marvel's pop-culture behemoth embraces its own personality. Guardians of the Galaxy Vol. 3 couldn't cling tighter to its needle drops, of course, which leap to the 90s and 00s this time and hit with all the subtlety of a Zune player being thrown at the audience. It also stuffs out its duration and over-packs its plot. But, the obligatory post-credits sting aside, this farewell to part of the MCU always feels like a zippy, self-contained Guardians of the Galaxy movie — including when it's also a touching dive into Rocket's (Bradley Cooper, Nightmare Alley) history — rather than a placeholder for more and more future franchise instalments. Guardians of the Galaxy Vol. 3 is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE FLASH Living with your choices, and facing the fact that you can't always take back mistakes and fix traumas, fittingly sits at the heart of The Flash's narrative. While the Barry Allen (Ezra Miller, Fantastic Beasts: The Secrets of Dumbledore) that audiences have also seen in Suicide Squad, Justice League and Shazam! enters The Flash calling himself "the janitor of the Justice League", answering Alfred's (Jeremy Irons, House of Gucci) calls to clean up Batman's (Ben Affleck, Air) chaos offers a handy distraction from his family situation. Understandably, he's still grief-stricken over his mother's (Maribel Verdú, Raymond & Ray) murder. He's also struggling to prove that his incarcerated father (Ron Livingston, A Million Little Things) wasn't the killer. Cue messing with the space-time continuum, using his super speed to dash backwards to stop his mum from dying — and, as Bruce Wayne warns, cuing the butterfly effect. Back to the Future devotees know what follows when someone tinkers with the past. The Flash director Andy Muschietti (IT, IT: Chapter Two) and screenwriter Christina Hodson (Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)) count on viewers being familiar with the consequences, and with the Michael J Fox-starring 80s classic. Amid navigating various iterations of its protagonist and, as revealed in its trailers, getting Michael Keaton (Morbius) back in the cape and cowl as the Dark Knight three decades after the last Tim Burton-helmed Batman flick — plus finding time for Supergirl (Sasha Calle, The Young and the Restless) — this DCEU entry splashes around its broader pop-culture nods with gusto. Given that was Gunn's tactic in Marvel's Guardians of the Galaxy movies, right down to also mentioning Kevin Bacon and Footloose, perhaps Barry might have a DCU future after all? Whatever happens, The Flash's riffing on and namechecking other beloved films isn't its best trait. There are multiples of much in this movie, which includes multiple ways to slather on fan service. The Flash is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April, May and June, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
The anticipation is building for the FIFA Women's World Cup 2023™. Seeing as we are hosting the iconic occasion Down Under, Sydney is set to witness some exhilarating matches. Meaning the city will be bursting with football fever and a plethora of vibrant events and experiences to enjoy. So, if you're planning a trip to the city, be sure to witness the best of what Sydney has to offer. From art and culture to music and culinary delights, Sydney is poised to showcase its dynamic spirit during the month-long World Cup celebration. Luckily for you, we've rounded up some top picks that you should not miss during your stay.
Nothing says 'baller' quite like free-flowing bubbles, fluffy eggs topped with caviar and a cart of cocktails — particularly when it's all before midday. Thanks to Sydney's obsession with bottomless brunches and lunches, us mere mortals can live like Queen B and Jay Z, even if it's just for a couple of hours. Whether you're planning your weekend around it or treating yourself, here's the lowdown on Sydney's best bottomless brunches. Just remember to behave, or you won't make it to midday. Recommended reads: The Best Cafes in Sydney The Best Coffee Shops in Sydney's CBD The Best Breakfast Spots in Sydney's CBD The Best Bars in Sydney DEAD RINGER, SURRY HILLS Dead Ringer lets you go all-in with one and half hours of wine (bubbles, white, rose and red) for $45 per person. Intent on offering brunch with a difference, Dead Ringer has declared its menu free of Sydney's beloved eggs and smashed avo. Instead, it's focused heavily on lunch-style fare. The set brunch menu ($45) starts with cured salmon and a pulled pork tostada, then moves on to baked ricotta tarts and slow-roasted chicken with a creamy polenta as your main. If you'd rather pick your poison than go all out with mimosas or prosecco, you can also order the Dead Ringer bloody mary ($18), an espresso martini ($20) or breakfast juice with a touch of campari ($11) à la carte. What's the deal? $45 for food plus $45 per head for 1.5 hours of white, rose, red and sparkling wine. When? Saturday and Sunday, 11am–3pm. BARTOLO, SURRY HILLS Surry Hills' all-day Italian diner Bartolo is the latest to throw its prosecco on ice and launch a new bottomless brunch special. It's available every Friday, Saturday and Sunday from 12–5pm — and it includes everything from fluffy homemade focaccia to pasta and bottomless seasonal mimosas. For $85 per person, you'll get a full Italian feast. Start with a spritz on arrival and the likes of marinated Sicilian olives, gnocco fritto with anchovy butter and kingfish crostino— followed by the main course of ox heart tomato, malfadine with zucchini and chilli parmigiano reggiano, and a chive and garlic butter coated flathead. The menu may be slightly different depending on the day, but it'll be in a similar vein — cheesy, carby and perfectly paired with a mimosa or a glass of wine. It's easily one of the best bottomless brunches in Sydney. What's the deal? $85 for a spritz on arrival, food and 90 minutes of bottomless mimosas and wine. When? Fridays, Saturdays and Sundays from midday. [caption id="attachment_671514" align="alignnone" width="1920"] Leticia Almeida[/caption] THE WINERY, SURRY HILLS If you're going to go anywhere for a bottomless brunch, The Winery in Surry Hills is a safe bet. Choose from peach, raspberry or lychee bottomless bellinis and the rest is done for you. Starting with olives, pita and chickpea dip to nibble on, the three-course menu ($79) has some standouts, including slow-braised beef cheek ragu, spiced chicken salad and a triple chocolate brownie. With limited capacity, the Crown Street venue fills up fast, so bookings are recommended — particularly on weekends. What's the deal? $85 for food and two hours of bellinis. When? Saturday at 11.30am, 2pm and 4.30pm, and Sundays at 11.30am and 2pm. THE ROYAL HOTEL, PADDINGTON The Royal Paddington has kept it classic when it comes to its brunch, pairing three courses of delicious breakfast fare with two hours of bottomless cocktails ($85), including mimosas, sparkling wine, bloody marys and 4 Pines pale ale. Covering off all your staples, you'll start with a peach, berry and mint salad, followed by the Summer Nourish Board, containing roasted sweet potato, grilled broccolini, zaatar crusted avocado, poached eggs and house-made falafels. Then, you'll end with a piece of rocky road slice. Bottomless watermelon seltzers ($10) can be added, as well as an extra hour of drinks ($30) if you're looking for a big weekend with one of the best bottomless brunches in Sydney. Showcasing sweeping city views from rooftop, the bottomless brunch is reminiscent of an inner city garden party, just a few floors up. What's the deal? $85 for three courses and two hours of bottomless cocktails. When? Saturday and Sunday, 11am–1pm. NOUR, SURRY HILLS The Crown Street palace of pastels and plants has a Sunday brunch offering with one of the best (and smokiest) bloody marys in the city, boundary-pushing Middle Eastern fare — and bottomless cocktails, of course. Two bottomless set menus are available (for $129 and $159), with optional bottomless premium cocktails add-ons available for both. Enjoy 90 minutes of endless rosé or beer while you feast on either the seven- or eight-course menu — including the likes of oysters, scallops, grilled octopus, beef short rib, roasted cauliflower and eggplant and a dessert ending for good measure. At this Sydney bottomless brunch destination, you get bottomless booze as well as a proper feast. What's the deal? $129 or $159 90 minutes of bottomless rosé or beer with either a seven- or eight-course set menu. When? Sunday, 10am–2.30pm. SONORA, POTTS POINT Potts Point newcomer Sonora, from the owners of Bondi's Mexican mainstays Taqiza and Carbon, has upped its weekend game and is serving up unlimited tacos and margaritas every Saturday and Sunday from 12–5pm. You can feast on endless plates of house-made tortillas topped with slow-cooked lamb, steak and avocado mousse, yucatan marinated chicken or roasted cauliflower. On top of the many many tacos, 90 minutes of bottomless booze is included as well. The endless drinks come in the form of classic margaritas, rosé and Tecate beer. And all of this will set you back just $89. It's a clear front-runner for the best bottomless brunch in Sydney. What's the deal? $89 for 90 minutes of bottomless tacos, margaritas, rosé and beer. When? Saturday and Sunday, 12–5pm. [caption id="attachment_741934" align="alignnone" width="1920"] Steven Woodburn[/caption] BABYLON, CBD Every Saturday and Sunday, head to this inner-city hideaway for unlimited mimosas and a selection of meze — all for just $68 per person. The rooftop Middle Eastern eatery is cooking up treats like woodfire shish tawook, kaddinbudu, tabbouleh and hummus. While the food is not bottomless, the drinks sure are — you'll be treated to 90 minutes of mimosas, poured to your heart's content. The deal is available from 11am–12:30pm every weekend — with no end in sight — and bookings can be made via the website. What's the deal? $68 for 90 minutes of bottomless mimosas and a selection of meze. When? Saturday and Sunday, 10.30am–12pm. Top image: Dead Ringer.
Long before getting cosy on the couch meant living the streaming dream, not all movies made it to cinemas, just as happens now. Back then, though, that's where the term 'straight to video' came in. Then, it was 'straight to DVD'. At the moment, if a film doesn't flicker in a picture palace, it's a straight-to-streaming release. Some such movies do receive a big-screen run, but only at a film festival. Others were only ever bound for watching at home. Either way, just because they didn't light up your local multiplex or arthouse go-to for weeks on end, that doesn't mean these flicks aren't worth a look. Indeed, some of 2023's viewing highlights are straight-to-streaming films — whether you're fond of Oscar-nominated documentaries, Aubrey Plaza-led heist flicks, walk-and-talk rom-coms, unsettling horror gems or intimate portraits of famous faces. With 2023 now into its second half, we've made our picks of the year's best straight-to-streaming gems from January–June. Obviously, you can watch them all now. ALL THAT BREATHES Pictures can't tell all of All That Breathes' story, with Delhi-based brothers Nadeem Shehzad and Mohammad Saud's chats saying plenty that's essential. In the documentary's observational style, their conversation flits in and out of the film — sometimes, there's narration, too — giving it many meaningful words. Still, the images that Shaunak Sen (Cities of Sleep) lets flow across the screen in this Sundance- and Cannes-winner, and also 2023 Oscar-nominee, are astonishing. And, befitting this poetic meditative and ruminative doco's pace and mood, they do flow. All That Breathes' main pair adore the black kites that take to India's skies and suffer from its toxic air quality, tending to the creatures' injuries. As Sen watches, he adores them as well. Viewers will, too. Indeed, if there wasn't a single syllable uttered, with the movie just leaning on cinematographers Ben Bernhard (Talking About the Weather), Riju Das (14 Phere) and Saumyananda Sahi's (Trial by Fire) sights, plus Niladri Shekhar Roy ('83) and Moinak Bose's (Against the Tide) sound recording, the end result still would've been revelatory. This film trills about urban development, its costs and consequences, and caring for others both animal and human — and it says oh-so-much. It notes how everything that the earth's predominant inhabitants do has environmental impacts for the creatures that we share the planet with, including quests for economic dominance and political control. All That Breathes peers on as its subjects' tasks get harder even as they earn global attention, receive more funding and build their dream hospital. It sees how they put the majestic kites' wellbeing above their own, even as the numbers of birds needing their help just keeps growing. This is a documentary about animals falling from the skies due to pollution, two siblings trying to help them soar again, why that's so vital and what the whole situation says about life on earth — and it's vital and spectacular viewing. All That Breathes streams via Binge. EMILY THE CRIMINAL Enterprising, astute, intelligent and accepting zero garbage from anyone: these are traits that Aubrey Plaza can convey in her sleep. But she definitely isn't slumbering in Emily the Criminal, which sees her turn in a performance as weighty and layered as her deservedly Golden Globe- and Emmy-nominated portrayal in the second season of The White Lotus — something that she's been doing since her Parks and Recreation days anyway. Indeed, there's more than a touch of April Ludgate-Dwyer's resourcefulness to this crime-thriller's eponymous figure. Los Angeles resident Emily Benetto isn't sporting much apathy, however; she can't afford to. With $70,000 in student loans to her name for a college art degree she isn't using working as a food delivery driver, and a felony conviction that's getting in the way of securing any gig she's better qualified for for, Jersey girl Emily breaks bad to make bank when she's given a tip about a credit card fraud ring run by Youcef (Theo Rossi, Sons of Anarchy). Her simple task: purchasing everything from electronics to cars with the stolen numbers. Writer/director John Patton Ford makes his feature debut with this lean, sharp, keenly observed and tightly paced film, which works swimmingly and grippingly as a heist thriller with plenty to say about the state of America today — particularly about a society that saddles folks starting their working lives with enormous debts, turning careers in the arts into the domain of the wealthy, and makes even the slightest wrongdoing a life sentence. Emily the Criminal is angry about that state of affairs, and that ire colours every frame. But it's as a character study that this impressive film soars highest, stepping through the struggles, troubles and desperate moves of a woman trapped not by her choices but her lack of options, all while seeing her better-off classmates breeze through life. As she usually is, Plaza is mesmerising, and adds another complicated movie role to a resume that also boasts the phenomenal Ingrid Goes West and Black Bear as well. Emily the Criminal streams via Binge and Netflix. HUESERA: THE BONE WOMAN The sound of cracking knuckles is one of humanity's most anxiety-inducing. The noise of clicking bones elsewhere? That's even worse. Both help provide Huesera: The Bone Woman's soundtrack — and set the mood for a deeply tense slow-burner that plunges into maternal paranoia like a Mexican riff on Rosemary's Baby, the horror subgenre's perennial all-timer, while also interrogating the reality that bringing children into the world isn't a dream for every woman no matter how much society expects otherwise. Valeria (Natalia Solián, Red Shoes) is thrilled to be pregnant, a state that hasn't come easily. After resorting to praying at a shrine of Our Lady of Guadalupe in desperation, neither she nor partner Raúl (Alfonso Dosal, Narcos: Mexico) could be happier, even if her sister Vero (Sonia Couoh, 40 Years Young) caustically comments that she's never seemed that interested in motherhood before. Then, two things shake up her hard-fought situation: a surprise run-in with Octavia (Mayra Batalla, Everything Will Be Fine), the ex-girlfriend she once planned to live a completely different life with; and constant glimpses of a slithering woman whose unnatural body movements echo and unsettle. Filmmaker Michelle Garza Cervera (TV series Marea alta) makes her fictional narrative debut with Huesera: The Bone Woman, directing and also writing with first-timer Abia Castillo — and she makes a powerfully chilling and haunting body-horror effort about hopes, dreams, regrets and the torment of being forced into a future that you don't truly foresee as your own. Every aspect of the film, especially Nur Rubio Sherwell's (Don't Blame Karma!) exacting cinematography, reinforces how trapped that Valeria feels even if she can't admit it to herself, and how much that attempting to be the woman Raúl and her family want is eating away at her soul. Solián is fantastic at navigating this journey, including whether the movie is leaning into drama or terror at any given moment. You don't need expressive eyes to be a horror heroine, but she boasts them; she possesses a scream queen's lungs, too. Unsurprisingly, Cervera won the Nora Ephron Award for best female filmmaker at the 2022 Tribeca Film Festival for this instantly memorable nightmare. Huesera: The Bone Woman streams via Shudder. ROBE OF GEMS In the very first moments of her very first feature as a director — after working as an editor on films such as 2012's Post Tenebras Lux and 2014's Jauja — Natalia López demands her audience's attention. She earns it and ensures it as well, and looking away while Robe of Gems unfurls its story is impossible afterwards. To kick things off, a patient and painterly glimpse at the rural Mexican landscape comes into sight, fading up and bringing more and more dusty grey details with it with each second. Then, without the frame moving, a frenetic man is seen bashing and slashing through the plants. Next, it becomes apparent that there's a reflection as part of the image. And, it's also quickly evident that viewers are seeing someone else's vantage as they look on at the landscape. In fact, a couple peers out, in the middle of getting intimate (and immediately before flinging wooden furniture around, strewn pieces flying everywhere). With the 'start as you mean to go on' maxim in mind, it's a helluva opening. López does indeed begin as she goes on, in a film that scored her 2022's Berlinale's Silver Bear Jury Prize. The pivotal villa belongs to Isabel's (Nailea Norvind, Julia vs Julia) family, and offers somewhat of a respite from a marriage that's splintering like that thrown-about furniture, with the clearly well-to-do woman settling in with her children Benja (first-timer Balam Toledo) and Vale (fellow debutant Sherlyn Zavala Diaz). But tension inescapably lingers, given that the onsite caretaker María (newcomer Antonia Olivares) is unsettled by the disappearance of her sister, a plot point that makes a purposeful statement. The police are investigating, the cartel has a local presence, corruption is an ever-present force, and the gap between the wealthy and not-so is glaring. Progressing carefully from that powerhouse opening, Robe of Gems quickly seeps under your skin — and as its first visuals make abundantly clearly, every second is a marvel to look at. Robe of Gems streams via Prime Video and Madman on Demand. RYE LANE When Dom (David Jonsson, Industry) and Yas (Vivian Oparah, Then You Run) are asked how they met, they tell a tale about a karaoke performance getting an entire bar cheering. Gia (Karene Peter, Emmerdale Farm), Dom's ex, is both shocked and envious, even though she cheated on him with his primary-school best friend Eric (Benjamin Sarpong-Broni, The Secret). It's the kind of story a movie couple would love to spin — the type that tends to only happen in the movies, too. But even for Rye Lane's fictional characters, it's a piece of pure imagination. Instead, the pair meet in South London, in the toilet at an art show. He's crying in a stall, they chat awkwardly through the gender-neutral space's wall, then get introduced properly outside. It's clumsy, but they keep the conversation going even when they leave the exhibition, then find themselves doing the good ol' fashioned rom-com walk and talk, then slide in for that dinner rendezvous with the flabbergasted Gia. It's easy to think of on-screen romances gone by during British filmmaker Raine Allen-Miller's feature debut — working with a script from Bloods duo Nathan Bryon and Tom Melia — which this charming Sundance-premiering flick overtly wants viewers to. There's a helluva sight gag about Love Actually, as well as a cameo to match, and the whole meandering-and-nattering setup helped make Before Sunrise, Before Sunset and Before Midnight an iconic trilogy. That said, as Rye Lane spends time with shy accountant Dom, who has barely left his parents' house since the breakup, and the outgoing costume designer Yas, who has her own recent relationship troubles casting a shadow, it isn't propelled by nods and winks. Rather, it's smart and savvy in a Starstruck way about paying tribute to what's come before while wandering down its own path. The lead casting is dynamic, with Jonsson and Oparah making a duo that audiences could spend hours with, and Allen-Miller's eye as a director is playful, lively, loving and probing. Rom-coms are always about watching people fall for each other, but this one plunges viewers into its swooning couple's mindset with every visual and sensory touch it can. Rye Lane streams via Disney+. DUAL New movie, familiar query: what would you do if you physically came face to face with yourself, and not just by looking in a mirror? Films about clones, including all-timer Moon and the recent Mahershala Ali (Alita: Battle Angel)-starring Swan Song, have long pondered this topic — and so has the Paul Rudd-led series Living with Yourself. In Dual, there's only one legal option. This sci-fi satire shares Swan Song's idea, allowing replicating oneself when fate deals out a bad hand. So, that's what Sarah (Karen Gillan, Guardians of the Galaxy Vol. 3) does when she's told that she has a rare but terminal disease, and that her death is certain. Cloning is meant to spare her boyfriend Peter (Beulah Koale, Shadow in the Cloud) and her mother (Maija Paunio, Next of Kin) from losing her, making a difficult situation better for Sarah's loved ones. But when she doesn't die after all, the law states that, just like in Highlander, there can be only one. To decide who lives, Sarah and her doppelgänger must fight to the death in a public dual — with Trent (Aaron Paul, Better Call Saul) helping train the OG version. Even with its twist, on paper Dual sounds like a feature that any filmmaker could've made — one that any actor could've starred in, too. But this is the meaty, meaningful and memorable movie it is thanks to writer/director Riley Stearns and his excellent lead Gillan. With his penchant for deadpan, the former pondered working out who you truly are through an unlikely battle in 2019's very funny The Art of Self-Defense, and does so again here. He's also fond of exploring the struggle to embrace one's personality, and confronting the notion we all have in our minds that a better version of ourselves exists. That said, Dual plays like a sibling to The Art of Self-Defense, rather than a clone itself. It'd certainly be a lesser flick without Gillan, who sheds her Nebula makeup, wades out of the Jumanji franchise's jungles, and turns in two powerful and nuanced performances as Sarah and Sarah 2.0. And while Paul is in supporting mode, he's a scene-stealer. Dual streams via Netflix. TETRIS The greatest game in the world can't make the leap to screens like most of its counterparts, whether they involve mashing buttons, playing campaigns or attempting to sink ships. A literal adaptation of Tetris would just involve four-piece bricks falling and falling — and while that's a tense and riveting sight when you're in charge of deciding where they land, and endeavouring to fill lines to make them disappear, it's hardly riveting movie viewing. As a film, Tetris is still gripping, however, all while telling the tale behind the puzzle video game that's been a phenomenon since the 80s. Did you have your first Tetris experience on an early Game Boy? This is the story of how that happened. Starring Taron Egerton (Black Bird) as Henk Rogers, the man who secured the rights to the Russian-born title for distribution on video game consoles worldwide, it's largely a dramatised account of the fraught negotiations when the west started to realise what a hit Tetris was, Nintendo got involved, but Soviet software engineer Alexey Pajitnov had no power over what happened to his creation because that was life in the USSR. Egerton is perfectly cast as the resourceful, charming and determined Rogers, a Dutch-born, American-raised, Japan-residing game designer who stumbles across Tetris at a tech conference while trying to sell a version of Chinese strategy game Go. First, his assistant can't stop playing it. Soon, he's seeing blocks in his dreams, as everyone does after playing (and then forever). Director Jon S Baird (Stan & Ollie) and screenwriter Noah Pink (Genius) have a games licensing battle to unpack from there, something that mightn't have been as thrilling as it proves — and certainly is no certainty on paper — in other hands. Stacking up this real-life situation's pieces involves becoming a savvy takedown of shady business deals, a compelling Russia-set spy flick and an exploration of daily existence in Soviet times, plus an upstart underdog story. And, Tetris does all that while gleefully and playfully bringing in the game's aesthetic, and blasting an appropriately synth-heavy soundtrack. Tetris streams via Apple TV+. GUY RITCHIE'S THE COVENANT Announcing his cinematic arrival with a pair of slick, witty, twisty and fast-paced British heist flicks, Guy Ritchie achieved at the beginning of his career something that many filmmakers strive for their whole lives: he cemented exactly what his features are in the minds of audiences. Lock, Stock and Two Smoking Barrels and Snatch made "Guy Ritchie movie" an instantly understood term, in fact, as the writer/director has attempted to capitalise on since with differing results (see: Revolver, RocknRolla, The Gentlemen and Operation Fortune: Ruse de Guerre). Ritchie's third film, the Madonna-starring Swept Away, has also proven just as emblematic of his career, however. He loves pumping out stereotypical Guy Ritchie movies — he even adores making them Sherlock Holmes and King Arthur flicks, with mixed fortunes — but he also likes leaving his own conventions behind in The Man From UNCLE, Aladdin, Wrath of Man and now Guy Ritchie's The Covenant. Perhaps Ritchie's name is in the title of this Afghanistan-set action-thriller to remind viewers that the film does indeed boast him behind the lens, and as a cowriter; unlike with fellow 2023 release Operation Fortune: Ruse de Guerre, they wouldn't guess otherwise. Clunky moniker aside, Guy Ritchie's The Covenant is pared down, gripping and intense, and home to two excellent performances by Jake Gyllenhaal (Strange World) as Master Sergeant John Kinley and Dar Salim (Tatort) as his interpreter Ahmed. As the former leads a team that's looking for IED factories, the pair's collaboration is tentative at first. Then a raid goes wrong, Ahmed saves Kinley's life, but the recognition and support that'd be afforded an American solider in the same situation doesn't go the local's way. Where Afghan interpreters who aid US troops are left after their task is complete is a weighty subject, and treated as such in this grounded and moving film. Guy Ritchie's The Covenant streams via Prime Video. STILL: A MICHAEL J FOX MOVIE Anyone who lived through the 80s and/or 90s spent a large portion of both decades watching Michael J Fox. Thanks to Family Ties on TV and the Back to the Future movies in cinemas, he was everywhere — and courtesy of Teen Wolf, Doc Hollywood, The Frighteners and Spin City as well. The list of the beloved star's work from the era goes on. Forgotten one or some? Watch Still: A Michael J Fox Movie and you'll be reminded. This intimate documentary steps through the star's life, career and Parkinson's Disease diagnosis using three main modes: splicing together clips from his resume to help illustrate his narration, chatting with Fox now in candid to-camera segments, and hanging out with him and his family as he goes about his days. Each aspect of the film adds something not just important but engaging; however, all that footage from his time as Alex P Keaton, Marty McFly and more offers firm proof, if any more was needed, that Fox was an on-screen presence like no other three and four decades back. Oscar-winning An Inconvenient Truth documentarian Davis Guggenheim both shows and tells, always letting Fox's own words do the talking. Still: A Michael J Fox Movie takes the birth-to-now route, observing that its titular figure was always a kid on the go, then a teen who found himself in acting — a place where he could be anyone, regardless of his short stature — and then an aspiring actor slogging it out in Hollywood until he scored not one but two big breaks. The film also examines the fame and success, Fox's thinking that this'd now be his status quo, the moment his life changed and everything that's followed since. Yes, it notes that this story would've been completely different if Eric Stoltz had kept his Back to the Future job. Also, as Fox's memoirs are on the page, it's supremely self-deprecating. Still: A Michael J Fox Movie is unflinchingly honest, too, especially about his relationship with his wife Tracy Pollan — who, when asked how she is, Fox replies "married to me, still". Still: A Michael J Fox Movie streams via Apple TV+. NIMONA Bounding from the page to the screen — well, from pixels first, initially leaping from the web to print — graphic novel-to-film adaptation Nimona goes all in on belonging. Ballister Boldheart (Riz Ahmed, Sound of Metal) wants to fit in desperately, and is willing to do whatever it takes to achieve it. In this animated movie's medieval-yet-futuristic world, there's nothing more important and acclaimed than being part of the Institute for Elite Knights, so that's his aim. Slipping into armour usually isn't possible for someone who grew up on the wrong side of this realm's tracks, as he did, but Ballister has been given a chance by Queen Valerin (Lorraine Toussaint, The Equalizer), who says that anyone can now be a hero. Alas, just as he's about to have his sword placed upon his shoulder with all the world watching, tragedy strikes, then prejudice sets in. Even his fellow knight-in-training and boyfriend Ambrosius Goldenloin (Eugene Lee Yang, Star Wars: Visions), who boasts family ties to legendary monster-slaying heroine Gloreth (Karen Ryan, Under the Banner of Heaven), believes that Ballister is responsible. His only ally? Nimona's namesake (Chloë Grace Moretz, The Peripheral), a shapeshifter who offers to be his sidekick regardless of his innocence or guilt. Nimona usually appears as a human girl, but can change into anything. The shapeshifter also wants to belong — but only by being accepted as she is. Unlike Ballister's feelings of inferiority about being a commoner, Nimona is happy with morphing from a kid to a rhinoceros, a whale to a shark, then between anything else that she can think of, and wouldn't give it up for anyone. Indeed, when Ballister keeps pestering her for reasons to explain why she is like she is, and asking her to remain as a girl, she's adamant. She already is normal, and she rightly won't budge from that belief. Animated with lively and colour animation that sometimes resembles Cartoon Saloon's Song of the Sea and Wolfwalkers, Nimona is a family-friendly adventure and, as penned as a comic by ND Stevenson (She-Ra and the Princesses of Power), also a clear, impassioned and sincere allegory for being true to yourself. As a film, directors Nick Bruno and Troy Quane (who also teamed up on Spies in Disguise) and screenwriters Robert L Baird (Big Hero 6) and Lloyd Taylor (another Spies in Disguise alum) ensure that it remains a thoughtful delight. Nimona streams via Netflix. PAMELA, A LOVE STORY If you weren't aware of Pamela Anderson's recent Broadway stint, bringing the razzle dazzle to a production of Chicago in 2022, Ryan White (Good Night Oppy)-directed documentary Pamela, A Love Story will still feature surprises. Otherwise, from Playboy to Playbill — including Baywatch, sex tapes and multiple marriages in-between — the actor's story is well-known around the globe. Much of it played out in the tabloids, especially when she married Mötley Crüe drummer Tommy Lee in a white bikini after four days together. She also graced what can easily stake a claim as the internet's first viral video, after intimate footage of Anderson and Lee was stolen, then sold. And that very experience was dramatised in 2022 limited series Pam & Tommy, including the misogynistic way she was treated compared to her spouse, how her rights to her image and privacy were considered trashed due to her nude modelling days, and the unsurprising fallout within her relationship. No matter how familiar the details are, Pamela, A Love Story does something that little else on-screen has, however: it lets Anderson tell her story herself. Much of the doco focuses on the Barb Wire and Scary Movie 3 star in her childhood home in Ladysmith on Canada's Vancouver Island, watching old videos, reading past diaries and chatting through the contents. She's recorded and written about everything in her life. Sitting in front of the camera without a trace of makeup, with her sons Brandon and Dylan sometimes talking with her, she gives her account of how she's been treated during the highs and lows of her career. The film coincides with a memoir, Love, Pamela, so this is a tale that Anderson is currently on the page and in streaming queues — but it's still a powerful portrait of a woman made famous for her appearance, turned into a sex symbol to the point that male interviewers in the 90s could barely talk about anything else, then cruelly judged and discarded. She's frank and sincere, as is the movie amid its treasure trove of archival footage. Pamela, A Love Story streams via Netflix. WEIRD: THE AL YANKOVIC STORY If you've seen one music biopic, or some of the flicks that've earned actors Oscars or nominations in recent years for playing well-known rock stars — think: Bohemian Rhapsody and Elvis — then you know how this genre usually plays out. So does Weird Al Yankovic, who is strongly involved in Weird: The Al Yankovic Story, co-writing, producing and even popping up on-screen. He doesn't give himself a solemn screen tribute, though. For decades, he's found pop music rife for satirising, and now his career spent spoofing hit songs gets sent up as well. The soundtrack is already hilarious, filled as it is with everything from 'My Bologna', 'I Love Rocky Road' and 'Another One Rides the Bus' to 'Eat It', 'Like a Surgeon' and 'Amish Paradise'. The casting is brilliantly hilarious as it is hilariously brilliant, too, with Daniel Radcliffe (The Lost City) sporting a mop of curls, grasping an accordion and wearing Yankovic's Hawaiian shirts like he was born to. Silly, happily self-mocking, not serious for a second: that's this joke-packed flick, which isn't quite as stuffed with gags as a typical Weird Al song, but is still filled with laughs — and still immensely funny. Unsurprisingly, much of Weird: The Al Yankovic Story plays like a collection of skits and sketches, whether visiting his childhood, showing how he scored his big break or charting his fame (which is Westworld's Evan Rachel Wood as a comical Madonna comes in), but it works. Yankovic co-writes with director Eric Appel, a parody veteran thanks to NTSF:SD:SUV, and they're joyfully on the same goofy, go-for-broke wavelength. So is Radcliffe, who keeps demonstrating that he's at his best when a certain Boy Who Lived is relegated to the past, and when he's getting as ridiculous as he possibly can. Forget the wizarding franchise — he's magical when he's at his most comic, as Miracle Workers keeps proving, and now this as well. Weird: The Al Yankovic Story streams via Paramount+. CONFESS, FLETCH Since Mad Men had Don Draper want to buy the world a Coke to end its seven-season run back in 2015, comedy has been Jon Hamm's friend. He's the ultimate TV guest star, building upon stints in 30 Rock and Parks and Recreation while Mad Men was still airing with Toast of London, Unbreakable Kimmy Schmidt and Curb Your Enthusiasm, on a resume that also includes The Increasingly Poor Decisions of Todd Margaret, Childrens Hospital, Medical Police, Angie Tribeca, The Last Man on Earth and Wet Hot American Summer: First Day of Camp as well. So, casting him as the new Irwin Maurice 'Fletch' Fletcher couldn't be an easier move. Having fellow Mad Men standout John Slattery (The Good Fight) also appear in the latest flick about the investigative reporter, and the first since the Chevy Chase-led movies in the 80s, is another winning touch. Even if that reunion wasn't part of the film, Hamm is so entertaining that he makes a killer case for a whole new Fletch franchise — on whatever screen the powers-that-be like — with him at its centre. Hamm clearly understands how well he suits this type of character, and the genre; he's a comic delight, and he's also one of Confess, Fletch's producers. Superbad and Adventureland's Greg Mottola directs and co-writes, scripting with Outer Range's Zev Borow — and ensuring that Hamm and Slattery aren't the only acting highlights. Working through a plot that sees Fletch chasing a stolen artwork, discovering a dead body, and both looking into the crime and considered a suspect himself, the film also features engaging turns by always-welcome Twin Peaks great Kyle MacLachlan and Barb and Star Go to Vista Del Mar gem Annie Mumolo. There have been several attempts to revive Fletch over the past three decades, including separate projects with Ted Lasso duo Bill Lawrence and Jason Sudeikis — on the page, the character spans nine novels — but viewers should be thankful that this is the action-comedy that came to fruition, even if it skipped cinemas everywhere but the US. Confess, Fletch streams via Paramount+ and Binge. HUNGER Let's call it the reality TV effect: after years of culinary contests carving up prime-time television, the savage on-screen steps into the food world just keep bubbling. The Bear turned the hospitality industry into not just a tension-dripping dramedy, but one of 2022's best new shows. In cinemas, British pressure-cooker Boiling Point and the sleek and sublimely cast The Menu have tasted from the same intense plate. Now Hunger sits down at the table, giving viewers another thriller of a meal — this time focusing on a Thai noodle cook who wants to be special. When Aoy's (Chutimon Chuengcharoensukying, One for the Road) street-food dishes based on her Nanna's recipes get the attention of fellow chef Tone (Gunn Svasti Na Ayudhya, Tootsies & the Fake), he tells her that she needs to be plying her talents elsewhere. In fact, he works for Chef Paul (Nopachai Jayanama, Hurts Like Hell), who specialises in the type of fine-dining dishes that only the wealthiest of the wealthy can afford, and is as exacting and demanding as the most monstrous kitchen genius that fiction has ever dreamed up. There's more to making it in the restaurant trade than money, acclaim and status, just like there's more to life as well. As told with slickness and pace, even while clocking in at almost two-and-a-half hours, that's the lesson that director Sitisiri Mongkolsiri (Folklore) and screenwriter Kongdej Jaturanrasamee (Faces of Anne) serve Aoy. She's tempted by the glitz and recognition, and being steeped in a world far different from her own; however, all that gleams isn't always palatable. Plot-wise, Hunger uses familiar ingredients, but always ensures that they taste like their own dish — in no small part thanks to the excellent casting of Chuengcharoensukying as the film's conflicted but determined lead. A model also known as Aokbab, she proved a revelation in 2017's cheating heist thriller Bad Genius, and she's just as compelling here. The two movies would make a high-stakes pair for more than just their shared star, both sinking their teeth into class commentary as well. Yes, like The Menu before it, Hunger is also an eat-the-rich flick, and loves biting into social inequity as hard as it can. Hunger streams via Netflix. VENGEANCE When Vengeance begins with a New Yorker journalist who's desperate to start his own podcast, Soho House hangouts and relationship advice from John Mayer as himself, it begins with rich and savvy character details. Writing, starring and making his feature directorial debut after helming episodes of The Office and The Mindy Project, BJ Novak instantly establishes the kind of person that Ben Manalowitz is. He shows the East Coast world that his protagonist inhabits, too — and, by focusing on the only guy in NYC without their own audio outlet, or so it seems, plus that romantic guidance, it splashes around its sense of humour. This is a sharply amusing mystery-comedy, and a highlight on Novak's resume in all three of his guises. It's also about subverting expectations, and lampooning the first impressions and broad stereotypes that are too often — and too easily — clung to. Indeed, Vengeance bakes in that idea as many ways as it can as Ben (Novak) does the most obvious thing he can to convince his producer (Issa Rae, Insecure) that his voice is worth hearing: bursts his Big Apple bubble. The Mayer bit isn't just a gag; it helps set up Ben as the kind of person who is dating so many women that he doesn't know which one has died after he gets a bereaved phone call from Texas in the middle of the night. On the other end is Ty Shaw (Boyd Holbrook, The Sandman), brother to Abilene (Lio Tipton, Why Women Kill), who insists that Ben head southwest immediately to attend her funeral — she claimed that they were serious enough that she's his girlfriend, after all. Upon arrival, the out-of-towner initially regards his hosts as jokes, and their lives and Abilene's death as content. Ty thinks she was murdered, and Ben couldn't be giddier about getting it all on tape and calling the series Dead White Girl. The journo's self-interest is up there with his obliviousness about anything that doesn't fit into his NYC orbit; however, this isn't a culture-clash comedy — thankfully — but a clever, self-aware and ambitious satire. It's also strikingly shot and features a standout performance by Ashton Kutcher (That '90s Show) as a suave record producer. Vengeance streams via Netflix and Binge. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We've also picked our top 15 movies that hit cinemas in the first half of 2023, as well as the 15 best new TV shows and 15 best returning TV shows of the year so far.
For TV fans, 2022 was the year of finally. After a couple of years of hefty pandemic delays, so many stellar television shows finally returned. In 2023 so far, it's been the year of farewells. Again, plenty of ace programs have added extra episodes — but some of them, such as Succession, Barry, The Other Two, Servant and The Marvelous Mrs Maisel, dropped back in for their final runs, then said goodbye. Revelling in the last glimpses of feuding families, actors-turned-hitmen, stardom-chasing siblings, eerie nannies and comedians — and maybe AFC Richmond, too — has only been part of the viewing landscape among returning TV shows this year, though. Thankfully, when our screens delivered more time with high schoolers lost in the woods, for instance, it did so with the promise of more to follow. Elsewhere, the lineup of already-great series offering more instalments spanned everything from decade-plus comebacks to ridiculously brilliant sketches — plus shows about comebacks, dinosaurs, twisted technology, being trapped in a musical and more. Now that 2023 has passed its halfway point, we've rounded up the 15 best TV series that released another season between January and June. Binge them now if you haven't already. SUCCESSION Endings have always been a part of Succession. Since it premiered in 2018, the bulk of the HBO drama's feuding figures have been waiting for a big farewell. The reason is right there in the title, because for any of the Roy clan's adult children to scale the family company's greatest heights and remain there — be it initial heir apparent Kendall (Jeremy Strong, Armageddon Time), his inappropriate photo-sending brother Roman (Kieran Culkin, No Sudden Move), their political-fixer sister Siobhan (Sarah Snook, Pieces of a Woman), or eldest sibling and now-presidential candidate Connor (Alan Ruck, The Dropout) — their father Logan's (Brian Cox, Remember Me) tenure needed to wrap up. The latter was always stubborn. Proud, too, of what he'd achieved and the power it's brought. And whenever Logan seemed nearly ready to leave the business behind, he held on. If he's challenged or threatened, as happened again and again in the Emmy-winning series, he fixed his grasp even tighter. Succession was always been waiting for Logan's last stint at global media outfit Waystar RoyCo, but it had never been about finales quite the way it was in its stunning fourth season. This time, there was ticking clock not just for the show's characters, but for the stellar series itself, given that this is its last go-around — and didn't it make the most of it. Nothing can last forever, not even widely acclaimed hit shows that are a rarity in today's TV climate: genuine appointment-viewing. So, this went out at the height of its greatness, complete with unhappy birthday parties, big business deals, plenty of scheming and backstabbing, and both Shiv's husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat) and family cousin Greg (Nicholas Braun, Zola) in vintage form — plus an early shock, at least two of the best episodes of any show that've ever aired on television, one of the worst drinks, a phenomenal acting masterclass, a The Sopranos-level final shot and the reality that money really can't buy happiness. Succession streams via Binge. Read our full review. BARRY Since HBO first introduced the world to Barry Berkman, the contract killer played and co-created by Saturday Night Live great Bill Hader wanted to be something other than a gun for hire. An ex-military sniper, he was always skilled at his highly illicit post-service line of work; however, moving on from that past was a bubbling dream even before he found his way to a Los Angeles acting class while on a job. Barry laid bare its namesake's biggest wish in its 2018 premiere episode. Then, it kept unpacking his pursuit of a life less lethal across the show's Emmy-winning first and second seasons, plus its even-more-astounding third season in 2022. Season four, the series' final outing, was no anomaly, but it also realised that wanting to be someone different and genuinely overcoming your worst impulses aren't the same. Barry grappled with this fact since the beginning, of course, with the grim truth beating at the show's heart whether it's at its most darkly comedic, action-packed or dramatic — and, given that its namesake was surrounded by people who similarly yearn for an alternative to their current lot in life, yet also can't shake their most damaging behaviour, it did so beyond its antihero protagonist. Are Barry, his girlfriend Sally Reid (Sarah Goldberg, The Night House), acting teacher Gene Cousineau (Henry Winkler, Black Adam), handler Monroe Fuches (Stephen Root, Succession) and Chechen gangster NoHo Hank (Anthony Carrigan, Bill & Ted Face the Music) all that different from who they were when Barry started? Have they processed their troubles? Have they stopped taking out their struggles not just on themselves, but on those around them? Hader and his fellow Barry co-creator Alec Berg (Silicon Valley, Curb Your Enthusiasm) kept asking those questions in season four to marvellous results, including after making a massive jump, and right up to the jaw-dropping yet pitch-perfect finale. Barry being Barry, posing such queries and seeing its central figures for who they are was an ambitious, thrilling and risk-taking ride. When season three ended, it was with Barry behind bars, which is where he was when the show's new go-around kicked off. He wasn't coping, unsurprisingly, hallucinating Sally running lines in the prison yard and rejecting a guard's attempt to tell him that he's not a bad person. With the latter, there's a moment of clarity about what he's done and who he is, but Barry's key players have rarely been that honest with themselves for long. Barry streams via Binge. Read our full review. THE OTHER TWO Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it also went hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider gave the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek were happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they were equally thrilled for her. But ChaseDreams, their little brother's stage name, was always a constant reminder that their own ambitions keep being outshone. In a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around, Cary and Brooke were never above getting petty and messy about being the titular pair. In season three, however, they didn't just hang around with stars in their eyes and resentment in their hearts. How did they cope? They spent the past few years constantly comparing themselves to Chase, then to Pat, but then they were successful on their own — and still chaotic, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they were faking it or making it, nothing was ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wondered whether her dream manager gig is trivial after living through a pandemic, she started contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he got envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). The Other Two streams via Binge. Read our full review. PARTY DOWN Sometimes, dreams do come true. More often than not, they don't. The bulk of life is what dwells in-between, as we all cope with the inescapable truth that we won't get everything that we've ever fantasised about, and we mightn't even score more than just a few things we want. This is the space that Party Down has always made its own, asking "are we having fun yet?" about life's disappointments while focusing on Los Angeles-based hopefuls played by Adam Scott (Severance), Ken Marino (The Other Two), Ryan Hansen (A Million Little Things), Martin Starr (Guillermo del Toro's Cabinet of Curiosities) and more. They'd all rather be doing something other than being cater waiters at an array of California functions, and most have stars in their eyes. In the cult comedy's first two seasons back in 2009–10, the majority of its characters had their sights set on show business, slinging hors d'oeuvres while trying to make acting, screenwriting or comedy happen. Bringing most of the original gang back together — including Jane Lynch (Only Murders in the Building) and Megan Mullally (Reservation Dogs) — Party Down keeps its shindig-by-shindig setup in its 13-years-later third season. Across its first 20 instalments as well as its new six, each episode sends the titular crew to a different soirée. This time, setting the scene for what's still one of the all-time comedy greats in its latest go-around, the opening get-together is thrown by one of their own. Kyle Bradway (Hansen) has just scored the lead part in a massive superhero franchise, and he's celebrating. Ex-actor Henry Pollard (Scott) is among the attendees, as are now-heiress Constance Carmell (Lynch) and perennial stage mum Lydia Dunfree (Mullally). Hard sci-fi obsessive Roman DeBeers (Starr) and the eager-to-please Ron Donald (Marino) are present as well, in a catering capacity. By the time episode two hits, then the rest of the season, more of the above will be donning pastel pink bow ties, the series keeps unpacking what it means to dream but never succeed, and the cast — especially Scott and the ever-committed Marino — are in their element. Party Down streams via Stan. Read our full review of season three. YELLOWJACKETS For Shauna (Melanie Lynskey, The Last of Us), Natalie (Juliette Lewis, Welcome to Chippendales), Taissa (Tawny Cypress, Billions), Misty (Christina Ricci, Wednesday), Lottie (Simone Kessell, Muru) and Van (Lauren Ambrose, Servant), 1996 will always be the year that their plane plunged into the Canadian wilderness, stranding them for 19 tough months — as season one of 2021–2022 standout Yellowjackets grippingly established. As teenagers (as played by The Kid Detective's Sophie Nélisse, The Boogeyman's Sophie Thatcher, Scream VI's Jasmin Savoy, Shameless' Samantha Hanratty, Mad Max: Fury Road's Courtney Eaton and Santa Clarita Diet's Liv Hewson), they were members of the show's titular high-school soccer squad, travelling from their New Jersey home town to Seattle for a national tournament, when the worst eventuated. Cue Lost-meets-Lord of the Flies with an Alive twist, as that first season was understandably pegged. All isn't always what it seems as Shauna and company endeavour to endure in the elements. Also, tearing into each other occurs more than just metaphorically. Plus, literally sinking one's teeth in was teased and flirted with since episode one, too. But Yellowjackets will always be about what it means to face something so difficult that it forever colours and changes who you are — and constantly leaves a reminder of who you might've been. So, when Yellowjackets ended its first season, it was with as many questions as answers. Naturally, it tore into season two in the same way. In the present, mere days have elapsed — and Shauna and her husband Jeff (Warren Kole, Shades of Blue) are trying to avoid drawing any attention over the disappearance of Shauna's artist lover Adam (Peter Gadiot, Queen of the South). Tai has been elected as a state senator, but her nocturnal activities have seen her wife Simone (Rukiya Bernard, Van Helsing) move out with their son Sammy (Aiden Stoxx, Supergirl). Thanks to purple-wearing kidnappers, Nat has been spirited off, leaving Misty desperate to find her — even enlisting fellow citizen detective Walter (Elijah Wood, Come to Daddy) to help. And, in the past, winter is setting in, making searching for food and staying warm an immense feat. Yellowjackets streams via Paramount+. Read our full review. I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been filling streaming queues with assholes since 2019, as usually played by the eponymous Detroiters star, and long may it continue. In season three, the show takes its premise literally in the most ridiculous and unexpected way, so much so that no one could ever dream of predicting what happens. That's still the sketch comedy's not-so-secret power. Each of its skits is about someone being the worst in some way, doubling down on being the worst and refusing to admit that they're the worst (or that they're wrong) — and while everyone around them might wish they'd leave, they're never going to, and nothing ever ends smoothly. In a show that's previously worked in hot dog costumes and reality TV series about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its gallery of the insufferable. In fact, the more absurd and chaotic I Think You Should Leave with Tim Robinson gets, the better. No description can do I Think You Should Leave with Tim Robinson's sketches justice, and almost every one is a comedic marvel, as again delivered in six 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors and designated drivers to HR training and street parking is in Robinson's sights this time, and people who won't stop talking about their kids, wedding photos and group-think party behaviour as well. Game shows get parodied again and again, an I Think You Should Leave staple, and gloriously. More often than in past seasons, Robinson lets his guest stars play the asshole, too, including the returning Will Forte (Weird: The Al Yankovic Story), regular Sam Richardson (The Afterparty), and perennial pop-ups Fred Armisen (Barry) and Tim Meadows (Poker Face). And when Jason Schwartzman (I Love That for You) and Ayo Edebiri (The Bear) drop in, they're also on the pitch-perfect wavelength. I Think You Should Leave with Tim Robinson streams via Netflix. Read our full review. I HATE SUZIE TOO Watching I Hate Suzie Too isn't easy. Watching I Hate Suzie, the show's first season, wasn't either back in 2020. A warts-and-all dance through the chaotic life, emotions and mind of a celebrity, both instalments of this compelling British series have spun as far away from the glitz and glamour of being famous as possible. Capturing carefully constructed social-media content to sell the fiction of stardom's perfection is part of the story, as it has to be three decades into the 21st century; however, consider this show from Succession writer Lucy Prebble and actor/singer/co-creator Billie Piper, and its blood pressure-raising tension and stress, the anti-Instagram. The unfiltered focus: teen pop sensation-turned-actor Suzie Pickles, as played with a canny sense of knowing by Piper given that the 'Honey to the Bee' and Penny Dreadful talent has charted the same course. That said, the show's IRL star hasn't been the subject of a traumatic phone hack that exposed sensitive photos from an extramarital affair to the public, turning her existence and career upside down, as Suzie was in season one. Forget The Idol — this is the best show about being a famous singer that you can watch right now. In I Hate Suzie Too, plenty has changed for the series' namesake over a six-month period. She's no longer with her professor husband Cob (Daniel Ings, Sex Education), and is battling for custody of their young son Frank (debutant Matthew Jordan-Caws), who is deaf — and her manager and lifelong friend Naomi (Leila Farzad, Avenue 5) is off the books, replaced by the no-nonsense Sian (Anastasia Hille, A Spy Among Friends). Also, in a new chance to win back fans, Suzie has returned to reality TV after it helped thrust her into the spotlight as a child star to begin with. Dance Crazee Xmas is exactly what it sounds like, and sees her compete against soccer heroes (Blake Harrison, The Inbetweeners), musicians (Douglas Hodge, The Great) and more. But when I Hate Suzie Too kicks off with a ferocious, clearly cathartic solo dance in sad-clown getup, the viewers aren't charmed. Well, Dance Crazee Xmas' audience, that is — because anyone watching I Hate Suzie Too is in for another stunner that's fearless, audacious, honest, dripping with anxiety, staggering in its intensity, absolutely heart-wrenching and always unflinching. I Hate Suzie Too streams via Stan. Read our full review. THE GREAT Television perfection is watching Elle Fanning (The Girl From Plainville) and Nicholas Hoult (Renfield) trying to run 18th-century Russia while scheming, fighting and heatedly reuniting in a historical period comedy The Great. Since 2020, they've each been in career-best form — her as the series' ambitious namesake, him as the emperor who loses his throne to his wife — while turning in two of the best performances on streaming in one of the medium's most hilarious shows. Both former child actors now enjoying excellent careers as adults, they make such a marvellous pair that it's easy to imagine this series being built around them. It wasn't and, now three seasons, The Great has never thrived on their casting alone. Still, shouting "huzzah!" at the duo's bickering, burning passion and bloodshed-sparking feuding flows as freely as all the vodka downed in the Emmy-winner's frames under Australian creator Tony McNamara's watch (and after he initially unleashed its winning havoc upon Sydney Theatre Company in 2008, then adapted it for television following a BAFTA and an Oscar nomination for co-penning The Favourite). In this latest batch of instalments, all either written or co-written by McNamara, Catherine (Fanning) and Peter (Hoult) begin the third season sure about their love for each other, but just as flummoxed as ever about making their nuptials work. She's attempting to reform the nation, he's the primary caregiver to their infant son Paul, her efforts are meeting resistance, he's doting but also bored playing stay-out-of-politics dad, and couples counselling is called for. There's also the matter of the royal court's most prominent members, many of whom were rounded up and arrested under Catherine's orders at the end of season two. From Sweden, exiled King Hugo (Freddie Fox, House of the Dragon) and Queen Agnes (Grace Molony, Mary, Queen of Scots) are hanging around after being run out of their own country due to democracy's arrival. And, Peter's lookalike Pugachev (also Hoult) is agitating for a serf-powered revolution. The Great streams via Stan. Read our full review. PREHISTORIC PLANET When it initially arrived in 2022, becoming one of the year's best new shows and giving nature doco fans the five-episode series they didn't know they'd always wanted — and simultaneously couldn't believe hadn't been made until now — Prehistoric Planet followed the David Attenborough nature documentary formula perfectly. And it is a formula. In a genre that's frequently spying the wealth of patterns at the heart of the animal realm, docos such as The Living Planet, State of the Planet, Frozen Planet, Our Planet, Seven Worlds, One Planet, A Perfect Planet, Green Planet and the like all build from the same basic elements. Jumping back 66 million years, capitalising upon advancements in special effects but committing to making a program just like anything that peers at the earth today was never going to feel like the easy product of a template, though. Indeed, Prehistoric Planet's first season was stunning, and its second is just as staggering. The catch, in both season one and this return trip backwards: while breathtaking landscape footage brings the planet's terrain to the Prehistoric Planet series, the critters stalking, swimming, flying and tumbling across it are purely pixels. Filmmaker Jon Favreau remains among the show's executive producers, and the technology that brought his photorealistic versions of The Jungle Book and The Lion King to cinemas couldn't be more pivotal. Seeing needs to be believing while watching, because the big-screen gloss of the Jurassic Park and Jurassic World sagas, the puppets of 90s sitcom Dinosaurs, and the animatronics of Walking with Dinosaurs — or anything in-between — were never going to suit a program with Attenborough as a guide. Accordingly, to sit down to Prehistoric Planet is to experience cognitive dissonance: viewers are well-aware that what they're spying isn't real because the animals seen no longer exist, but it truly looks that authentic. Prehistoric Planet season streams via Apple TV+. Read our full review. SERVANT When M Night Shyamalan (Knock at the Cabin) earned global attention and two Oscar nominations back in 1999 for The Sixth Sense, it was with a film about a boy who sees dead people. After ten more features that include highs (the trilogy that is Unbreakable, Split and Glass) and lows (Lady in the Water and The Happening), in 2019 he turned his attention to a TV tale of a nanny who revives a dead baby. Or did he? That's how Servant commenced its first instantly eerie, anxious and dread-filled season, a storyline it has followed in its second season in 2021, third in 2022, and then fourth and final batch of episodes in 2023. But as with all Shyamalan works, this meticulously made series bubbles with the clear feeling that all isn't as it seems. What happens if a caregiver sweeps in exactly when needed and changes a family's life, Mary Poppins-style, but she's a teenager rather than a woman, disquieting instead of comforting, and accompanied by strange events, forceful cults and unsettlingly conspiracies rather than sweet songs, breezy winds and spoonfuls of sugar? That's Servant's basic premise. Set in Shyamalan's beloved Philadelphia, and created by Tony Basgallop (The Consultant), the puzzle-box series spends most of its time in a lavish brownstone inhabited by TV news reporter Dorothy Turner (Lauren Ambrose, Yellowjackets), her celebrity-chef husband Sean (Toby Kebbell, Bloodshot), their baby Jericho and 18-year-old nanny Leanne Grayson (Nell Tiger Free, Too Old to Die Young) — and where Dorothy's recovering-alcoholic brother Julian (Grint, Guillermo del Toro's Cabinet of Curiosities) is a frequent visitor. That's still the dynamic in season four, which slowly and powerfully moves towards its big farewell. Dorothy is more determined than ever to be rid of Leanne, Leanne is more sure of herself and her abilities than she's ever been — in childminding, and all the other spooky occurrences that've been haunting the family — and Sean and Julian are again caught in the middle. Wrapping up with one helluva ending, Servant has gifted viewers four seasons of spectacular duelling caregivers and gripping domestic tension, and one of streaming's horror greats. Servant streams via Apple TV+. Read our full review of season four. THE MARVELOUS MRS MAISEL Here's how The Marvelous Mrs Maisel started: in New York City in 1958, Miriam 'Midge' Maisel (Rachel Brosnahan, I'm Your Woman) had become accustomed to waiting in the wings while her husband Joel (Michael Zegen, The Stand In) tried his hand at stand-up comedy. Then she took to the stage herself, and this blend of comedy and drama followed the revolutionary aftermath. Sometimes, that's brought highlights, including having her talent recognised by Gaslight Cafe manager Susie Myerson (Alex Borstein, Family Guy), taking her sets on the road and working her way up the comedy ladder. Sometimes, there have been costs, especially in her relationships. And always, right up to the show's fifth and final season that featured jumps forward to the 21st century, there was a battle that still sadly remains oh-so-relevant IRL: for women in comedy to be treated and seen equally. Hailing from Gilmore Girls and Bunheads mastermind Amy Sherman-Palladino, The Marvelous Mrs Maisel's cast has always proven a dream — Tony Shalhoub (Flamin' Hot), Marin Hinkle (Jumanji: The Next Level), Kevin Pollak (Willow) and Caroline Aaron (Ghosts) also feature, and Jane Lynch (Party Down), Luke Kirby (Boston Strangler) and Stephanie Hsu (Joy Ride) as well — and, unsurprisingly, its writing, too. Indeed, there's nothing quite like Sherman-Palladino-penned dialogue, which Brosnahan especially is a natural at nailing its rhythms. The period detail has consistently been impeccable, but this wouldn't be the hit it is (or have Golden Globes and Emmys to its name) if it didn't also mean something. It should come as no astonishment that Joan Rivers was one of the inspirations for the series, and that it is equally hilarious, heartfelt and finely observed, with its guiding writer, director and producer's charms in abundance. The Marvelous Mrs Maisel streams via Prime Video. TED LASSO It wasn't simply debuting during the pandemic's first year, in a life-changing period when everyone was doing it tough, that made Ted Lasso's first season a hit in 2020. It wasn't just the Apple TV+ sitcom's unshakeable warmth, giving its characters and viewers alike a big warm hug episode after episode, either. Both play a key part, however, because this Jason Sudeikis (Saturday Night Live)-starring soccer series is about everyone pitching in and playing a part. It's a team endeavour that champions team endeavours — hailing from a quartet of creators (Sudeikis, co-star Brendan Hunt, Detroiters' Joe Kelly and Scrubs' Bill Lawrence), boasting a killer cast in both major and supporting roles, and understanding how important it is to support one another on- and off-screen (plus in the fictional world that the show has created, and while making that realm so beloved with audiences). Ted Lasso has always believed in the individual players as well as the team they're in, though. It is named after its eponymous American football coach-turned-inexperienced soccer manager, after all. But in building an entire sitcom around a character that started as a sketch in two popular US television ads for NBC's Premier League coverage — around two characters, because Hunt's (Bless This Mess) laconic Coach Beard began in those commercials as well — Ted Lasso has always understood that everyone is only a fraction of who they can be when they're alone. That's an idea that kept gathering momentum in the show's long-awaited third season, which gave much to engagingly dive into. It starts with Ted left solo when he desperately doesn't want to be, with AFC Richmond owner Rebecca Welton (Hannah Waddingham, Hocus Pocus 2) desperate to beat her ex Rupert Mannion (Buffy the Vampire Slayer's Anthony Stewart Head) new team, and with the Greyhounds' former assistant Nathan 'Nate' Shelley (Nick Mohammed, Intelligence) now coaching said opposition — and with changes galore around the club. It ends with more big moves after another astute look at the game of life, whether or not it returns for season four. Ted Lasso streams via Apple TV+. Read our full review. SCHMIGADOON! For fans of Key & Peele, the fact that Keegan-Michael Key can do anything won't come as a surprise. In 2023, proving that statement true has seen the comedian and actor voice Toad in The Super Mario Bros Movie, and also return to the realm of singing and dancing in Schmigadoon!. What would it be like to live in a musical? That's been this Apple TV+'s central question since it first premiered in 2021. Key stars opposite the also ever-versatile Cecily Strong (Saturday Night Live) as a couple, Josh Skinner and Melissa Gimble, who are simply backpacking when they suddenly find themselves in the wondrous titular town. The duo were hoping to fix their struggling relationship with a stint in nature, but instead step into a 24/7 Golden Age-style show — a parody of Brigadoon, clearly — that helps them work through their feelings, discover what they truly want and see a different side of life. That was season one. In season two, Josh and Melissa start back in the real world, married, in their medical jobs and going through the motions. In their malaise, a return trip to Schmigadoon! beckons; however, when they stumble upon it again, the place isn't quite the same. Instead, they're now in Schmicago. And, instead of 40s and 50s musicals, 60s and 70s shows are in the spotlight — including the razzle dazzle of Chicago, obviously. What a ball this series has, including with a jam-packed cast that includes Dove Cameron (Vengeance), Kristin Chenoweth (Bros), Alan Cumming (The Good Fight), Ariana DeBose (West Side Story), Jane Krakowski (Dickinson), Martin Short (Only Murders in the Building) and Tituss Burgess (Unbreakable Kimmy Schmidt) — and with ample thanks to creators Cinco Paul and Ken Daurio (the Despicable Me films). Schmigadoon! streams via Apple TV+. BLACK MIRROR When Ron Swanson discovered digital music, the tech-phobic Parks and Recreation favourite was uncharacteristically full of praise. Played by Nick Offerman (The Last of Us) at his most giddily exuberant, he badged the iPod filled with his favourite records an "excellent rectangle". In Black Mirror, the same shape is everywhere. The Netflix series' moniker even stems from the screens and gadgets that we all now filter life through daily and unthinkingly. In Charlie Brooker's (Cunk on Earth) eyes since 2011, however, those ever-present boxes and the technology behind them are far from ace. Instead, befitting a dystopian anthology show that has dripped with existential dread from episode one, and continues to do so in its long-awaited sixth season, those rectangles keep reflecting humanity at its bleakest. Black Mirror as a title has always been devastatingly astute: when we stare at a TV, smartphone, computer or tablet, we access the world yet also reveal ourselves. It might've taken four years to return after 2019's season five, but Brooker's hit still smartly and sharply focuses on the same concern. Indeed, this new must-binge batch of nightmares begins with exactly the satirical hellscape that today's times were bound to inspire. Opening chapter Joan Is Awful, with its AI- and deepfake-fuelled mining of everyday existence for content, almost feels too prescient — a charge a show that's dived into digital resurrections, social scoring systems, killer VR and constant surveillance knows well. Brooker isn't afraid to think bigger and probe deeper in season six, though; to eschew obvious targets like ChatGPT and the pandemic; and to see clearly and unflinchingly that our worst impulses aren't tied to the latest widgets. Black Mirror streams via Netflix. Read our full review. HUNTERS Call it a conspiracy thriller. Call it an alternative history. Call it a revenge fantasy. Call it another savage exploration of race relations with Jordan Peele's fingerprints all over it. When it comes to Hunters, they all fit. This 70s-set Nazi-slaying series first arrived in 2020, following a ragtag group determined to do two things: avenge the Holocaust, with many among their number Jewish survivors or relatives of survivors; and stop escaped Third Reich figures who've secretly slipped into the US from their plan of starting a Fourth Reich. The cast was stellar — Al Pacino (House of Gucci), Logan Lerman (Bullet Train), Tiffany Boone (Nine Perfect Strangers), Jeannie Berlin (Succession), Carol Kane (Unbreakable Kimmy Schmidt), Lena Olin (Mindhunter) and Australia's own Kate Mulvany (The Clearing) among them — and Get Out and Us filmmaker Peele executive produced a gem as he also did that same year with Lovecraft Country. And, when it wrapped up its first season, it did so with one mighty massive cliffhanger: the fact that Adolf Hitler (Udo Kier, Swan Song) was still alive in 1977. Returning for its second and final batch of episodes three years later, but largely moving its action to 1979, season two of Hunters sees its central gang initially doing their own things — but unsurprisingly reteaming to go after the obvious target. Jonah Heidelbaum (Lerman) is living a double life, with his new fiancee Clara (Emily Rudd, Fear Street) in the dark about his Nazi-hunting ways, but crossing paths with the ruthless and determined Chava Apfelbaum (Jennifer Jason Leigh, Possessor) ramps up his and the crew's efforts. Knowing this is the final go-around, the stylishly shot series wasn't afraid of embracing its OTT leanings, tonal jumps and frenetic camerawork, and always proved entertaining as it hurtles towards its last hurrah. The best episode of the season, however, is one that jumps back to World War II, doesn't focus on any of its main stars and is as clever, moving and well-executed as Hunters has ever been. If the show ever gets revived in the future, which it easily could, more of that would make a great series even better. Hunters streams via Prime Video. Looking for more viewing highlights? We picked the 15 best new TV shows of 2023, too. We also keep a running list of must-stream TV from across the year so far, complete with full reviews. And, you can check out our list of film and TV streaming recommendations, which is updated monthly.
The highly anticipated FIFA Women's World Cup 2023™ is making its way to Australia and New Zealand, heralding a new era for the beloved game. This occasion signifies the first time the two countries have hosted the World Cup, reflecting the sport's growing popularity and the increasing appreciation for our remarkable female athletes. Sydney will be buzzing during this monumental event, offering numerous ways to participate. While we celebrate the trials and triumphs of our favourite teams, why not indulge in some international cuisine to commemorate the occasion? Whether you're a Sydney local or visiting for the FIFA Women's World Cup 2023™️, be sure to explore our top picks for delightful bites that perfectly complement the exhilaration of football fever.
Streaming services overflow with TV series to watch, with new titles added daily, but the best of them achieve a particular feat. We all have our favourite television show that it feels like we live inside; however, that isn't a sensation that any old program can manage. From 2023's new TV offerings so far, only the best of the best can make that claim. If you've already started planning a move to Tasmania thanks to an Australian murder-mystery comedy, you understand this. If you feel in your bones like you know how you'd react to the apocalypse, or having Pedro Pascal as your surrogate dad, you do as well. And if you just want to hang out in a coffee cafe with Aussie comedians, you're definitely ticking that box. They're some of 2023's best new TV shows so far — the series that, no matter how little couch time you have or how easy it is to just revisit Parks and Recreation again, you need to see. After hours and hours of viewing, we've chosen 15 of them now that 2023 is halfway through. Play catchup and you won't be able to say that you don't have anything to watch before the year is through. DEADLOCH Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and one of the streaming highlights of the year. Deadloch streams via Prime Video. Read our full review. I'M A VIRGO No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, as Riley is, and he wants to ensure that his audience knows it. Indeed, I'm a Virgo is a show with something to say, and forcefully. Its creator is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. As Cootie wades through these experiences himself, there isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. I'm a Virgo streams via Prime Video. Read our full review. DEAD RINGERS Twin gynaecologists at the top of their game. Blood-red costuming and bodily fluids. The kind of perturbing mood that seeing flesh as a source of horror does and must bring. A stunning eye for stylish yet unsettling imagery. Utterly impeccable lead casting. When 1988's Dead Ringers hit cinemas, it was with this exact combination, all in the hands of David Cronenberg following Shivers, The Brood, Scanners, Videodrome and The Fly. He took inspiration from real-life siblings Stewart and Cyril Marcus, whose existence was fictionalised in 1977 novel Twins by Bari Wood and Jack Geasland, and turned it into something spectacularly haunting. Attempting to stitch together those parts again, this time without the Crimes of the Future filmmaker at the helm — and as a miniseries, too — on paper seems as wild a feat as some of modern medicine's biggest advancements. This time starring a phenomenal Rachel Weisz as both Beverly and Elliot Mantle, and birthed by Lady Macbeth and The Wonder screenwriter Alice Birch, Dead Ringers 2.0 is indeed an achievement. It's also another masterpiece. Playing the gender-swapped roles that Jeremy Irons (House of Gucci) inhabited so commandingly 35 years back, Weisz (Black Widow) is quiet, calm, dutiful, sensible and yearning as Beverly, then volatile, outspoken, blunt, reckless and rebellious as Elliot. Her performance as each is that distinct — that fleshed-out as well — that it leaves viewers thinking they're seeing double. Of course, technical trickery is also behind the duplicate portrayals, with directors Sean Durkin (The Nest), Karena Evans (Snowfall), Lauren Wolkstein (The Strange Ones) and Karyn Kusama's (Destroyer) behind the show's lens; however, Weisz is devastatingly convincing. Beverly is also the patient-facing doctor of the two, helping usher women into motherhood, while Elliot prefers tinkering in a state-of-the-art lab trying to push the boundaries of fertility. Still, the pair are forever together or, with unwitting patients and dates alike, swapping places and pretending to be each other. Most folks in their company don't know what hit them, which includes actor Genevieve (Britne Oldford, The Umbrella Academy), who segues from a patient to Beverly's girlfriend — and big-pharma billionaire Rebecca (Jennifer Ehle, She Said), who Dead Ringers' weird sisters court to fund their dream birthing centre. Dead Ringers streams via Prime Video. Read our full review. THE LAST OF US If the end of the world comes, or a parasitic fungus evolves via climate change, spreads globally, infests brains en masse and almost wipes out humanity, spectacular video game-to-TV adaptation The Last of Us will have you wanting Pedro Pascal in your corner. Already a standout in Game of Thrones, then Narcos, then The Mandalorian, he's perfectly cast in HBO's latest blockbuster series — a character-driven show that ruminates on what it means to not just survive but to want to live and thrive after the apocalypse. In this smart and gripping show (one that's thankfully already been renewed for season two, too), he plays Joel. Dad to teenager Sarah (Nico Parker, The Third Day), he's consumed by grief and loss after what starts as a normal day, and his birthday, changes everything for everyone. Twenty years later, he's a smuggler tasked with tapping into his paternal instincts to accompany a different young girl, the headstrong Ellie (Bella Ramsey, Catherine Called Birdy), on a perilous but potentially existence-saving trip across the US. Starting to watch The Last of Us, or even merely describing it, is an instant exercise in déjà vu. Whether or not you've played the hit game since it first arrived in 2013, or its 2014 expansion pack, 2020 sequel or 2022 remake, its nine-part TV iteration ventures where plenty of on-screen fare including The Road and The Walking Dead has previously trodden. The best example that springs to mind during The Last of Us is Station Eleven, however, which is the heartiest of compliments given how thoughtful, empathetic and textured that 2021–22 series proved. As everything about pandemics, contagions and diseases that upend the world order now does, The Last of Us feels steeped in stone-cold reality as well, as spearheaded by a co-creator, executive producer, writer and director who has already turned an IRL doomsday into stunning television with Chernobyl. That creative force is Craig Mazin, teaming up with Neil Druckmann from Naughty Dog, who also wrote and directed The Last of Us games. The Last of Us streams via Binge. Read our full review. THE MAKANAI: COOKING FOR THE MAIKO HOUSE At the beginning of The Makanai: Cooking for the Maiko House, 16-year-old best friends Kiyo (Nana Mori, Liar x Liar) and Sumire (Natsuki Deguchi, Silent Parade) leave home for the first time with smiles as wide as their hearts are open. Departing the rural Aomari for Kyoto in the thick of winter, they have internships as maiko lined up — apprentice geiko, as geishas are called in the Kyoto dialect. Their path to their dearest wishes isn't all sunshine and cherry blossoms from there, of course, but this is a series that lingers on the details, on slices of life, and on everyday events rather than big dramatic developments. Watch, for instance, how lovingly Kiyo and Sumire's last meal is lensed before they set out for their new future, and how devotedly the camera surveys the humble act of sitting down to share a dumpling soup, legs tucked beneath blankets under the table, while having an ordinary conversation. Soothing, tender, compassionate, bubbling with warmth: that's The Makanai: Cooking for the Maiko House from the outset. There's a key reason that this cosy and comforting new treasure overflows with such affection and understanding — for its characters, their lives and just the act of living. Prolific writer/director Hirokazu Kore-eda simply isn't capable of anything else. Yes, Netflix has been in the auteur game of late, and The Makanai: Cooking for the Maiko House is unmistakably the work of its rightly applauded creative force. One of the biggest names in Japanese cinema today, and the winner of the received Cannes Film Festival's Palme d'Or back in 2018 for the sublime Shoplifters, Kore-eda makes empathetic, rich and deeply emotional works. His movies, including the France-set The Truth and South Korea-set Broker, truly see the people within their frames. On the small screen, and hailing from manga, the nine-episode The Makanai is no different. It's also as calming as a show about friendships, chasing dreams and devouring ample dumplings can and should be. The Makanai: Cooking for the Maiko House streams via Netflix. RAIN DOGS In 2019's Skint Estate, Cash Carraway told all; A memoir of poverty, motherhood and survival completes the book's full title. Penned about working-class Britain from within working-class Britain, Carraway's written jaunt through her own life steps through the reality of being a single mum without a permanent place to live, of struggling to get by at every second, and of being around the system since she was a teenager. It examines alcoholism, loneliness, mental illness and domestic violence, too, plus refuges, working at peep shows, getting groceries from food banks and hopping between whatever temporary accommodation is available. Rain Dogs isn't a direct adaptation. It doesn't purport to bring Carraway's experiences to the screen exactly as they happened, or with slavish fidelity to the specific details. But this HBO and BBC eight-parter remains not only raw, rich, honest and authentic but lived in, as it tells the same story with candour, humour, warmth and poignancy. Slipping into Carraway's fictionalised shoes is Daisy May Cooper — and she's outstanding. Her on-screen resume includes Avenue 5 and Am I Being Unreasonable?, as well as being a team captain on the latest iteration of Britain's Spicks and Specks-inspiring Never Mind the Buzzcocks, but she's a force to be reckoned with as aspiring writer and mum (to Iris, played by debutant Fleur Tashjian) Costello Jones. When Rain Dogs begins, it's with an eviction. Cooper lives and breathes determination as Costello then scrambles to find somewhere for her and Iris to stay next. But this isn't just their tale, with the pair's lives intersecting with the privileged but self-destructive Selby (Jack Farthing, Spencer), who completes their unconventional and dysfunctional family but tussles with his mental health. Including Costello's best friend Gloria (Ronke Adekoluejo, Alex Rider), plus ailing artist Lenny (The Young Ones legend Adrian Edmondson), this is a clear-eyed look at chasing a place to belong — and it's stunning. Rain Dogs streams via Binge. Read our full review. SILO Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part series — which leaps to the screen from Hugh Howey's novels, and shares a few basic parts with Metropolis, Blade Runner and The Platform, as well as corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — she's soon playing detective. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. Silo streams via Apple TV+. Read our full review. AUNTY DONNA'S COFFEE CAFE If comedy is all about timing, then Aunty Donna have it — not just onstage. In 2020, Aunty Donna's Big Ol' House of Fun was the hysterical sketch-comedy series that the world needed, with the six-episode show satirising sharehouse living dropping at the ideal moment. While the Australian jokesters' Netflix hit wasn't just hilarious because it arrived when everyone had been spending more time than anyone dreamed at home thanks to the early days of the pandemic, the ridiculousness it found in domesticity was as inspired as it was sidesplittingly absurd. Three years later, heading out is well and truly back, as are Aunty Donna on-screen. Their target in Aunty Donna's Coffee Cafe: cafe culture, with Mark Samual Bonanno, Broden Kelly and Zachary Ruane returning to make fun of one of the simplest reasons to go out that there is. Grabbing a cuppa is such an ordinary and everyday task, so much so that it was taken for granted until it was no longer an easy part of our routines. Unsurprisingly, now that caffeine fixes are back and brewing, Aunty Donna finds much to parody. With fellow group members Sam Lingham (a co-writer here), Max Miller (the show's director) and Tom Zahariou (its composer), Aunty Donna's well-known trio of faces set their new six-parter in the most obvious place they can: a Melbourne cafe called 'Morning Brown'. The track itself doesn't get a spin, however, with the show's central piece of naming is its most expected move. As demonstrated in episodes that turn the cafe into a courtroom, ponder whether Broden might still be a child and riff on Australian Prime Minister Harold Holt's 1967 disappearance, nothing else about Aunty Donna's Coffee Cafe earns that description. Pinballing in any and every direction possible has always been one of the Aussie comedy troupe's biggest talents, with their latest series deeply steeped — riotously, eclectically and entertainingly, too — in that approach. Think: Richard Roxburgh (Elvis) playing Rake, even though that's not his Rake character's name; Looking for Alibrandi's Pia Miranda making tomato day jokes;. stanning Gardening Australia and skewering unreliable streaming services, complete with jokes at ABC iView's expense; and relentlessly giggling at the hospitality industry again and again. Aunty Donna's Coffee Cafe streams via ABC iView. Read our full review. BEEF As plenty does (see also: Rye Lane above), Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. Beef streams via Netflix. Read our full review. POKER FACE Cards on the table: thanks to Russian Doll and the Knives Out franchise, Natasha Lyonne and Rian Johnson are both on a helluva streak. In their most recent projects before now, each has enjoyed a hot run not once but twice. Lyonne made time trickery one of the best new shows of 2019, plus a returning standout in 2022 as well, while Johnson's first Benoit Blanc whodunnit and followup Glass Onion: A Knives Out Mystery were gems of the exact same years. The latter also saw the pair team up briefly — Lyonne and Johnson, that is, although getting a Russian Doll-meets-Knives Out crossover from the universe, or just the Netflix algorithm, would be a dream. Until that wish comes true, there's Poker Face. It's no one's stopgap or consolation prize, however. This new mystery-of-the-week series is an all-out must-see in its own right, and one of 2023's gleaming streaming aces already. Given its components and concept, turning out otherwise would've been the biggest head-scratcher. Beneath aviator shades, a trucker cap and her recognisable locks, Lyonne plays detective again, as she did in Russian Doll — because investigating why you're looping through the same day over and over, or jumping through time, is still investigating. Johnson gives the world another sleuth, too, after offering up his own spin on Agatha Christie-style gumshoes with the ongoing Knives Out saga. This time, he's dancing with 1968–2003 television series Columbo, right down to Poker Face's title font. Lyonne isn't one for playing conventional detectives, though. Here, she's Charlie Cale, who starts poking around in sudden deaths thanks to an unusual gift and a personal tragedy. As outlined in the show's ten-part first season, Charlie is a human lie detector. She can always tell if someone is being untruthful, a knack she first used in gambling before getting on the wrong side of the wrong people. Then, when a friend and colleague at the far-from-flashy Las Vegas casino where Charlie works winds up dead, that talent couldn't be handier. Poker Face streams via Stan. Read our full review. MRS DAVIS It was back in March 2022 that the world first learned of Mrs Davis, who would star in it and which creatives were behind it. Apart from its central faith-versus-technology battle, the show's concept was kept under wraps, but the series itself was announced to the world. The key involvement of three-time GLOW Emmy-nominee Betty Gilpin, Lost and The Leftovers creator Damon Lindelof, and The Big Bang Theory and Young Sheldon writer and executive producer Tara Hernandez was championed, plus the fact that Black Mirror: San Junipero director Owen Harris would helm multiple episodes. Accordingly, although no one knew exactly what it was about, Mrs Davis existed months before ChatGPT was released — but this puzzle-box drama, which is equally a sci-fi thriller, zany comedy and action-adventure odyssey, now follows the artificial intelligence-driven chatbot in reaching audiences. Indeed, don't even bother trying not to think about the similarities as you're viewing this delightfully wild and gleefully ridiculous series. There's also no point dismissing any musings that slip into your head about social media, ever-present tech, digital surveillance and the many ways that algorithms dictate our lives, either. Mrs Davis accepts that such innovations are a mere fact of life in 2023, then imagines what might happen if AI promised to solve the worlds ills and make everyone's existence better and happier. It explores how users could go a-flocking, eager to obey every instruction and even sacrifice themselves to the cause. In other words, it's about ChatGPT-like technology starting a religion in everything but name. To tell that tale, it's also about nun Simone (Gilpin, Gaslit), who was raised by magicians (Love & Death's Elizabeth Marvel and Scream's David Arquette), and enjoys sabbaticals from her convent to do whatever is necessary to bring down folks who practise her parents' vocation and the show's titular technology. She also enjoys quite the literal nuptials to Jesus Christ, is divinely bestowed names to chase in her quest and has an ex-boyfriend, Wiley (Jake McDorman, Dopesick), who's a former bullrider-turned-Fight Club-style resistance leader. And, she's tasked with a mission by the algorithm itself: hunting down the Holy Grail. Mrs Davis streams via Binge. Read our full review. SWARM Becky with the good hair gets a shoutout in Swarm. Facial bites do as well, complete with a Love & Basketball reference when the culprit flees. This seven-part series about a global pop sensation and her buzzing fans and stans also has its music icon unexpectedly drop a stunner of a visual album, ride a white horse, be married to a well-known rapper, become a mum to twins and see said husband fight with her sister in an elevator. Her sibling is also a singer, and plenty of folks contend she's the more interesting of the two. Still, Swarm's object of fascination — protagonist Dre's (Dominique Fishback, Judas and the Black Messiah) undying obsession — sells out tours, breaks Ticketmaster and headlines one of the biggest music festivals there is. And, while they call themselves the titular term rather than a hive, her devotees are zealous and then some, especially humming around on social media. Donald Glover and Janine Nabers, the show's creators and past colleagues on Glover's exceptional, now-finished Atlanta — Nabers also worked on Watchmen, too — couldn't be more upfront about who they're referring to. No one says Beyoncé's name, however, but Swarm's Houston-born music megastar is the former Destiny's Child singer in everything except moniker. In case anyone watching thinks that this series is trading in coincidences and déjà vu, or just failing to be subtle when it comes to Ni'Jah (Nirine S Brown, Ruthless), the Prime Video newcomer keeps making an overt opening declaration. "This is not a work of fiction. Any similarity to actual persons, living or dead, or events, is intentional," it announces before each episode. From there, it dives into Dre's journey as a twentysomething in 2016 who still adores her childhood idol with the same passion she did as a teen and, instalment by instalment, shows how far she's willing to go to prove it. Swarm streams via Prime Video. Read our full review. CUNK ON EARTH If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to hit Australia in 2023 so far. This series is a comedy masterclass, in fact, featuring everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. It's flat-out masterful, too, and tremendously funny. This sometimes Technotronic-soundtracked five-part show's beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has also brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. After you're done with the character's latest spin, you'll want to devour the rest ASAP. Cunk on Earth streams via Netflix. Read our full review. SHRINKING Viewers mightn't have realised they'd been lacking something crucial until now, but Shrinking serves it up anyway: a delightfully gruff Harrison Ford co-starring in a kind-hearted sitcom. Creating this therapist-focused series for Apple TV+, Bill Lawrence, Brett Goldstein and Jason Segel didn't miss this new gem's immediate potential. Lawrence and Goldstein add the show to their roster alongside Ted Lasso, which the former also co-created, and the latter stars in as the also wonderfully gruff Roy Kent to Emmy- and Golden Globe-winning effect. It too bathes in warmth amid chaos, all while understanding, exploring and accepting its characters as the flawed folks we all are. As for Segel, he's no stranger to playing the type of super-enthusiastic and super-earnest figure he inhabits again here, as seen in Freaks and Geeks and How I Met Your Mother. If Ted Lasso downplayed the soccer, instead emphasising the psychologist chats that were a pivotal part of season two, Shrinking would be the end result. Also, if Scrubs, another of Lawrence's sitcoms, followed doctors specialising in mental health rather than working in a hospital, Shrinking would also be the outcome. Round up those familiar elements and details brought over from elsewhere, and Shrinking turns them into a series that's supremely entertaining, well-cast and well-crafted — and an engaging and easy watch. The focus: Segel (Windfall) as Jimmy Laird, a shrink grieving for his wife Tia (Lilan Bowden, Murderville), making bad decisions and leaving parenting his teen daughter Alice (Lukita Maxwell, Generation) to his empty-nester neighbour Liz (Christa Miller, a Scrubs alum and also Lawrence's wife). When he decides to start checking back in, and to also give his patients like young war veteran Sean (Luke Tennie, CSI: Vegas) some tough love, it causes ripples, including for his boss Paul (Ford, The Call of the Wild) and colleague Gaby (Jessica Williams, Fantastic Beasts: The Secrets of Dumbledore). Shrinking streams via Apple TV+. Read our full review. PLATONIC Sometime in the near future, Rose Byrne, Seth Rogen and filmmaker Nicholas Stoller could easily join forces on a new rom-com. In fact, they should. Until then, buddy comedy Platonic makes a hilarious, engagingly written and directed, and perfectly cast addition to each's respective resumes. Reuniting the trio after 2014's Bad Neighbours and its 2016 sequel Bad Neighbours 2, this new series pairs Australia's comedy queen and America's go-to stoner as longterm pals who are never anything but mates — and haven't been in touch at all for years — but navigate a friendship that's as chaotic and complicated as any movie romance. That's an easy setup; however, watching the show's stars bicker, banter and face the fact that life doesn't always turn out as planned together proves as charming as it was always going to. Also, Platonic smartly doesn't try to be a romantic comedy, or to follow in When Harry Met Sally's footsteps. Instead, Platonic explores what happens when two former besties have gone their own ways, then come back together. The show knows that reconnecting with old pals is always tinged with nostalgia for the person you were when they were initially in your life. And, it's well-aware that reckoning with where you've ended up since is an immediate side effect. Enter Sylvia (Byrne, Seriously Red), who reaches out to Will (Rogen, The Super Mario Bros Movie) after hearing that he's no longer with the wife (Alisha Wainwright, Raising Dion) she didn't like. She's also a suburban-dwelling former lawyer who put work on hold to become a mother of three, and can't help feeling envious of her husband Charlie's (Luke Macfarlane, Bros) flourishing legal career. Her old BFF co-owns and runs an LA brewpub, is obsessive about his beer and hipster/slacker image, and hasn't been taking his breakup well. They couldn't be in more different places in their lives. When they meet up again, they couldn't appear more dissimilar, too. "You look like you live at Ann Taylor Loft," is Will's assessment. Sylvia calls him "a '90s grunge clown." Neither is wrong. Platonic streams via Apple TV+. Read our full review. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We also keep a running list of must-stream TV from across the year so far, complete with full reviews.
One of the best films to hit cinemas in 2023 so far gets a song stuck in viewers' heads like it's been slung there with the stickiest of webs. Just try to watch a Spider-Man movie — any Spider-Man movie, but preferably the stunning Spider-Verse movies — and not get the cartoon theme song lodged in your brain. You can't. It's impossible. Tweak the earworm of a track's lyrics, though, and you have the perfect description of the first six months of this year at the pictures: the greatest features to flicker through projectors truly did whatever movies can. Among 2023's best films so far, one made the connection between a parent and child feel so aching new yet so deeply relatable that you might've convinced yourself that you lived this plot yourself. Another hung out with a Sardinian donkey to muse on the fragility of life, plus the way that all creatures great and small that aren't human are so often disregarded. Some rightly garnered awards for exploring close bonds and impassioned fights; others hopped all over Japan, or Korea, or wherever on the globe that John Wick has a battle to wage. One made the Australian outback look otherworldly — and another toyed with reality on multiple levels, and in a stunning fashion. They're some of the films that've shone brightly at picture palaces this year — some releasing last year elsewhere, but only debuting Down Under in 2023; some so shiny and brand-new that they've only just reached cinemas. More than 15 ace movies have graced the silver screen over the past six months, of course, but if you only have time to watch or rewatch the absolute best 15, we've picked them. Happy midyear viewing. AFTERSUN The simplest things in life can be the most revealing, whether it's a question asked of a father by a child, an exercise routine obeyed almost mindlessly or a man stopping to smoke someone else's old cigarette while wandering through a holiday town alone at night. The astonishing feature debut by Scottish writer/director Charlotte Wells, Aftersun is about the simple things. Following the about-to-turn-31 Calum (Paul Mescal, The Lost Daughter) and his daughter Sophie (debutant Frankie Corio) on vacation in Turkey in the late 90s, it includes all of the above simple things, plus more. It tracks, then, that this coming-of-age story on three levels — of an 11-year-old flirting with adolescence, a dad struggling with his place in the world, and an adult woman with her own wife and family grappling with a life-changing experience from her childhood — is always a movie of deep, devastating and revealing complexity. Earning the internet's Normal People-starring boyfriend a Best Actor Oscar nomination, and deservedly so, Aftersun is a reflective, ruminative portrait of heartbreak. It's a quest to find meaning in sorrow and pain, too, and in processing the past. Wells has crafted a chronicle of interrogating, contextualising, reframing and dwelling in memories; an examination of leaving and belonging; and an unpacking of the complicated truths that a kid can't see about a parent until they're old enough to be that parent. Breaking up Calum and Sophie's sun-dappled coastal holiday with the older Sophie (Celia Rowlson-Hall, Vox Lux) watching camcorder footage from the trip, sifting through her recollections and dancing it out under a nightclub's strobing lights in her imagination, this is also a stunning realisation that we'll always read everything we can into a loved one's actions with the benefit of hindsight, but all we ever truly have is the sensation that lingers in our hearts and heads. Read our full review. EO David Attenborough's nature documentaries are acclaimed and beloved viewing, including when they're recreating dinosaurs. Family-friendly fare adores cute critters, especially if they're talking as in The Lion King and Paddington movies. The horror genre also loves pushing animals to the front, with The Birds and Jaws among its unsettling masterpieces. Earth's creatures great and small are all around us on-screen, and also off — but in EO, a donkey drama by Polish filmmaker Jerzy Skolimowski (11 Minutes), humanity barely cares. The people in this Oscar-nominated mule musing might watch movies about pets and beasts. They may have actively shared parts of their own lives existence the animal kingdom; some, albeit only a rare few, do attempt exactly that with this flick's grey-haired, white-spotted, wide-eyed namesake. But one of the tragedies at the heart of this adventure is also just a plain fact of life on this pale blue dot while homo sapiens reign supreme: that animals are everywhere all the time but hardly anyone notices. EO notices. Making his first film in seven years, and co-writing with his wife and producer Ewa Piaskowska (Essential Killing), Skolimowski demands that his audience pays attention. This is both an episodic slice-of-life portrait of EO the donkey's days and a glimpse of the world from his perspective — sometimes, the glowing and gorgeous cinematography by Michal Dymek (Wolf) takes in the Sardinian creature in all his braying, trotting, carrot-eating glory; sometimes, it takes on 'donkey vision', which is just as mesmerising to look at. Skolimowski gets inspiration from Robert Bresson's 1966 feature Au Hasard Balthazar, too, a movie that also follows the life of a hoofed, long-eared mammal. Like that French great, EO sees hardship much too often for its titular creature; however, even at its most heartbreaking, it also spies an innate, immutable circle of life. Read our full review. CLOSE When Léo (debutant Eden Dambrine) and Rémi (fellow first-timer Gustav De Waele) dash the carefree dash of youth in Close's early moments, rushing from a dark bunker out into the sunshine — from rocks and forest to a bloom-filled field ablaze with colour, too — this immediately evocative Belgian drama runs joyously with them. Girl writer/director Lukas Dhont starts his sophomore feature with a tremendous moment, one that's arresting to look at and to experience. The petals pop; the camera tracks, rushes and flies; the two 13-year-olds are as exuberant and at ease as they're ever likely to be in their lives. They're sprinting because they're happy and playing, and because summer in their village — and on Léo's parents' flower farm — is theirs for the revelling in. They don't and can't realise it because no kid does, but they're also bolting from the bliss that is their visibly contented childhood to the tussles and emotions of being a teenager. Close's title does indeed apply to its two main figures; when it comes to adolescent friendships, they couldn't be tighter. As expressed in revelatory performances by Dambrine and De Waele, each of whom are genuine acting discoveries — Dhont spotted the former on a train from Antwerp to Ghent — these boys have an innocent intimate affinity closer than blood. They're euphoric with and in each other's company, and the feature plays like that's how it has always been between the two. They've also never queried or overthought what their connection means. Before high school commences, Close shows the slumber parties, and the shared hopes and dreams. It sits in on family dinners, demonstrating the ease with which each is a part of the other's broader lives amid both sets of mums and dads; Léo's are Nathalie (Léa Drucker, Custody) and Yves (Marc Weiss, Esprits de famille), Rémi's are Sophie (Émilie Dequenne, An Ordinary Man) and Peter (Kevin Janssens, Two Summers). The film adores their rapport like a summer day adores the breeze, and conveys it meticulously and movingly. Then, when girls in Léo and Rémi's grade ask if the two are a couple, it shows the heartache and heartbreak of a boyhood bond dissolving. Read our full review. ALL THE BEAUTY AND THE BLOODSHED With photographer Nan Goldin at its centre, the latest documentary by Citizenfour Oscar-winner Laura Poitras is a film about many things, to deeply stunning and moving effect. In this Oscar-nominated movie's compilation of Goldin's acclaimed snaps, archival footage, current interviews, and past and present activism, a world of stories flicker — all linked to Goldin, but all also linking universally. The artist's bold work, especially chronicling LGBTQIA+ subcultures and the 80s HIV/AIDS crisis, frequently and naturally gets the spotlight. Her complicated family history, which spans heartbreaking loss, haunts the doco as it haunts its subject. The rollercoaster ride that Goldin's life has taken, including in forging her career, supporting her photos, understanding who she is and navigating an array of personal relationships, cascades through, too. And, so do her efforts to counter the opioid epidemic by bringing one of the forces behind it to public justice. Revealing state secrets doesn't sit at the core of the tale here, unlike Citizenfour and Poitras' 2016 film Risk — one about Edward Snowden, the other Julian Assange — but everything leads to the documentary's titular six words: All the Beauty and the Bloodshed. They gain meaning in a report spied late about the mental health of Goldin's older sister Barbara, who committed suicide at the age of 18 when Goldin was 11, and who Goldin contends was just an "angry and sexual" young woman in the 60s with repressed parents. A psychiatrist uses the eponymous phrase to describe what Barbara sees and, tellingly, it could be used to do the same with anyone. All the Beauty and the Bloodshed is, in part, a rebuke of the idea that a teenager with desires and emotions is a problem, and also a statement that that's who we all are, just to varying levels of societal acceptance. The film is also a testament that, for better and for worse, all the beauty and the bloodshed we all witness and endure is what shapes us. Read our full review. SAINT OMER In 2016, a French documentarian with Senegalese heritage attended the trial of a Senegalese French PhD student who confessed to killing her 15-month-old daughter, who was fathered by a white partner, by leaving her on the beach to the mercy of the waves at Berck-sur-Mer. The filmmaker was fixated. She describes it as an "unspeakable obsession". She was haunted by questions about motherhood, too — her mum's and her own, given that she was a young mother herself as she sat in the courtroom. That story is the story of how Saint Omer came to be, and also almost exactly the tale that the piercing drama tells. In her first narrative film after docos We and La Permanence, writer/director Alice Diop focuses on a French author and literature professor with a Senegalese background who bears witness to a trial with the same details, also of a Senegalese French woman, for the same crime. Saint Omer's protagonist shares other traits with Diop as she observes, too, and watches and listens to research a book. A director riffing on their own experience isn't novel, but Saint Omer is strikingly intimate and authentic because it's the embodiment of empathy in an innately difficult situation. It shows what it means to feel for someone else, including someone who has admitted to a shocking crime, and has been made because Diop went through that far-from-straightforward process and was galvanised to keep grappling with it. What a deeply emotional movie this 2022 Venice International Film Festival Grand Jury Prize-winning feature is, understandably and unsurprisingly. What a heartbreaking and harrowing work it proves as well. Saint Omer is also an astoundingly multilayered excavation of being in a country but never being seen as truly part it, and what that does to someone's sense of self, all through Fabienne Kabou's complicated reality and Laurence Coly's (Guslagie Malanda, My Friend Victoria) fictionalised scenario. Read our full review. WOMEN TALKING Get Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand and more exceptional women in a room, point a camera their way, let the talk flow: Sarah Polley's Women Talking does just that, and this year's Best Adapted Screenplay Oscar-winner is phenomenal. The actor-turned-filmmaker's fourth effort behind the lens after 2006's Away From Her, 2011's Take This Waltz and 2012's Stories We Tell does plenty more, but its basic setup is as straightforward as its title states. Adapted from Miriam Toews' 2018 novel of the same name, this isn't a simple or easy film, however. That book and this feature draw on events in a Bolivian Mennonite colony from 2005–9, where a spate of mass druggings and rapes of women and girls were reported at the hands of some of the group's men. In a patriarchal faith and society, women talking about their experiences is a rebellious, revolutionary act anyway — and talking about what comes next is just as charged. "The elders told us that it was the work of ghosts, or Satan, or that we were lying to get attention, or that it was an act of wild female imagination." That's teenage narrator Autje's (debutant Kate Hallett) explanation for how such assaults could occur and continue, as offered in Women Talking's sombre opening voiceover. Writing and helming, Polley declares her feature "an act of female imagination" as well, as Toews did on the page, but the truth in the movie's words is both lingering and haunting. While the film anchors its dramas in a specific year, 2010, it's purposefully vague on any details that could ground it in one place. Set within a community where modern technology is banned and horse-drawn buggies are the only form of transport, it's a work of fiction inspired by reality, rather than a recreation. Whether you're aware of the true tale behind the book going in or not, this deeply powerful and affecting picture speaks to how women have long been treated in a male-dominated world at large — and what's so often left unsaid, too. Read our full review. TÁR The least surprising aspect of Tár is also its most essential: Cate Blanchett being as phenomenal as she's ever been, plus more. The Australian Nightmare Alley, Thor: Ragnarok, Carol and The New Boy actor — "our Cate", of course — unsurprisingly scored an Oscar nomination as a result. Accolades have been showered her way since this drama about a cancelled conductor premiered at the 2022 Venice International Film Festival (the prestigious event's Best Actress gong was the first of them), deservedly so. Blanchett is that stunning in Tár, that much of a powerhouse, that adept at breathing life and complexity into a thorny figure, and that magnetic and mesmerising. Even when she hasn't been at her utmost on rare past occasions or something she's in hasn't been up to her standards — see: Don't Look Up for both — she's a force that a feature gravitates around. Tár is astonishing itself, too, but Blanchett at her finest is the movie's rock, core and reason for being. Blanchett is spectacular in Tár, and she also has to be spectacular in Tár — because Lydia Tár, the maestro she's playing, earns that term to start with in the film's on-screen world. At the feature's kickoff, the passionate and ferocious character is feted by a New Yorker Festival session led by staff writer Adam Gopnik as himself, with her achievements rattled off commandingly to an excited crowd; what a list it is. Inhabiting this part requires nothing less than utter perfection, then, aka what Tár demands herself, her latest assistant Francesca (Noémie Merlant, Jumbo), her wife Sharon (Nina Hoss, Shadowplay) and everyone else in her orbit constantly. Strong, seductive, severe, electrifying and downright exceptional, Blanchett nails it. That Lydia can't always do the same, no matter how hard, painstakingly and calculatingly she's worked to ensure that it appears otherwise, is one of the movie's main concerns. Read our full review. SPIDER-MAN: ACROSS THE SPIDER-VERSE All the money in the world can't make people in tights standing against green screens as visually spectacular and emotionally expressive as the Spider-Verse films. If it could, Spider-Man: Into the Spider-Verse and now Spider-Man: Across the Spider-Verse wouldn't be so exhilarating, look so stunning and feel so authentic. Spider-Man's eight stints in theatres with either Tobey Maguire, Andrew Garfield or Tom Holland behind the mask — and all of the latter's pop-ups in other Marvel Cinematic Universe entries, too — have splattered around plenty of charm, but they'll now always swing far below their animated counterparts. Indeed, when Spider-Man: No Way Home tried to emulate the Spider-Verse by pointing its fingers into the multiverse, as Marvel's live-action world is now fixated upon, it paled in comparison. And, that isn't just because there was no Nicolas Cage-voiced 30s-era spider-vigilante Spider-Man Noir, or a spider-robot, spider-pig, spider-car or spider-saur; rather, it's because the Spider-Verse movies are that imaginative and agile. In Across the Spider-Verse, which will be followed by 2024's Spider-Man: Beyond the Spider-Verse plus a Spider-Women spinoff after that, being an inventive spider-flick initially entails hanging with Spider-Gwen (Hailee Steinfeld, Hawkeye). In most Spidey stories, Gwen Stacy is a love interest for Peter Parker, but the Spider-Verse Gwen from Earth 65 was bitten by a radioactive spider instead. Gwen also narrates backstory details, filling in what's occurred since the first feature while playfully parodying that overused approach. Then, when the movie slides into Miles Morales' (Shameik Moore, Wu-Tang: An American Saga) life, he takes her lead, but gives it his own spin. The first Black Latin American Spider-Man is now 15, and more confident in his spider-skills and -duties. In-between being Brooklyn's friendly neighbourhood Spidey and attending a private school that'll ideally help him chase his physics dreams, he's even guest-hosted Jeopardy!. But not telling his mum Rio (Luna Lauren Velez, Power Book II: Ghost) and police-officer dad Jefferson (Brian Tyree Henry, Causeway) about his extracurricular activities is weighing upon Miles, and he's still yearning for mentorship and friendship, especially knowing that Gwen, Peter B Parker (Jake Johnson, Minx) and an infinite number of other web-slingers are all out there catching thieves just like flies. Read our full review. SUZUME When the Godzilla franchise first started rampaging through Japanese cinemas almost 70 years ago, it was in response to World War II and the horrific display of nuclear might that it unleashed. That saga and its prehistoric reptilian monster have notched up 38 movies now, and long may it continue stomping out of its homeland (the American flicks, which are set to return in 2024, have been hit-and-miss). In such creature-feature company, the films of Makoto Shinkai may not seem like they belong. So far, the writer/director behind global hits Your Name and Weathering with You, plus The Place Promised in Our Early Days, 5 Centimetres per Second, Children Who Chase Lost Voices and The Garden of Words before that, sadly hasn't applied his talents to good ol' Zilly, either. But Japan's animators have been musing on and reflecting upon destruction and devastation for decades, too — stunningly and heartbreakingly so, including in Shinkai's latest beautiful and heartfelt effort Suzume. This about a teenage girl, matters of the heart and the earth, supernatural forces and endeavouring to cancel the apocalypse firmly has its soul in the part of Honshu that forever changed in March 2011 due to the Great East Japan Earthquake and the resulting Fukushima nuclear disaster. Suzume meets its namesake (Nanoka Hara, Guilty Flag) on Kyushu, Japan's third-largest island, where she has lived with her aunt Tamaki (Eri Fukatsu, Survival Family) for 12 years. More than that, it meets its titular high schooler as she meets Souta (SixTONES singer Hokuto Matsumura), who catches her eye against the gleaming sea and sky as she's cycling to class. He's searching for ruins, and she knows just the local place — an abandoned onsen, which she beats him to. There, Suzume discovers a door standing mysteriously within a pool of water, then opens said entryway to see a shimmering sight on the other side. That's an ordinary act with extraordinary consequences, because Shinkai adores exactly that blend and clash. To him, that's where magic springs, although never while spiriting away life's troubles and sorrows. Every single door everywhere is a portal, of course, but this pivotal one takes the definition literally. Read our full review. JOHN WICK: CHAPTER 4 Almost a quarter-century has passed since Keanu Reeves uttered four iconic words: "I know kung fu". The Matrix's famous phrase was also the entire movie-going world's gain, because watching Reeves unleash martial-arts mayhem is one of cinema's purest pleasures. Notching up their fourth instalment with the obviously titled John Wick: Chapter 4, the John Wick flicks understand this. They couldn't do so better, harder, or in a bloodier fashion, in fact. Directed by Keanu's former stunt double Chad Stahelski, who helped him look like he did indeed know wushu back in the 90s, this assassin saga is built around the thrill of its star doing his violent but stylish best. Of course, The Matrix's Neo didn't just know kung fu, but gun fu — and Jonathan, as The Continental proprietor Winston (Ian McShane, Deadwood: The Movie) still likes to call him, helps turn bullet ballet into one helluva delight again and again (and again and again). Picking up where 2019's John Wick: Chapter 3 — Parabellum left off, and once again so expertly and inventively executed that it's mesmerising, John Wick: Chapter 4 saddles its namesake with a new adversary: the Marquis (Bill Skarsgård, Barbarian), emissary of the death-for-hire business' powers-that-be, aka the High Table. After Wick puts the assassin realm's head honchos on notice during an early trip to the Middle East, the series' newest nefarious figure wants rid of him forever, wasting no time laying waste to the few things left that John loves. The Marquis has company, too — seeking a big payday in the case of the mercenary known as Tracker (Shamier Anderson, Son of the South), who has his own devoted dog; and due to a familiar deal with Caine (Donnie Yen, Mulan), a martial-arts whiz who is blind, and an old friend of John. That said, Wick has pals in this clash between the hitman establishment and its workers, which doubles as an eat-the-rich skirmish, including Winston, the Bowery King (Laurence Fishburne, All the Old Knives), and the Osaka Continental's Shimazu (Hiroyuki Sanada, Bullet Train) and Akira (Rina Sawayama, Turn Up Charlie). Read our full review. INFINITY POOL Making not just another body-horror spectacle but an eat-the-rich sci-fi satire as well, Brandon Cronenberg couldn't have given Infinity Pool a better title. Teardowns of the wealthy and entitled now seem to flow on forever, glistening endlessly against the film and television horizon; however, the characters in this particularly savage addition to the genre might wish they were in The White Lotus or Succession instead. In those two hits, having more money than sense doesn't mean witnessing your own bloody execution but still living to tell the tale. It doesn't see anyone caught up in cloning at its most vicious and macabre, either. And, it doesn't involve dipping into a purgatory that sports the Antiviral and Possessor filmmaker's penchant for futuristic corporeal terrors, as clearly influenced by his father David Cronenberg (see: Crimes of the Future, Videodrome and The Fly), while also creating a surreal hellscape that'd do Twin Peaks great David Lynch, Climax's Gaspar Noe and The Neon Demon's Nicolas Winding Refn proud. Succession veteran Alexander Skarsgård plunges into Infinity Pool's torments playing another member of the one percent, this time solely by marriage. "Where are we?", author James Foster asks his wife Em (Cleopatra Coleman, Dopesick) while surveying the gleaming surfaces, palatial villas and scenic beaches on the fictional island nation of Li Tolqa — a question that keeps silently pulsating throughout the movie, and also comes tinged with the reality that James once knew a life far more routine than this cashed-up extravagance. Cronenberg lets his query linger from the get-go, with help from returning Possessor cinematographer Karim Hussain, who visually inverts its stroll through its lavish setting within minutes. No one in this film's frames is in Kansas anymore, especially when fellow guest Gabi (Mia Goth, Pearl) and her husband Alban (Jalil Lespert, Beasts) invite the pair for an illicit drive and picnic beyond the gates the following day, which sparks a tragic accident, arrest, death sentence and wild get-out-of-jail-free situation. Read our full review. BROKER No matter how Hirokazu Kore-eda's on-screen families come to be, if there's any actual blood between them, whether they're grifting in some way or where in the world they're located, the Japanese writer/director and Shoplifters Palme d'Or winner's work has become so beloved — so magnificent, too — due to his care and sincerity. A Kore-eda film is a film of immense empathy and, like Like Father, Like Son, Our Little Sister, After the Storm and The Third Murder also in the prolific talent's past decade, Broker is no different. The setup here is one of the filmmaker's murkiest, with the feature's name referring to the baby trade. But showing compassion and humanity isn't up for debate in Kore-eda's approach. He judges the reality of modern-day life that leads his characters to their actions, but doesn't judge his central figures. In the process, he makes poignant melodramas that are also deep and thoughtful character studies, and that get to the heart of the globe's ills like the most cutting slices of social realism. It isn't just to make a buck that debt-ridden laundromat owner Sang-hyun (Song Kang-ho, Parasite) and orphanage-raised Dong-soo (Gang Dong-won, Peninsula) take infants abandoned to the Busan Family Church's 'baby box' — a chute that's exactly what it sounds like, available to mothers who know they can't embrace that part for whatever reason — then find good families to sell them to. There's a cash component, of course, but they're convinced that their gambit is better than letting children languish in the state system. In Kore-eda's usual kindhearted manner, Broker sees them with sensitivity. Even if blue hues didn't wash through the film's frames, nothing is ever black and white in the director's movies. The same understanding and tenderness flows towards mothers like So-young (Lee Ji-eun, Hotel Del Luna, aka K-Pop star IU), whose decision to leave Woo-sung (debutant Park Ji-yong) isn't easily made but puts Broker on its course. Read our full review. BEAU IS AFRAID Beau is afraid. Beau is anxious. Beau is alone. Beau is alive. Any of these three-word sentences would make a fitting name for Ari Aster's third feature, which sees its titular middle-aged figure not just worry about anything and everything, but watch his fears come true, concerns amplify and alienation grow — and then some. And, in the Hereditary and Midsommar filmmaker's reliably dread-inducing hands, no matter whether Beau (Joaquin Phoenix, C'mon C'mon) is wallowing in his apartment solo, being welcomed into someone else's family or stumbling upon a travelling theatre troupe in the woods, he knows that he's truly on his own in this strange, sad, surreal and savage world, too. More than that, he's well-aware that this is what life is inescapably like for all of us, regardless of how routine, chaotic or grand our individual journeys from emerging out of our mother's womb to sinking into death's eternal waters happen to prove. Aster has opted for Beau Is Afraid as a moniker, with this horror-meets-tragicomedy mind-bender a filmic ode to existential alarm — and, more than that, a picture that turns catastrophising into a feature. Psychiatrists will have a field day; however, experiencing the latest in the writer/director's growing line of guilt-dripping celluloid nightmares, so should viewers in general. Even with Chilean The Wolf House helmers Cristóbal León and Joaquin Cosiña lending their help to the three-hour movie's midsection, where animation adds another dreamlike dimension to a picture book-style play within an already fantastical-leaning flick frequently running on dream logic, Aster embraces his favourite deranged terrain again. He makes bold choices, doesn't think twice about challenging himself and his audience, elicits a stunning lead performance and dances with retina-searing imagery, all while pondering inherited trauma, the emotional ties that bind and the malevolence that comes with dependence. Read our full review. LIMBO When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen is back with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Limbo's setting: Coober Pedy, the globally famous "opal capital of the world" that's known for its underground dwellings beneath the blazing South Australian earth, but reimagined as the fictional locale that shares the film's name — a place unmistakably sporting an otherworldly topography dotted by dugouts to avoid the baking heat, and that hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Blaze), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, such as while talking to the missing Charlotte Hayes' brother Charlie (Rob Collins, The Drover's Wife The Legend of Molly Johnson) and sister Emma (Natasha Wanganeen, The Survival of Kindness), this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo talking. Read our full review. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Read our full review.
Oh we love cities. Make no mistake. But venture beyond the borders and go further out and you'll discover a haul of destinations rich with unique events and adventures worth road tripping for. Whether your interests are culinary, cultural or the creative arts, we've teamed up with Destination NSW to curate a guide to the biggest regional events and festivals to keep you entertained during the cooler months. From floral displays to food-packed fiestas, fruit picking and free live music performances, it's time to fuel up the car, fire up your Spotify playlist and settle in to discover the best that New South Wales has to offer. Explore the best of NSW's Regional Events and Festivals at the Destination NSW website.
Sydney has really stepped up its art game this year. In addition to increased investment in some of our most beloved galleries, the city has secured exhibitions by some of the most influential artists of their generation from home and abroad across the next few months. From prizes celebrating Australia's best contemporary art to retrospectives from the masters, there's something for everyone whether you're a studied aficionado or a casual fan. Each of the following exhibitions is worthy of an article in itself, but let's start with a little taster. We've teamed up with Destination NSW to give you the lowdown on the seven of the most anticipated exhibitions to have on your radar.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from June's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW I'M A VIRGO No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, as Riley is, and he wants to ensure that his audience knows it. Indeed, I'm a Virgo is a show with something to say, and forcefully. Its creator is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. As Cootie wades through these experiences himself, there isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. I'm a Virgo streams via Prime Video. Read our full review. BLACK MIRROR When Ron Swanson discovered digital music, the tech-phobic Parks and Recreation favourite was uncharacteristically full of praise. Played by Nick Offerman (The Last of Us) at his most giddily exuberant, he badged the iPod filled with his favourite records an "excellent rectangle". In Black Mirror, the same shape is everywhere. The Netflix series' moniker even stems from the screens and gadgets that we all now filter life through daily and unthinkingly. In Charlie Brooker's (Cunk on Earth) eyes since 2011, however, those ever-present boxes and the technology behind them are far from ace. Instead, befitting a dystopian anthology show that has dripped with existential dread from episode one, and continues to do so in its long-awaited sixth season, those rectangles keep reflecting humanity at its bleakest. Black Mirror as a title has always been devastatingly astute: when we stare at a TV, smartphone, computer or tablet, we access the world yet also reveal ourselves. It might've taken four years to return after 2019's season five, but Brooker's hit still smartly and sharply focuses on the same concern. Indeed, this new must-binge batch of nightmares begins with exactly the satirical hellscape that today's times were bound to inspire. Opening chapter Joan Is Awful, with its AI- and deepfake-fuelled mining of everyday existence for content, almost feels too prescient — a charge a show that's dived into digital resurrections, social scoring systems, killer VR and constant surveillance knows well. Brooker isn't afraid to think bigger and probe deeper in season six, though; to eschew obvious targets like ChatGPT and the pandemic; and to see clearly and unflinchingly that our worst impulses aren't tied to the latest widgets. Black Mirror streams via Netflix. Read our full review. GUY RITCHIE'S THE COVENANT Announcing his cinematic arrival with a pair of slick, witty, twisty and fast-paced British heist flicks, Guy Ritchie achieved at the beginning of his career something that many filmmakers strive for their whole lives: he cemented exactly what his features are in the minds of audiences. Lock, Stock and Two Smoking Barrels and Snatch made "Guy Ritchie movie" an instantly understood term, in fact, as the writer/director has attempted to capitalise on since with differing results (see: Revolver, RocknRolla, The Gentlemen and Operation Fortune: Ruse de Guerre). Ritchie's third film, the Madonna-starring Swept Away, has also proven just as emblematic of his career, however. He loves pumping out stereotypical Guy Ritchie movies — he even adores making them Sherlock Holmes and King Arthur flicks, with mixed fortunes — but he also likes leaving his own conventions behind in The Man From UNCLE, Aladdin, Wrath of Man and now Guy Ritchie's The Covenant. Perhaps Ritchie's name is in the title of this Afghanistan-set action-thriller to remind viewers that the film does indeed boast him behind the lens, and as a cowriter; unlike with fellow 2023 release Operation Fortune: Ruse de Guerre, they wouldn't guess otherwise. Clunky moniker aside, Guy Ritchie's The Covenant is pared down, gripping and intense, and home to two excellent performances by Jake Gyllenhaal (Strange World) as Master Sergeant John Kinley and Dar Salim (Tatort) as his interpreter Ahmed. As the former leads a team that's looking for IED factories, the pair's collaboration is tentative at first. Then a raid goes wrong, Ahmed saves Kinley's life, but the recognition and support that'd be afforded an American solider in the same situation doesn't go the local's way. Where Afghan interpreters who aid US troops are left after their task is complete is a weighty subject, and treated as such in this grounded and moving film. Guy Ritchie's The Covenant streams via Prime Video. FLAMIN' HOT How? In pop culture's current true-crime and murder-mystery trends, that's a key question, with audiences keen to discover how killers are caught — or sometimes aren't. It's also the query at the heart of another on-screen obsession of late: product films. These aren't the movies that turn every favourite character and premise possible into never-ending franchises, as seen in the many various caped-crusader universes. Rather, they're origin stories behind everything from games (Tetris) to shoes (Air) and mobile phones (BlackBerry), and they just keep arriving in 2023. Marking the feature directorial debut of Desperate Housewives actor Eva Longoria, Flamin' Hot is firmly a product film, as Cheetos fans will instantly know. If you've ever wondered how the Frito-Lay-owned brand's spiciest variety came about in the 90s — and became so popular — this likeable, energetically made movie provides the answer while itself rolling out a crowd-pleasing formula. Eating the titular snack while you watch is optional, but expect the hankering to arise either way. This story belongs to Richard Montañez — and it's also an underdog tale, and an account of chasing the American dream, especially when it seems out of reach. Flamin' Hot's pivotal figure (Jesse Garcia, Ambulance) started working at Frito-Lay to support his family, after living the gang life since high school to rebel against his dad, but he wants to be more than a janitor. His attempts to work his way up the company ladder falter not through his lack of trying or willingness to learn everything there is about making junk food, but due to a stratified hierarchy that doesn't reward his efforts. But, as he takes cues about the factory's operation from engineer Clarence (Dennis Haysbert, Lucifer), who also struggles to get promoted, he realises that chilli-flavoured Cheetos would be a smash within the Latino community. His ever-supportive wife Judy (Annie Gonzalez, Vida) is committed to helping, as are his family and friends in general — but if getting Frito-Lay CEO Roger Enrico (Tony Shalhoub, The Marvelous Mrs Maisel) onboard was easy or straightforward, there wouldn't be a film. Flamin' Hot streams via Disney+. BASED ON A TRUE STORY Murder-mystery comedies: everyone's making them, and on screens big (Knives Out and its sequel, See How They Run) and small (Only Murders in the Building, The Afterparty, Dead to Me). In fact, Based on a True Story star Kaley Cuoco has been in one lately thanks to two seasons of dark comedy-slash-whodunnit thriller The Flight Attendant. But the difference with the genre's latest streaming example is befriending a serial killer, which is the choice that Cuoco's pregnant real-estate agent Ava Bartlett and her just-fired tennis-coach husband Nathan (Chris Messina, The Boogeyman) make to chase a lucrative payday. How does palling around with the Westside Ripper, who has been terrorising Los Angeles, benefit the financially struggling couple? By making a podcast with them, as Australian-born creator and writer Craig Rosenberg (The Boys) finds his own way to riff on the Serial-sparked true-crime audio obsession. Ava is a devotee of folks talking about grisly deeds; if Only Murders in the Building existed in the Based on a True Story universe, she'd be its number-one fan. And, after working out that she and Nathan know the killer, it's her idea to hustle that information into what she hopes will be the next big podcast, all by enlisting said criminal to natter on with them. Based on a True Story clearly skews more darkly satirical than the fellow streaming series it most closely resembles — well, that and The Flight Attendant and also country-club comedy Red Oaks. It's messier as well, sometimes feeling like it's throwing in everything it can, and Cuoco could've easily walked out of her last series and straight into this. Still, with its love of twists, willingness to call out how the world's murder fixation is so rarely about the victims, and a well-cast lineup of talent that also includes Tom Bateman (Death on the Nile) and Liana Liberato (Scream VI), it's quickly addictive — yes, like the podcasts it's parodying. Based on a True Story streams via Binge. NEW SHOWS TO CHECK OUT WEEK BY WEEK DEADLOCH Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and one of the streaming highlights of the year. Deadloch streams via Prime Video. Read our full review. HIJACK Whether Idris Elba will ever get to play James Bond is still yet to be seen, but he resourcefully endeavours to save lives and bring down nefarious folks in Hijack, and adds another prime example of why he'd be excellent as 007 to his resume. This new series is also basically Idris Elba on a Plane, sans slithering snakes — or Idris Elba Cancels the London-Bound Apocalypse. Die Hard with Idris Elba, 24: Idris Elba: they fit as well. Fresh from battling lions in Beast, the Luther star plays Sam Nelson, a seasoned negotiator on his way home to the UK from Dubai, and a man who just wants to try to patch things up with his estranged wife Marsha (Christine Adams, The Mandalorian) and spend time with his teenage son Kai (Jude Cudjoe, Halo). Then fellow Brit Stuart (Neil Maskell, Small Axe) and his gun-toting team take over the aircraft before the first of the journey's seven hours is out, forcing Sam to play hero to try to keep himself and his fellow passengers alive. Unfurling in seven episodes, Hijack gets its audience experiencing the tension, chaos and life-or-death stakes in tandem with Sam, the rest of the flight's hostages, and the people on the ground across several countries that are attempting to work out what's going on. Creators George Kay (Lupin) and Jim Field Smith (Litvinenko) prove masterful with suspense, and at keeping viewers hooked — and, pivotally, at knowing exactly the kind of series this wants to be, the conventions and cliches it's leaning into, what's soared there before, and how to do it well. It can't be underestimated how crucial Elba is, though. Cast the wrong person as Sam, and the ability to get everyone from pilots and crew to agitated flyers, wannabe saviours and air traffic control on his side would seem ludicrous — and, at times, the hijackers as well. Hijack streams via Apple TV+. SECRET INVASION "I've had it with these Marvel tales without Nick Fury as the lead" isn't something that Samuel L Jackson has publicly uttered, with or without expletives — yes, more than a few things have Snakes on a Plane vibes this month (see also: Hijack above) — but viewers might've thought it over the past 15 years. The character that masterminded the Avengers Initiative initially appeared in 2008's very-first Marvel Cinematic Universe movie. When Guardians of the Galaxy Vol. 3 reached cinemas earlier in 2023, the franchise hit 32 cinema outings to-date, many with Fury playing a part. And yet, none have had his name in their moniker. That remains the case now, and on the small screen as well, where the MCU has also been spreading its exploits. Secret Invasion is still exactly what Marvel has needed for over a decade, however: a Fury-centric story. Perhaps Disney realises that, too; as well as bringing back Talos (Ben Mendelsohn, Cyrano), and introducing MI6's Sonya Falsworth (Olivia Colman, Empire of Light), insurrectionist leader Gravik (Kingsley Ben-Adir, One Night in Miami) and fellow revolutionary G'iah (Emilia Clarke, Last Christmas), Secret Invasion's first two episodes feature laments aplenty about Fury's absence. Within the ever-sprawling MCU's interconnected narrative, he's been AWOL lately for two reasons: The Blip, aka Avengers: Infinity War's consequential finger-snapping; and a stint since working in space, which'll get more attention when The Marvels drops on the silver screen in November 2023. Extraterrestrial race the Skrulls has noticed Fury's departure keenly, after he promised to help them find their own planet in Captain Marvel but hasn't followed through so far. Cue two factions of the shapeshifting refugees in Secret Invasion: those still waiting and others now willing to fight to take earth as their own instead. Cue far more Skrulls on Marvel's main base than humans, including Fury, know about as well. Secret Invasion streams via Disney+. Read our full review. THE CROWDED ROOM Since 2016, Tom Holland has been so busy doing whatever a spider can that stints away from his Marvel Cinematic Universe web-slinging have been few and far between. And varied, including the long-delayed (and terrible) Chaos Walking and the entertaining-enough Uncharted movie adaptation, plus straight-to-streaming flicks The Devil All the Time and Cherry. The Crowded Room boasts his best performance yet in his Spider-Man era, and provides a reminder that the star of The Impossible and The Lost City of Z, plus lover of dancing to Rihanna's 'Umbrella', will be absolutely fine when he stops pondering how great power begets great responsibility. His new ten-part series doesn't always meet its hefty ambitions, but it's always thoughtful in its attempts as it heads back to the 70s, spends time with a young man being interrogated about his past, explores mental health and, like most things of late, revels in being a mystery. Holland plays Danny Sullivan, who starts the serious jittering with nerves at New York City's Rockefeller Center. He's with Ariana (Sasha Lane, Conversations with Friends), they have a gun, and opening fire is their aim — but, although Danny doesn't want to shoot, he's swiftly in police custody. Lead cop Matty (Thomas Sadoski, Devotion) thinks that the public incident might just be the latest in a series of incidents. Enter Rya (Amanda Seyfried, The Dropout), who spends lengthy sessions interrogating Danny about his past as he awaits trial. The Crowded Room always remains a crime drama but, as it pieces together its protagonist's complicated story complete with glimpses of his doting mother Candy (Emmy Rossum, Angelyne) and abusive stepfather Marlin (Will Chase, Dopesick), it has much more on its mind. The twist in the premise is teased out, hardly difficult to guess, yet gives Holland ample room to turn in a compellingly pliable performance — in a series the brings 1981 non-fiction novel The Minds of Billy Milligan to the screen, albeit using it as inspiration rather than straight-out adapting it, a task that's been attempted since the 90s. The Crowded Room streams via AppleTV+. RECENT CINEMA RELEASES YOU NEED TO CATCH UP WITH ASAP ALL THE BEAUTY AND THE BLOODSHED With photographer Nan Goldin at its centre, the latest documentary by Citizenfour Oscar-winner Laura Poitras is a film about many things, to deeply stunning and moving effect. In this Oscar-nominated movie's compilation of Goldin's acclaimed snaps, archival footage, current interviews, and past and present activism, a world of stories flicker — all linked to Goldin, but all also linking universally. The artist's bold work, especially chronicling LGBTQIA+ subcultures and the 80s HIV/AIDS crisis, frequently and naturally gets the spotlight. Her complicated family history, which spans heartbreaking loss, haunts the doco as it haunts its subject. The rollercoaster ride that Goldin's life has taken, including in forging her career, supporting her photos, understanding who she is and navigating an array of personal relationships, cascades through, too. And, so do her efforts to counter the opioid epidemic by bringing one of the forces behind it to public justice. Revealing state secrets doesn't sit at the core of the tale here, unlike Citizenfour and Poitras' 2016 film Risk — one about Edward Snowden, the other Julian Assange — but everything leads to the documentary's titular six words: All the Beauty and the Bloodshed. They gain meaning in a report spied late about the mental health of Goldin's older sister Barbara, who committed suicide at the age of 18 when Goldin was 11, and who Goldin contends was just an "angry and sexual" young woman in the 60s with repressed parents. A psychiatrist uses the eponymous phrase to describe what Barbara sees and, tellingly, it could be used to do the same with anyone. All the Beauty and the Bloodshed is, in part, a rebuke of the idea that a teenager with desires and emotions is a problem, and also a statement that that's who we all are, just to varying levels of societal acceptance. The film is also a testament that, for better and for worse, all the beauty and the bloodshed we all witness and endure is what shapes us. All the Beauty and the Bloodshed streams via Docplay. Read our full review. BLAZE In the name of its protagonist, and the pain and fury that threatens to parch her 12-year-old existence, Del Kathryn Barton's first feature scorches and sears. It burns in its own moniker, too, and in the blistering alarm it sounds against an appalling status quo: that experiencing, witnessing and living with the aftermath of violence against women is all too common, heartbreakingly so, including in Australia where one woman a week on average is killed by her current or former partner. Blaze has a perfect title, with the two-time Archibald Prize-winning artist behind it crafting a movie that's alight with anger, that flares with sorrow, and that's so astutely and empathetically observed, styled and acted that it chars. Indeed, it's frequently hard to pick which aspect of the film singes more: the story about surviving what should be unknown horrors for a girl who isn't even yet a teen, the wondrously tactile and immersive way in which Blaze brings its namesake's inner world to the screen, or the stunning performance by young actor Julia Savage (Mr Inbetween) in its central part. There are imagined dragons in Blaze, but Game of Thrones or House of the Dragon, this isn't — although Jake (Josh Lawson, Mortal Kombat), who Blaze spots in an alleyway with Hannah (Yael Stone, Blacklight), has his lawyer (Heather Mitchell, Bosch & Rockit) claim that his accuser knows nothing. With the attack occurring mere minutes into the movie, Barton dedicates the feature's bulk to how her lead character copes, or doesn't. Being questioned about what she saw in court is just one way that the world tries to reduce her to ashes, but the embers of her hurt and determination don't and won't die. Blaze's father Luke (Simon Baker, Limbo), a single parent, understandably worries about the impact of everything blasting his daughter's way. As she retreats then acts out, cycling between both and bobbing in-between, those fears are well-founded. Blaze is a coming-age-film — a robbing-of-innocence movie as well — but it's also a firm message that there's no easy or ideal response to something as awful as its titular figure observes. Blaze streams via Stan and Binge. Read our full review. SHE SAID Questions flow freely in She Said, the powerful and methodical All the President's Men and Spotlight-style newspaper drama from director Maria Schrader (I'm Your Man) and screenwriter Rebecca Lenkiewicz (Small Axe) that tells the story behind the past decade's biggest entertainment story. On-screen, Zoe Kazan (Clickbait) and Carey Mulligan (The Dig) tend to be doing the asking, playing now Pulitzer Prize-winning New York Times journalists Jodi Kantor and Megan Twohey. They query Harvey Weinstein's actions, including his treatment of women. They gently and respectfully press actors and Miramax employees about their traumatic dealings with the Hollywood honcho, and they politely see if some — if any — will go on the record about their experiences. And, they question Weinstein and others at his studio about accusations that'll lead to this famous headline: "Harvey Weinstein Paid Off Sexual Harassment Accusers for Decades". As the entire world read at the time, those nine words were published on October 5, 2017, along with the distressing article that detailed some — but definitely not all — of Weinstein's behaviour. Everyone has witnessed the fallout, too, with Kantor and Twohey's story helping spark the #MeToo movement, electrifying the ongoing fight against sexual assault and gender inequality in the entertainment industry, and shining a spotlight on the gross misuses of authority that have long plagued Tinseltown. The piece also brought about Weinstein's swift downfall. As well as being sentenced to 23 years in prison in New York in 2020, he's currently standing trial for further charges in Los Angeles. Watching She Said, however, more questions spring for the audience. Here's the biggest heartbreaker: how easily could Kantor and Twohey's article never have come to fruition at all, leaving Weinstein free to continue his predatory harassment? She Said streams via Netflix and Binge. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April and May this year. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Opinions may be divided on what is truly the best medium of entertainment, but there's no denying the simple pleasure of going to a musical. The feeling of being swept off your feet by a particularly memorable tune, doubled over laughing or drenched in your own tears, its a stagecraft that's captured the love of millions around the world. This year is is no exception for killer musicals, so we partnered with Destination NSW to curate a guide to the biggest musicals coming to stages in Sydney in 2023. Whether you want to laugh, sing or cry, there's a stage show below for you.
At this point in human history, we've left the world 'normal' far behind us. We live in an age of out-there ideas across all mediums, from entertainment to food and beyond. So why limit yourself to routine plans, basic weekenders and tickets to the same old festivals when you could shake up your calendar with something a little more unique? There's no shortage of offbeat events taking place in New South Wales in 2023, so we've partnered with Destination NSW to showcase some of the more left-of-centre and memorable attractions across this vast state. From existential dread to fabulous festivals and some good old-fashioned silly fun, we invite you to consider the following...
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've been under the weather. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are eight that you can watch right now at home. JOHN WICK: CHAPTER 4 Almost a quarter-century has passed since Keanu Reeves uttered four iconic words: "I know kung fu". The Matrix's famous phrase was also the entire movie-going world's gain, because watching Reeves unleash martial-arts mayhem is one of cinema's purest pleasures. Notching up their fourth instalment with the obviously titled John Wick: Chapter 4, the John Wick flicks understand this. They couldn't do so better, harder, or in a bloodier fashion, in fact. Directed by Keanu's former stunt double Chad Stahelski, who helped him look like he did indeed know wushu back in the 90s, this assassin saga is built around the thrill of its star doing his violent but stylish best. Of course, The Matrix's Neo didn't just know kung fu, but gun fu — and Jonathan, as The Continental proprietor Winston (Ian McShane, Deadwood: The Movie) still likes to call him, helps turn bullet ballet into one helluva delight again and again (and again and again). Picking up where 2019's John Wick: Chapter 3 — Parabellum left off, and once again so expertly and inventively executed that it's mesmerising, John Wick: Chapter 4 saddles its namesake with a new adversary: the Marquis (Bill Skarsgård, Barbarian), emissary of the death-for-hire business' powers-that-be, aka the High Table. After Wick puts the assassin realm's head honchos on notice during an early trip to the Middle East, the series' latest nefarious figure wants rid of him forever, wasting no time laying waste to the few things left that John loves. The Marquis has company, too — seeking a big payday in the case of the mercenary known as Tracker (Shamier Anderson, Son of the South), who has his own devoted dog; and due to a familiar deal with Caine (Donnie Yen, Mulan), a martial-arts whiz who is blind, and an old friend of John. That said, Wick has pals in this clash between the hitman establishment and its workers, which doubles as an eat-the-rich skirmish, including Winston, the Bowery King (Laurence Fishburne, All the Old Knives), and the Osaka Continental's Shimazu (Hiroyuki Sanada, Bullet Train) and Akira (Rina Sawayama, Turn Up Charlie). John Wick: Chapter 4 is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BEAU IS AFRAID Beau is afraid. Beau is anxious. Beau is alone. Beau is alive. Any of these three-word sentences would make a fitting name for Ari Aster's third feature, which sees its titular middle-aged figure not just worry about anything and everything, but watch his fears come true, concerns amplify and alienation grow — and then some. And, in the Hereditary and Midsommar filmmaker's reliably dread-inducing hands, no matter whether Beau (Joaquin Phoenix, C'mon C'mon) is wallowing in his apartment solo, being welcomed into someone else's family or stumbling upon a travelling theatre troupe in the woods, he knows that he's truly on his own in this strange, sad, surreal and savage world, too. More than that, he's well-aware that this is what life is inescapably like for all of us, regardless of how routine, chaotic or grand our individual journeys from emerging out of our mother's womb to sinking into death's eternal waters happen to prove. Aster has opted for Beau Is Afraid as a moniker, with this horror-meets-tragicomedy mind-bender a filmic ode to existential alarm — and, more than that, a picture that turns catastrophising into a feature. Psychiatrists will have a field day; however, experiencing the latest in the writer/director's growing line of guilt-dripping celluloid nightmares, so should viewers in general. Even with Chilean The Wolf House helmers Cristóbal León and Joaquin Cosiña lending their help to the three-hour movie's midsection, where animation adds another dreamlike dimension to a picture book-style play within an already fantastical-leaning flick frequently running on dream logic, Aster embraces his favourite deranged terrain again. He makes bold choices, doesn't think twice about challenging himself and his audience, elicits a stunning lead performance and dances with retina-searing imagery, all while pondering inherited trauma, the emotional ties that bind and the malevolence that comes with dependence. Beau Is Afraid is available to stream via YouTube Movies, iTunes and Prime Video. Read our full review. BROKER No matter how Hirokazu Kore-eda's on-screen families come to be, if there's any actual blood between them, whether they're grifting in some way or where in the world they're located, the Japanese writer/director and Shoplifters Palme d'Or winner's work has become so beloved — so magnificent, too — due to his care and sincerity. A Kore-eda film is a film of immense empathy and, like Like Father, Like Son, Our Little Sister, After the Storm and The Third Murder also in the prolific talent's past decade, Broker is no different. The setup here is one of the filmmaker's murkiest, with the feature's name referring to the baby trade. But showing compassion and humanity isn't up for debate in Kore-eda's approach. He judges the reality of modern-day life that leads his characters to their actions, but doesn't judge his central figures. In the process, he makes poignant melodramas that are also deep and thoughtful character studies, and that get to the heart of the globe's ills like the most cutting slices of social realism. It isn't just to make a buck that debt-ridden laundromat owner Sang-hyun (Song Kang-ho, Parasite) and orphanage-raised Dong-soo (Gang Dong-won, Peninsula) take infants abandoned to the Busan Family Church's 'baby box' — a chute that's exactly what it sounds like, available to mothers who know they can't embrace that part for whatever reason — then find good families to sell them to. There's a cash component, of course, but they're convinced that their gambit is better than letting children languish in the state system. In Kore-eda's usual kindhearted manner, Broker sees them with sensitivity. Even if blue hues didn't wash through the film's frames, nothing is ever black and white in the director's movies. The same understanding and tenderness flows towards mothers like So-young (Lee Ji-eun, Hotel Del Luna, aka K-Pop star IU), whose decision to leave Woo-sung (debutant Park Ji-yong) isn't easily made but puts Broker on its course. Broker is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. PEARL 70s-era porn, but make it a slasher flick: when Ti West's X marked the big-screen spot in 2022, that's one of the tricks it pulled. The playful, smart and gory horror standout also arrived with an extra spurt of good news, with West debuting it as part of a trilogy. 30s- and 40s-period technicolour, plus 50s musicals and melodramas, but splatter them with kills, genre thrills and ample blood spills: that's what the filmmaker behind cult favourites The House of the Devil and The Innkeepers now serves up with X prequel Pearl. Shot back to back with its predecessor, sharing mesmerising star Mia Goth (Emma), and co-written by her and West — penned during their two-week COVID-19 quarantine period getting into New Zealand to make the initial movie, in fact — it's a gleaming companion piece. It's also a savvy deepening and recontextualising of a must-see scary-movie franchise that's as much about desire, dreams and determination as notching up deaths. In one of her X roles, Goth was magnetic as aspiring adult-film actor Maxine Minx, a part she'll reprise in the trilogy's upcoming third instalment MaXXXine. As she proved first up and does again in Pearl, she plays nascent, yearning, shrewd and resolute with not just potency, but with a pivotal clash between fortitude and vulnerability; when one of Goth's youthful X Universe characters says that they're special or have the X factor, they do so with an astute blend of certainty, good ol' fashioned wishing and hoping, and naked self-convincing. This second effort's namesake, who Goth also brought to the screen in her elder years in X, wants to make it in the pictures, too. Looking to dance on her feet instead of horizontally, stardom is an escape (again), but Pearl's cruel mother Ruth (Tandi Wright, Creamerie), a religiously devout immigrant from Germany turned bitter from looking after her ailing husband (Mathew Sunderland, The Stranger), laughs at the idea. Pearl is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. POLITE SOCIETY Fists fly in Polite Society. Feet as well. When the latter aren't suspended in mid-air attempting to execute stunning kung-fu stunts, they just might be busting out their best Bollywood dance moves. Words are screamed and shouted, often between sisters Ria (Priya Kansara, Bridgerton) and Lena Khan (Ritu Arya, The Umbrella Academy), who are thick as thieves until they suddenly aren't. Schoolyard fights rumble like they've spilled straight out an action movie, which budding stuntperson Ria dreams of being in. Showdowns with Lena's future mother-in-law Raheela Shah (Nimra Bucha, Ms Marvel) could've burst from a Quentin Tarantino film. Espionage missions are undertaken by high schoolers, as are heists at a spectacular Muslim wedding in a lavish London mansion. Lena scoffs down a whole roast chicken on a public footpath like it's the only thing she's ever eaten. Ria and Lena free themselves from their angst by letting loose in their living room to The Chemical Brothers' dance-floor filler 'Free Yourself'. And being a dutiful member of her community is the absolute worst fate that could await an ass-kicking British Pakistani teenage girl. In other words, a little bit of everything happens in Polite Society, the anarchic and eye-popping debut feature from We Are Lady Parts creator Nida Manzoor. That includes nods to Jackie Chan movies and The Matrix, plus Bond-style antics and Ennio Morricone-esque music drops. Add in riffs on Get Out, Crouching Tiger, Hidden Dragon-inspired wuxia, video-game flourishes, musical dance numbers, and nudges in Jane Austen and Crazy Rich Asians author Kevin Kwan's directions. Scott Pilgrim vs the World and Kill Bill leave imprints. When it examines intergenerational pressure, so do Everything Everywhere All At Once and Turning Red. Whatever this high-energy charmer throws at the screen, it always serves the narrative. It also showcases Manzoor's lively and bold filmmaking eye. But more importantly, Polite Society is the spin-kicking whirlwind it is because that's what it feels like to be a schoolgirl training in martial arts, yearning to pack a literal punch, desperate to become anything but what society demands and tired of being dictated to — and saddled with cultural expectations but determined to propel along one's own path in general, too. Polite Society is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. OF AN AGE You Won't Be Alone isn't just the name of Macedonian Australian writer/director Goran Stolevski's debut feature, which hit cinemas in 2022. It's also a phrase that applies now that his second film is here. Of an Age initially premiered in the same year as well, bowing in Melbourne International Film Festival's opening-night slot — and, while it tells of growing up queer in 90s Melbourne, falling in love for the first time, then sifting through the aftermath a decade later, it's a glorious companion piece to its predecessor. No one is chosen by a sorceress here. The place isn't Macedonia, the period isn't the 19th century and supernatural shapeshifting isn't part of the narrative. But even just a mere duo of movies into his helming career, Stolevski makes pictures that profoundly ruminate upon two of life's purest truths: that absolutely everything changes and, consequently, nothing completely lasts forever. 1999 is inching towards becoming Y2K when Of an Age begins, and 17-year-old Nikola aka Kol (Elias Anton, Australia Day) is only hours from taking to the floor at a Melbourne dance championship. That's how his day is meant to pan out, at least, and what he's preparing for when the film meets him practising his smooth ballroom moves in his suburban garage — conjuring up visions of John Travolta in a flick made famous two decades prior, in fact. Kol's ordinary morning fever breaks, however, thanks to friend and dance partner Ebony (Hattie Hook, Savage River) and her bender of an evening. She's awoken on the beach in Altona with no idea where she is, scrounging up change for the payphone call to say she thinks she'll miss the recital unless Kol can pick her up. To attempt to make his big performance, he has to convince Ebony's older brother Adam (Thom Green, Eden) to play taxi — and he's still all aflutter with anxiety, and just the inertia of being so keyed up from endeavouring to sort things out, when he slides into the twentysomething's brown car and feels sparks fly instantly. Of an Age is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. EVIL DEAD RISE There will be blood in Evil Dead Rise, the latest addition to the Evil Dead fold, and not just inking The Book of the Dead's pages. There's gallons of it, in fact, with assistance from an elevator overflowing with crimson liquid. Writer/director Lee Cronin is clearly happy to jump from his 2019 debut The Hole in the Ground to this beloved horror franchise while giving The Shining some love as well. And yet, nods to past Evil Dead films and scary fare in general aren't the main point of Evil Dead Rise, even though they're still there — loudly when "dead by dawn", words that are also part of Evil Dead II's title, is yelled. It shouldn't feel so rare to see a feature that isn't solely kept beating by gobbling up as many pieces of its predecessors as possible, but that's these nothing-must-die times. (When intellectual property is revived repeatedly by Hollywood's intonations, bringing back Evil Dead over and over couldn't be more appropriate.) Familiar swooping and whooshing camerawork kicks Evil Dead Rise into gear, though, knowingly so. In a clever touch, it stems from a is doing the shooting, not due to supernatural nefariousness. There's a remote abode in the woods — an A-frame shack this time, levelled up to match 2023's travel aesthetic — and unsettling things afoot; however, the bulk of the film takes place a day earlier. That's when guitar technician Beth (Lily Sullivan, Picnic at Hanging Rock) cuts out a the worldwide tour to surprise her sister Ellie (Alyssa Sutherland, New Gold Mountain). The latter is a tattoo artist and mother of three who has recently been left parenting solo, and is interrupted dying her hair 'cool mum' red when her sibling arrives. There's baggage between the pair, but there'll soon be viscera as well when Ellie's teenage son Danny (Morgan Davies, Blaze) finds a certain text — and, because he's a budding DJ, some dusty vinyl sporting words that no one in an Evil Dead movie should be saying or hearing. Evil Dead Rise is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE SUPER MARIO BROS MOVIE It took 30 years, plus a warp pipe from live-action to animation, but Super Mario Bros finally gained a cinematic mushroom. While these are peak product-to-screen times — see also: The Last of Us, Dungeons & Dragons: Honour Among Thieves, Tetris and Air, plus the upcoming Barbie, BlackBerry and latest Transformers flick — Nintendo's plumber siblings were long flushed out of movies thanks to their underperforming first outing. 1993's Bob Hoskins (Snow White and the Huntsman) and John Leguizamo (Violent Night)-starring film, the first-ever live-action video game film, isn't terrible. It followed its own dark path and hit its own wild blocks, something that stands out even more now that slavish obsession to intellectual property and franchise-building is king. If 2023's The Super Mario Bros Movie is a response to its predecessor, it's a happily dutiful one, doing its utmost to copy the video game. The strongest feeling it inspires: making viewers want to bust out their old NES or SNES or Game Boy, or emulators of any of them, or Nintendo's current Switch, and mash buttons as the red-capped, moustachioed, overalls-wearing Mario. In images that look like they've been ported straight from consoles, Italian Americans Mario (voiced by Chris Pratt, Thor: Love and Thunder) and Luigi (Charlie Day, It's Always Sunny in Philadelphia) essentially find themselves in the Super Mario Bros version of The Wizard of Oz. Like the 90s flick, they're also transported to another realm where a villainous creature lusts for power— Bowser (Jack Black, Apollo 10 1/2: A Space Age Childhood) here, with an army of the turtle-like koopas doing his bidding. A sewer flood whisks Mario and Luigi out of their own world, after they try to fix it to drum up customers for their plumbing business. On the other side of the tunnel, Mario lands in the Mushroom Kingdom and Luigi ends up Bowser's prisoner. Cue a quest, including along the rainbow road, to reunite the brothers, stop Bowser and keep him away from Peach (Anya Taylor-Joy, The Menu) — who definitely isn't a damsel in distress, but the target of Bowser's obsessive affections. The Super Mario Bros Movie is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February, March, April and May, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies, plus movies you might've missed and television standouts of 2022 you mightn't have gotten to.
The chilly season has arrived, the perfect time of the year for getting cosy next to a bar's fireplace with a dram of your favourite whiskey in hand or a delicious wintry cocktail. We've got the perfect shout for you as the temperatures drop: the Gold Rush Cocktail. Maker's Mark Bourbon and Beechworth Honey have come together to create this cocktail, a sweet symphony of Australian honey and bold characters of the bourbon. It's a riff on an old-fashioned but with a locally grown twist. It's a very straightforward recipe that you can find here. At first glance, it might seem odd that an American distillery and an Aussie beekeeping family have come together. But, when you scratch underneath the surface they have a lot of similarities. To celebrate the partnership, we've rounded up a selection of cosy underground and hidden bars where you can enjoy the Gold Rush cocktail. Some venues have even made their own version of the cocktail.
When TRANCE was added to Dark Mofo's 2023 lineup, it didn't just gift the festival a three-day theatre-meets-rave performance from Berlin-based Chinese artist Tianzhuo Chen. It did that, of course, but it also distilled the essence of the Tasmanian winter fest down into one must-see event. At this show, you don't just buy a ticket, take a seat and get 90 minutes of entertainment. Rather, you wander in and out, enjoying a true experience — and, in the ultimate act of fest surrender, you let yourself go along for the ride. That really is Dark Mofo in a nutshell. Each year, its June lineup features much that you need to plan ahead to attend; hot tickets sell out, and fast. But if there's ever been an arts festival that lends itself to seeing where the moment takes you, embracing the unexpected and revelling in the moment, it's this one. And, gloriously, that makes it a delight for last-minute planners. Haven't locked in your Dark Mofo schedule yet? We understand — and we're here to help. Now that the festival is underway until Thursday, June 22, the CP Team has put together a guide to our top picks for a stunning time if you're the kind of person who only decides what they're doing on the day. Obviously, TRANCE is on the list, but so are nine other standouts. [caption id="attachment_904503" align="alignnone" width="1920"] Image courtesy of the artist and Dark Mofo.[/caption] DEAFHEAVEN PERFORMING SUNBATHER Ten years ago, almost to the day, Sunbather changed metal music. Its transcendent mix of glistening guitars, hellish black metal vocals and impassioned drums were divisive at the time, but would go on to influence musicians both inside and beyond heavy metal spheres for the next decade. A festival exclusive, Deafheaven Performing Sunbather is a must-see for fans of any kind of rock music. The seasoned performers will be hitting the Odeon stage on Thursday, June 15 for an hour-long tour through their beloved album. You'll hear the epic first rising note of 'Dream House', then everything through to the grand fadeout of 'The Pecan Tree' — and you'll hear something astonishing. Ben Hansen, Junior Editor [caption id="attachment_886260" align="alignnone" width="1920"] Nicole Marianna Wytyczak[/caption] A DIVINE COMEDY If you're heading south to Dark Mofo's fortnight-long dedication to hedonism, you probably already know that you're in for all-day debauchery, boundary-pushing displays of creativity and a bloody great time. But if you haven't locked in your itinerary, A Divine Comedy is a stellar choice to add to your lineup. This two-hour Australian-exclusive movement piece comes from choreographer Florentina Holzinger, whose work is characterised by a fusion of dance, stunts and pushing her audience's comfort levels to the max. In this piece, we join Dante on her travels through "hell, purgatory and paradise". Through a red haze, an all-female-identifying cast brings to life the journey of horror, joy and everything in between — with motocross, hypnosis and plenty of bodily fluids thrown in, too. There are tickets available for Friday, June 16–Sunday, June 18, with the Sunday show Auslan interpreted for those with accessibility needs. Grace MacKenzie, Branded Content Manager [caption id="attachment_904505" align="alignnone" width="1920"] Image courtesy of the artist and Dark Mofo.[/caption] SILENT SYMPHONY Sound and vision. It's such a simple combination, and it hums at the heart of all festival experiences. We see. We listen. We're engaged, entertained and maybe even transformed — including (or perhaps especially) when we're in darkness, hearing kinetic light and sound instruments, all thanks to Silent Symphony by London-based arts collective United Visual Artists. Part of Dark Mofo's free program, and letting attendees drop in from 4–10pm Thursday, June 8–Sunday, June 11 and Wednesday, June 14–Thursday, June 15, this City Hall work has a clear purpose: to send its audience into the cosmos. Everything seen and heard is inspired by the belief that the universe has its own inaudible music, with UVA creating a piece that mimics planetary orbit. If stepping into a haze and being enveloped by what follows is your kind of release, prepare to be transported. Sarah Ward, Associate Editor SEX + DEATH DAYCLUB So many of Dark Mofo's events are scheduled in the evenings, but I'm keen to explore even more during the day. That's why the Sex + Death Dayclub is on my agenda. This nightclub is only open during the afternoon, and is hidden within the Mona museum itself, running from Friday, June 9–Monday, June 12 and again from Friday, June 16–Monday, June 19. Simply purchase entry into the museum and find the club at the IMPORT EXPORT lounge. Inside, you'll grab some drinks, hide (or dance) in some dark corners of the installation, and listen to DJs and live music chosen by Hobart-based artist Ben Salter. Either start your day here or kick on to this joint in the morning, after a big night out at some of Dark Mofo's other wild events. Andrew Zuccala, SEO Editor [caption id="attachment_904563" align="alignnone" width="1920"] Zuriaake, Grywnn via Wikimedia Commons[/caption] HYMNS TO THE DEAD I'm no longer in my moshing prime (in fact I'm years past it), but I still believe that thrashing in a circle pit is a pastime that's truly ageless. Putting the 'dark' in Dark Mofo is Hymns to the Dead — a black metal extravaganza featuring a triumvirate of acts traversing three continents for a night of metal carnage and axe-crunching musical brutality. On the lineup: Haunter from the USA, Zuriaake from China (yes there's a ripe metal scene in China worth investigating) and Dødheimsgard, the legendary Norwegian visionaries of the genre. If spiritual enlightenment is what you seek at Dark Mofo and extreme loud noise is your pathway to achieving it, you just might find the divine here. Suz Tucker, Editorial Director [caption id="attachment_898571" align="alignnone" width="1920"] Photo credit: Dark Mofo/Jesse Hunniford. Image courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] WINTER FEAST If you're in Hobart for Dark Mofo, a visit to the Winter Feast across Thursday, June 8–Sunday, June 11 and Thursday, June 15–Sunday, June 18 is a must. Arrive hungry and dive headfirst into 85-plus different culinary stallholders ranging from tender barbecue and local wines to sustainable cheeses and next-level s'mores. Chef's Table alum Ana Roš is flying in for the occasion to headline the food fest with a four-course exploration of Slovenian and Tasmanian eats. Some other choice suggestions for stallholders to hit up include Bruny Island Oysters (a must when in Tassie); Moo Brew, which has created a limited-edition Winter IPA; Formosa Bites, serving up chargrilled satay squid on a stick; Baked Snow, for deep-fried Taiwanese chicken or scallop sandwiches; and Eden Pantry, for a homely serving of apple pie and vanilla ice cream to round out your night. Ben Hansen, Junior Editor [caption id="attachment_904568" align="alignnone" width="1920"] Ogoh Ogoh: The Burning, Dark Mofo, 2022. Photo credit: Rémi Chauvin, 2022. Image courtesy of Dark Mofo 2022.[/caption] BLUE VELVET LOUNGE Didn't make it to Dark Mofo in time for the David Lynch-inspired masquerade ball, which kicked off the already weird and wild fest in the most fitting manner possible? Don't worry, there's more where that came from. You don't need to don a mask to hit the Blue Velvet Lounge, but you will be in a place most wonderful and strange. Here's hoping that cherry pie will be on the menu. Open nightly from Thursday, June 8–Sunday, June 11 and Wednesday, June 14–Sunday, June 18, and free to enter, this Dark Park spot is all about hanging out over tunes, performances, bites and beverages — Dark Mofo-style, of course, which means that anything can and will happen. It's also home to this year's ogoh-ogoh, the sculpture that invites attendees to write down their fears, which will be burnt at the end of this year's run. Sarah Ward, Associate Editor [caption id="attachment_897774" align="alignnone" width="1920"] Camille Blake. Image courtesy of the artist and Dark Mofo.[/caption] TRANCE Drop-in drop-out 12-hour performance TRANCE from Tianzhuo Chen plunges you into an immersive otherworldly space filled with cartoonish larger-than-life creatures. Here, from Thursday, June 8–Saturday, June 10, you'll find a group of multi-talented performers flexing their range of talents across the mammoth day-to-night show. Depending when you arrive, you might find yourself among a bassy DJ set, a crunk dance-off, a concert from a metal band or a ambient wave of electronic music. Whichever awaits, they'll be accompanied by the movement of the troupe, with the goal of making you truly connect with the moment and your experience, and — as the name says — putting you into a state of trance. Ben Hansen, Junior Editor [caption id="attachment_895366" align="alignnone" width="1920"] Courtesy of the artist and Dark Mofo.[/caption] TRENTEMØLLER If you're like me, aka a poor planner through and through, then you might not be organised to head down to Dark Mofo until the closing days of the festival. That's fine, because events like Trentemøller's Tasmanian stop are on the schedule to keep us latecomers occupied — I'll see you there. The Danish electronic music composer hits MAC2, a large waterfront space, on Sunday, June 18. And for this show, he's taking cues from an environment that has a lot in common with Dark Mofo: Scandinavia. Kicking off at 9pm, the concert will flit between a state of frenetic and the serene, fuelled by electronic shoegaze tunes. Will we feel a viking spirit? Fingers crossed. Alec Jones, Junior Writer [caption id="attachment_898330" align="alignnone" width="1920"] Photo credit: Dark Mofo/Jesse Hunniford. Image courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] NIGHT MASS: EXSTASIA You haven't done Dark Mofo right if you haven't added Night Mass: Exstasia to your itinerary. Here, you can let all of your worries fade away as the music captivates your senses. This must-attend event will take you on an intoxicating journey across genres, from techno and synth-pop to manic garage and baile funk, as you tear up the dance floor — and there's still tickets on offer for Friday, June 9 and Friday, June 16. Whichever evening you pick, expect a lineup of memorable tunes featuring influences around the world, and likely discovering your new favourite artists. And, of course, dancing well into the early hours of the next morning. Nishika Sharma, Editorial Assistant Dark Mofo 2023 runs from Thursday, June 8–Thursday, June 22 in Hobart, Tasmania, with tickets on sale now. Still looking for Dark Mofo inspiration? Check out our wholesome-to-hedonistic guide, which'll help you stack your festival itinerary based on the level of chaos you're after. Top image: TRANCE by Tianzhuo Chen | Dark Mofo 2023. Photo credit: Camille Blake. Image courtesy of the artist and Dark Mofo. 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.
Vivid is both an exciting and overwhelming time. The city is alive with lights, music, ideas and food — but the crowds are out in force. If you're heading in for any of the aforementioned activities, why not make a night out of it and grab dinner or a drink before or after. To help you plan your epic Vivid night, we've put together a list of 11 of our favourite Sydney bars and restaurants that are located just a stone's throw from Vivid activations. Naturally, every possible venue and vendor around inner-city Sydney — big or small — is embracing the crowds and introducing compelling special dining and drinking options, from CBD institutions like The Galeries and QVB to the smallest of bars and restaurants to The Rocks and Circular Quay. Spread across Circular Quay, Wynyard, The Rocks, Barangaroo, Darling Harbour and Chippendale, these spots have a range of options across varied price points. Pop into an underground drinking den for one of Sydney's best negronis, book a lavish French feast a short walk from the Sydney Opera House or head to a vibrant Indian restaurant that won't put too much pressure on your budget.
In the area surrounded by Central, Darlinghurst and Surry Hills sits Sydney's Hollywood Quarter, the locale home to some of our faves: Paramount House, Butter, Hotel Hollywood and Pellegrino 2000, at a glance. And while Vivid Sydney is here, there's a staggering lineup of events to warm up your winter. So, if you're overwhelmed by the vast number of light-powered events, listen up: Sydney's Hollywood Quarter has all you need for a brilliant time. From Friday, May 26 till Saturday, June 17, a whole range of arty installations (curated by Arts-Matter), culinary pop-ups and live music performances will be taking over the micro-precinct — here are six of the best.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from May's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW THE GREAT Television perfection is watching Elle Fanning (The Girl From Plainville) and Nicholas Hoult (Renfield) trying to run 18th-century Russia while scheming, fighting and heatedly reuniting in ahistorical period comedy The Great. Since 2020, they've each been in career-best form — her as the series' ambitious namesake, him as the emperor who loses his throne to his wife — while turning in two of the best performances on streaming in one of the medium's most hilarious shows. Both former child actors now enjoying excellent careers as adults, they make such a marvellous pair that it's easy to imagine this series being built around them. It wasn't and, now three seasons, The Great has never thrived on their casting alone. Still, shouting "huzzah!" at the duo's bickering, burning passion and bloodshed-sparking feuding flows as freely as all the vodka downed in the Emmy-winner's frames under Australian creator Tony McNamara's watch (and after he initially unleashed its winning havoc upon Sydney Theatre Company in 2008, then adapted it for television following a BAFTA and an Oscar nomination for co-penning The Favourite). In this latest batch of instalments, all either written or co-written by McNamara, Catherine (Fanning) and Peter (Hoult) begin the third season sure about their love for each other, but just as flummoxed as ever about making their nuptials work. She's attempting to reform the nation, he's the primary caregiver to their infant son Paul, her efforts are meeting resistance, he's doting but also bored playing stay-out-of-politics dad, and couples counselling is called for. There's also the matter of the royal court's most prominent members, many of whom were rounded up and arrested under Catherine's orders at the end of season two. From Sweden, exiled King Hugo (Freddie Fox, House of the Dragon) and Queen Agnes (Grace Molony, Mary, Queen of Scots) are hanging around after being run out of their own country due to democracy's arrival. And, Peter's lookalike Pugachev (also Hoult) is agitating for a serf-powered revolution. The Great streams via Stan. Read our full review. PREHISTORIC PLANET When it initially arrived in 2022, becoming one of the year's best new shows and giving nature doco fans the five-episode series they didn't know they'd always wanted — and simultaneously couldn't believe hadn't been made until now — Prehistoric Planet followed the David Attenborough nature documentary formula perfectly. And it is a formula. In a genre that's frequently spying the wealth of patterns at the heart of the animal realm, docos such as The Living Planet, State of the Planet, Frozen Planet, Our Planet, Seven Worlds, One Planet, A Perfect Planet, Green Planet and the like all build from the same basic elements. Jumping back 66 million years, capitalising upon advancements in special effects but committing to making a program just like anything that peers at the earth today was never going to feel like the easy product of a template, though. Indeed, Prehistoric Planet's first season was stunning, and its second is just as staggering. The catch, in both season one and this return trip backwards: while breathtaking landscape footage brings the planet's terrain to the Prehistoric Planet series, the critters stalking, swimming, flying and tumbling across it are purely pixels. Filmmaker Jon Favreau remains among the show's executive producers, and the technology that brought his photorealistic versions of The Jungle Book and The Lion King to cinemas couldn't be more pivotal. Seeing needs to be believing while watching, because the big-screen gloss of the Jurassic Park and Jurassic World sagas, the puppets of 90s sitcom Dinosaurs, and the animatronics of Walking with Dinosaurs — or anything in-between — were never going to suit a program with Attenborough as a guide. Accordingly, to sit down to Prehistoric Planet is to experience cognitive dissonance: viewers are well-aware that what they're spying isn't real because the animals seen no longer exist, but it truly looks that authentic. Prehistoric Planet season streams via Apple TV+. Read our full review. I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been filling streaming queues with assholes since 2019, as usually played by the eponymous Detroiters star, and long may it continue. In season three, the show takes its premise literally in the most ridiculous and unexpected way, so much so that no one could ever dream of predicting what happens. That's still the sketch comedy's not-so-secret power. Each of its skits is about someone being the worst in some way, doubling down on being the worst and refusing to admit that they're the worst (or that they're wrong) — and while everyone around them might wish they'd leave, they're never going to, and nothing ever ends smoothly. In a show that's previously worked in hot dog costumes and reality TV series about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its gallery of the insufferable. In fact, the more absurd and chaotic I Think You Should Leave with Tim Robinson gets, the better. No description can do I Think You Should Leave with Tim Robinson's sketches justice, and almost every one is a comedic marvel, as again delivered in six 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors and designated drivers to HR training and street parking is in Robinson's sights this time, and people who won't stop talking about their kids, wedding photos and group-think party behaviour as well. Game shows get parodied again and again, an I Think You Should Leave staple, and gloriously. More often than in past seasons, Robinson lets his guest stars play the asshole, too, including the returning Will Forte (Weird: The Al Yankovic Story), regular Sam Richardson (The Afterparty), and perennial pop-ups Fred Armisen (Barry) and Tim Meadows (Poker Face). And when Jason Schwartzman (I Love That for You) and Ayo Edebiri (The Bear) drop in, they're also on the pitch-perfect wavelength. I Think You Should Leave with Tim Robinson streams via Netflix. Read our full review. IN LIMBO Not to be confused with the just-released Australian film Limbo, new six-part Aussie dramedy In Limbo not only takes its title to heart, but also uses the idea as fuel for a supernatural buddy comedy. Indeed, before the first episode is out, Nate (Bob Morley, Love Me) is palling around with his lifelong best friend Charlie (Ryan Corr, House of the Dragon) from the afterlife. The former doesn't know why he's still a presence. The latter is understandably reeling from the tragedy, and initially thinks that spying Nate is just a drunken hallucination. No one else, not Nate's wife Freya (Emma Harvie, Colin From Accounts), eight-year-old daughter Annabel (Kamillia Rihani, The Twelve), supremely very Catholic mother Maria (Lena Cruz, Wellmania) and affable father Frank (Russell Dykstra, Irreverent), can see their dearly-departed loved one as a ghost. It's Christmas, too, in this Brisbane-shot and -set series, and facing the festivities after such a shock is far from easy. While heartily deploying Brisbane Powerhouse and New Farm Park as settings, that's a lot for one show to delve into — and delve it thoughtfully does. Tackling grief, mental health and suicide is never simple, even in a show about someone haunting their best mate, and including when such topics have been increasingly popping up in Australian fare of late (see also: Totally Completely Fine). In Limbo is clearly made with care, empathy and understanding — and, crucially, doesn't attempt to offer any firm answers, instead acting as a conversation starter. At its core, the always-excellent Corr plays a complicated role with charm. That's no surprise given his resume, and he couldn't be better cast. Corr's likeable performance always dives deep into the about-to-get-divorced Charlie's struggle without Nate physically by his side, with Nate now his ghostly offsider and with his own problems, and never brushes past the character's flaws. And, just as importantly as the show's focus on 21st-century masculinity and friendship, Corr makes such a great double act with Morley that filmmakers should be clamouring to pair them up again ASAP. In Limbo streams via ABC iView. CONFESS, FLETCH Since Mad Men had Don Draper want to buy the world a Coke to end its seven-season run back in 2015, comedy has been Jon Hamm's friend. He's the ultimate TV guest star, building upon stints in 30 Rock and Parks and Recreation while Mad Men was still airing with Toast of London, Unbreakable Kimmy Schmidt and Curb Your Enthusiasm, on a resume that also includes The Increasingly Poor Decisions of Todd Margaret, Childrens Hospital, Medical Police, Angie Tribeca, The Last Man on Earth and Wet Hot American Summer: First Day of Camp as well. So, casting him as the new Irwin Maurice 'Fletch' Fletcher couldn't be an easier move. Having fellow Mad Men standout John Slattery (The Good Fight) also appear in the latest flick about the investigative reporter, and the first since the Chevy Chase-led movies in the 80s, is another winning touch. Even if that reunion wasn't part of the film, Hamm is so entertaining that he makes a killer case for a whole new Fletch franchise — on whatever screen the powers-that-be like — with him at its centre. Hamm clearly understands how well he suits this type of character, and the genre; he's a comic delight, and he's also one of Confess, Fletch's producers. Superbad and Adventureland's Greg Mottola directs and co-writes, scripting with Outer Range's Zev Borow — and ensuring that Hamm and Slattery aren't the only acting highlights. Working through a plot that sees Fletch chasing a stolen artwork, discovering a dead body, and both looking into the crime and considered a suspect himself, the film also features engaging turns by always-welcome Twin Peaks great Kyle MacLachlan and Barb and Star Go to Vista Del Mar gem Annie Mumolo. There have been several attempts to revive Fletch over the past three decades, including separate projects with Ted Lasso duo Bill Lawrence and Jason Sudeikis — on the page, the character spans nine novels — but viewers should be thankful that this is the action-comedy that came to fruition, even if it skipped cinemas everywhere but the US. Confess, Fletch streams via Paramount+ and Binge. BUPKIS In its opening moments, Bupkis unloads — twice, in completely different ways, while ensuring there's zero doubt that this is a series about Pete Davidson starring Pete Davidson as Pete Davidson. First, the former Saturday Night Live comedian gets Googling while alone in the basement of the Staten Island home he shares with his mother Amy (Edie Falco, Avatar: The Way of Water). The results about Ariana Grande, Kate Beckinsale and Kim Kardashian's ex aren't positive; so, to shake off the unpleasantness of reading '12 Things Horribly Wrong with Pete Davidson', he switches from "scumbro" with "butthole eyes" comments to porn. He's wearing a VR headset, and he's soon deep in self-love. Then his mum walks in. Bupkis clearly isn't wary about getting crude. It isn't concerned about satirising its central figure, either. Instead, this semi-autobiographical dramedy relishes the parody. At the age of 29, Davidson has reached the "you may as well laugh" point in his career, which is hardly surprising given he's spent the past decade swinging his big chaotic energy around. Partway through the eight-episode series, while keen to claim some perks for being Davidson's mother — other than doting on her son, that is — Amy shouts at wait staff that "Marisa Tomei played me!". Add that to Bupkis' gleeful, playful nods to reality. An opening statement before each instalment stresses the difference between fact and fiction, and why the show has the moniker it has, but art keeps imitating life everywhere. There's no switching names, however. Davidson is indeed Davidson, his IRL mum is called Amy and his sister is Casey (Oona Roche, The Morning Show). As in The King of Staten Island, they've been a trio since 9/11, and dealing with losing his New York City firefighter dad still isn't easy. Off-screen, however, Davidson must be a fan of My Cousin Vinny, plus the gangster genre. Hailing from the former as Tomei does, and famed for his performances in the latter like The Sopranos star Falco, Goodfellas, Casino and The Irishman alum Joe Pesci is a pivotal part of Bupkis as Davidson's grandfather Joe — a hilarious and delightful part, unsurprisingly. Bupkis streams via Binge. Read our full review. VENGEANCE When Vengeance begins with a New Yorker journalist who's desperate to start his own podcast, Soho House hangouts and relationship advice from John Mayer as himself, it begins with rich and savvy character details. Writing, starring and making his feature directorial debut after helming episodes of The Office and The Mindy Project, BJ Novak instantly establishes the kind of person that Ben Manalowitz is. He shows the East Coast world that his protagonist inhabits, too — and, by focusing on the only guy in NYC without their own audio outlet, or so it seems, plus that romantic guidance, it splashes around its sense of humour. This is a sharply amusing mystery-comedy, and a highlight on Novak's resume in all three of his guises. It's also about subverting expectations, and lampooning the first impressions and broad stereotypes that are too often — and too easily — clung to. Indeed, Vengeance bakes in that idea as many ways as it can as Ben (Novak) does the most obvious thing he can to convince his producer (Issa Rae, Insecure) that his voice is worth hearing: bursts his Big Apple bubble. The Mayer bit isn't just a gag; it helps set up Ben as the kind of person who is dating so many women that he doesn't know which one has died after he gets a bereaved phone call from Texas in the middle of the night. On the other end is Ty Shaw (Boyd Holbrook, The Sandman), brother to Abilene (Lio Tipton, Why Women Kill), who insists that Ben head southwest immediately to attend her funeral — she claimed that they were serious enough that she's his girlfriend, after all. Upon arrival, the out-of-towner initially regards his hosts as jokes, and their lives and Abilene's death as content. Ty thinks she was murdered, and Ben couldn't be giddier about getting it all on tape and calling the series Dead White Girl. The journo's self-interest is up there with his obliviousness about anything that doesn't fit into his NYC orbit; however, this isn't a culture-clash comedy — thankfully — but a clever, self-aware and ambitious satire. It's also strikingly shot and features a standout performance by Ashton Kutcher (That '90s Show) as a suave record producer. Vengeance streams via Netflix and Binge. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK SILO Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part series — which leaps to the screen from Hugh Howey's novels, and shares a few basic parts with Metropolis, Blade Runner and The Platform, as well as corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — she's soon playing detective. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. Silo streams via Apple TV+. Read our full review. THE OTHER TWO Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it's also been going hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider have been giving the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek are happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they're equally thrilled for her. But ChaseDreams, their little brother's stage name, has always been a constant reminder that their own ambitions keep being outshone. In a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around, Cary and Brooke have never been above getting petty and messy about being the titular pair. In season three, however, they aren't just hanging around with stars in their eyes and resentment in their hearts. How do they cope? They've spent the past few years constantly comparing themselves to Chase, then to Pat, but now they're successful on their own — and still chaotic, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they're faking it or making it, nothing is ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wonders whether her dream manager gig is trivial after living through a pandemic, she starts contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he gets envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). The Other Two streams via Binge. Read our full review. PLATONIC Sometime in the near future, Rose Byrne, Seth Rogen and filmmaker Nicholas Stoller could easily join forces on a new rom-com. In fact, they should. Until then, buddy comedy Platonic makes a hilarious, engagingly written and directed, and perfectly cast addition to each's respective resumes. Reuniting the trio after 2014's Bad Neighbours and its 2016 sequel Bad Neighbours 2, this new series pairs Australia's comedy queen and America's go-to stoner as longterm pals who are never anything but mates — and haven't been in touch at all for years — but navigate a friendship that's as chaotic and complicated as any movie romance. That's an easy setup; however, watching the show's stars bicker, banter and face the fact that life doesn't always turn out as planned together proves as charming as it was always going to. Also, Platonic smartly doesn't try to be a romantic comedy, or to follow in When Harry Met Sally's footsteps. Instead, Platonic explores what happens when two former besties have gone their own ways, then come back together. The show knows that reconnecting with old pals is always tinged with nostalgia for the person you were when they were initially in your life. And, it's well-aware that reckoning with where you've ended up since is an immediate side effect. Enter Sylvia (Byrne, Seriously Red), who reaches out to Will (Rogen, The Super Mario Bros Movie) after hearing that he's no longer with the wife (Alisha Wainwright, Raising Dion) she didn't like. She's also a suburban-dwelling former lawyer who put work on hold to become a mother of three, and can't help feeling envious of her husband Charlie's (Luke Macfarlane, Bros) flourishing legal career. Her old BFF co-owns and runs an LA brewpub, is obsessive about his beer and hipster/slacker image, and hasn't been taking his breakup well. They couldn't be in more different places in their lives. When they meet up again, they couldn't appear more dissimilar, too. "You look like you live at Ann Taylor Loft," is Will's assessment. Sylvia calls him "a '90s grunge clown." Neither is wrong. Platonic streams via Apple TV+. Read our full review. THE CLEARING They're called The Kindred, not The Family. Adrienne Beaufort is their leader, not Anne Hamilton-Byrne. But there's no mistaking the inspiration for JP Pomare's book In the Clearing and its new eight-part adaptation The Clearing. Exploring the inner workings of an Australian cult based in rural Victoria, spouting New Age sentiments mixed with doomsday thinking, fixated upon blonde-haired children and led by a charismatic woman — a rare female cult leader — this tale fictionalises the real-life details documented in countless newspaper headlines since the 80s, and also in Rosie Jones' 2016 documentary The Family and 2019 series The Cult of the Family. Amid their so-wild-they-can-only-be-true stories, both of those projects showed viewers the eerie image of children with platinum locks in severe bobs and dressed in matching blue attire. That distinctive look is similarly at the heart of Disney+'s first original scripted Aussie drama. In the earlier of its two timelines, Amy (Julia Savage, Blaze) dons the tresses and uniform as one of the older children at Adrienne's (Miranda Otto, Wellmania) Blackmarsh bush compound — one being prepared to be her heir, and made an accomplice in the group's quest to add more kids to its ranks. Initially dutiful, the teenager is soon questioning the only existence she's ever known, with its harsh rules, strict aunties keeping everyone in line between Adrienne's sporadic visits, weekend services attended by well-to-do acolytes and, sharing the show's title, its LSD-fuelled confessional sessions. When The Clearing dwells in the now, still in Victoria at its leafiest, the smear of heartbreak and damage is ever-present. Indeed, when single mother Freya Heywood (Teresa Palmer, Ride Like a Girl) hears about a girl being abducted, she can't shake the feeling that history is repeating. She dotes over her primary school-aged son Billy (debutant Flynn Wandin), but she's also visibly nervous and anxious. When she keeps spotting a white van, she's a portrait of panic. The Clearing streams via Disney+. Read our full review. HIGH DESERT In High Desert, the always-excellent Patricia Arquette (Severance) leads a private investigator comedy that dapples its jam-packed chaos under California's golden sun, against the parched Yucca Valley landscape and with an anything-goes philosophy — not to mention a more-mayhem-the-merrier tone. She plays Peggy Newman, who isn't letting her age get in the way of perennially struggling to pull her life together. That said, when the eight-part series begins, it's Thanksgiving 2013 and she's living an upscale existence in Palm Springs, with gleaming surfaces abounding in her expansive (and visibly expensive) home. Then, as her husband Denny (Matt Dillon, Proxima) jokes around with her mother Roslyn (Bernadette Peters, Mozart in the Jungle), and her younger siblings Dianne (Christine Taylor, Search Party) and Stewart (Keir O'Donnell, The Dry) lap up the lavish festivities, DEA agents swarm outside. Cue weed, hash and cash stashes being flushed and trashed, but not quickly enough to avoid splashing around serious repercussions. A decade later, High Desert's protagonist has been sharing Roslyn's house and trying to kick her addictions while working at Pioneertown, a historical attraction that gives tourists a dusty, gun-toting taste of frontier life. Peggy would love to step back in time herself when she's not pretending to be a saloon barmaid — to when her recently deceased mother was still alive, however, rather than to her glitzy post-arrest shindigs. Still angry about being caught up in a drug bust, Dianne and Stewart have zero time for her nostalgia and a lack of patience left for her troubles. Their plan: to sell Roslyn's abode with no worries about where Peggy might end up. Her counter: doing everything she can to stop that from happening. High Desert doesn't just embrace the fact that living and breathing is merely weathering whatever weird, wild and sometimes-wonderful shambles fate throws your way; in a show created and written by Nurse Jackie and Damages alumni Jennifer Hoppe and Nancy Fichman, plus Miss Congeniality and Desperate Housewives' Katie Ford, that idea dictates the busy plot, too. High Desert streams via Apple TV+. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March and April this year. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
