BTS ARMY unite: you've got a new must-visit getaway spot, and Airbnb wants to make your dreams a reality. Fancy getting a dream glow because you're holidaying in the dynamite South Korean estate where BTS filmed season two of their reality show In the Soop? Of course you do — and, if you nab the overnight stay, you obviously have permission to dance. The series' second season dropped back in 2021, so if you always have 'Butter', 'Heartbeat' or 'Fake Love' on rotation in your head, you've probably been eyeing off a stay in PyeongChang for a while. Your chance now comes via Airbnb, with the accommodation service adding to its lengthy list of pop culture-themed one-off experiences — which also includes the Bluey house, the Moulin Rouge!, the Scooby-Doo Mystery Machine and The Godfather mansion in the past few months. The idea with this listing: letting two BTS fans relax in the South Korean countryside like their idols did. Even if you're not a diehard devotee, it looks like a mighty luxe place to stay. Clearly, you'll get more out of it if you live, breathe and worship the band, given that it's largely decked out as it was during their time there. That includes some of the furniture seen on the show, so you can kick back with a book like RM, float on a unicorn in the pool like Jin and hit the trampoline like Jung Kook. Also included: a karaoke machine, sound system and all of BTS' songs and albums, right up to their latest record Proof; and a specially catered menu, including charcoal grilled Korean beef and tteokbokki. And, because there's seven BTS members, the one-night stay costs just US$7 — which is just over AU$10 / around NZ$11. Sadly, if you score the booking, you'll just miss out on the best spring day ever, with the trip taking place on August 29. If you're keen to make it right all night and stay gold in the scenic estate, you'll need to try to nab the reservation at 12pm AEST on Tuesday, August 2. As with all Airbnb special listings like this, you need to take care of your own travel costs there and back, including airfares — although this one does cover the round trip by car from KTX PyeongChang station to the BTS In the Soop property. For more information about the BTS In the Soop estate listing on Airbnb, or to apply to book at 12pm AEST on Tuesday, August 2, head to the Airbnb website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Images: Time of Blue.
The quietly expanding suburb of Dulwich Hill is home to some top-notch cafes — and some of the best bagels in Sydney. Small Talk is owner Sam Terrey's answer to North American delis, and he's turned this simple concept into a go-to destination for pastries, doughnuts and Montreal-style bagels. "We were always looking for a location that is a bit 'off the beaten track'," says Terrey. "The Dulwich Hill spot isn't really near anything, but it worked out well and is serving people who don't have access to too much." Terrey boasts a decade in the hospo industry, including seven years in Montreal and three years at Sydney's Mecca coffee roasters. Though Terrey opened Small Talk back in May 2017, the delicatessen has recently been given a refresh and is now counter service-only. It works well with the venue's deli vibes, so the team plans to stick with takeaway going forward. "The inspiration for our food is easy deli eats and we're producing as much as we can in house, including all of the pastries and sweets," says Terrey. Small Talk's main offering is the "all-dressed" (aka everything) bagels — that include a mix of poppy, sesame and caraway seeds. Schmear your bagel with classic chive cream cheese for a fiver, or turn it into a proper sanga. Options include the BLT ($15) and the lox (smoked salmon and capers, $16.50), plus, the pastrami with sauerkraut, pickles and mustard ($15) and the extra cheesy brekkie bagel with egg and jalapeño relish ($14). Apart from the all-important bagels, Terrey is also making focaccia in house, with regular toppings including tomato, chilli and garlic and a rosemary potato, olive and ricotta number. For pastries, don't miss out on the cinnamon sugar or stuffed doughies — the latter are filled with lemon-y ricotta and rhubarb jam. Then there's the 'morning bun', a homage to the Finnish pulla pastry that's a buttery knot of dough and comes in flavours like choc-almond and cinnamon at Small Talk. Other specials like spinach and ricotta scrolls with garlic butter and maple butter tarts have also made the menu in recent weeks. For drinks, it's just Reuben Hills cuppas and hot chocolates here — and what more do you need, really. The team completely rebuilt the space last month, removing all of the seats from inside and leaving just a few outside for those who (understandably) can't wait to tuck in. The new fit-out has proven to be much more pandemic-friendly and works well for the business as a whole. Expect a service counter to one side and retail shelves to the other — stocked full with dry goods, pickles, condiments and hot sauces. A second outpost of Small Talk is on the horizon, too, with a location secured in Glebe and an expected opening date of late October/early November this year. Images: Trent Van der Jagt for Buffet Digital. Appears in: Where to Find the Best Bagels in Sydney for 2023
Since the beginning of time, humans have always matched food with wine. Jesus broke bread with vino, the Vikings had their salted fish and mead, the French have cheese and champagne and the Italians cicchetti and aperitivo — a pairing we've all enjoyed more than a few times this summer. If you've spent the last few months like we did, cured meats, olives, vegetables in oil, cheese and the like have become a diet staple, especially when paired with a spritz or even simpler, a crisp glass of prosecco. As we move into autumn, there's no need to lose this little evening, pre-going out ritual — even if that summer sun starts to slip away. To help you take the magic of this molto buono pairing from the bar terrace and into your home, we've partnered with the wine aficionados at Dal Zotto and crafted five cicchetti to serve with the new Dal Zotto prosecco. Before your next night out, grab a few friends, a bottle of bubbles and kick back at your own at-home aperitivo hour. Red and white gingham tablecloths are entirely optional. CURED MEAT AND CHEESE TOASTS The zesty flavour of the prosecco cuts through the rich flavours of the meats and cheese. Plus, making it DIY limits prep time so you can easily plate, serve, eat and go. — preferred cured meats (spicy salami, salumi, prosciutto, bresaola, etc.) — preferred cheeses (provolone, parmesan, mozzarella, gorgonzola, etc.) — baguette, sliced about 2 centimetres wide and toasted Plate the meats, cheeses and bread together for everyone to construct themselves to their preference. Just make sure to keep the bubbles flowing. PANCETTA WRAPPED PRAWNS This upscale version of shrimp on the barbie is crunchy and rich and contrasts beautifully with the ripe fruit flavours and crisp acidity of prosecco. — 16 raw prawns, deveined — 8 pancetta rashers — aioli (serves four) Preheat the oven to 200°C and cut the rashers in half lengthwise. Wrap each prawn in a pancetta slice and place on a baking tray and cook for 8 to 10 minutes or until fully cooked. Serve with aioli and well-chilled prosecco. BRUSCHETTA This classic is an oldy but a goody — and requires minimal effort. All you'll need is a toaster, chopping board and well-sharpened knife. Oh, and a glass of prosecco for while you're constructing. — 4 large slices of ciabatta — 4 tomatoes, roughly chopped — 2 garlic cloves, crushed — 2 red onions, diced — 3 cloves garlic, minced — 1/2 cup of basil, chopped — pepper and salt, to taste — balsamic and olive oil, to drizzle (serves four) Toast the ciabatta until almost burnt, then oil the bread. Combine the remaining ingredients in a bowl, then divide the mixture evenly onto each piece toasted slice. Top with a drizzle of olive oil and garnish with basil leaves. Serve alongside a glass of prosecco immediately. PESTO ESCARGOT No, we're not eating snails. It's just a tasty pastry which has a cute snail-like (spiral) appearance, and the bitey parmesan and pesto counter the bubbly prosecco perfectly. — 1 sheet frozen puff pastry, defrosted — 3 tablespoons basil pesto — 1 cups parmesan cheese, grated (makes about 12 pieces) Preheat the oven to 180°C, then line a baking tray with baking paper and set aside. Roll out the dough and spread the pesto and cheese evenly over the pastry. Then, roll the sheet tightly into a long scroll and slice evenly into 12 pieces. Lay each piece on the tray leaving 2 centimetres between each roll, and bake for 10–15 minutes. Enjoy at a snail's pace over the afternoon with a bottle of bubbly, of course. ANTIPASTI SKEWERS Prosecco and antipasto are like old-timey best mates; they're always better together. The acidity of the prosecco counterbalances the saltiness of the olives and the creaminess of the mozzarella. — prosciutto — bocconcini — pitted olives — grape tomatoes — marinated artichoke hearts, drained and halved — basil leaves — skewers Add each ingredient onto a skewer, alternating colour and taste as you go. Arrange all the skewers on a serving platter, drizzle with olive oil and serve with a glass of prosecco. Keen for more fizz? Visit Dal Zotto for a glass of bubbly perfection. And once you're there, share your first Dal Zotto drink experience to Instagram and hashtag #FirstDZ to go in the running to win a year's worth of Dal Zotto prosecco and many more weekly prizes.
If your mental manilla folder marked 'Yoko Ono' only has that old Simpsons episode in it, read on. For a woman who once inspired so much hate, Yoko Ono has a lot of love to give. Today the 80-year-old is cherished as an artist, musician and peace activist with global influence, but she was, when most first heard of her, Beatles fan enemy number one. She spiked John Lennon's morning English Breakfast with her boho voodoo, they said, and changed the band forever. That's how she was portrayed in that Simpsons ep, too, as the kooky banshee who seduced Barney Rubble away from the barbershop quartet. It's a testament to Yoko's talent, energy and batshit crazy charisma that her legacy transcends that nonpareil historical record. An exhibition of her work is opening next month at the Museum of Contemporary Art Australia. She's an enigmatic figure, containing multitudes, so here are some facts and figures that might help order your Ono thoughts. She Survived World War II In 1933 Yoko was born into a prosperous family descended from a Japanese emperor. She shuttled between San Francisco and New York as her banker father was transferred, but lived mainly in Tokyo. She was 12 when the city was fired-bombed by the Americans. As many as 130,000 people were killed in two days. I suspect this might be why she doesn't like war so much. She Studied at Sarah Lawrence Like that other eminent feminist Kat from Ten Things I Hate About You, Yoko enrolled at the east coast liberal arts college Sarah Lawrence, studying music. She'd transferred from Tokyo's Gakushuin University, where she was the first woman to enter the philosophy department. It seems she didn't attend many classes though; she was busy writing radical poetry and lying on top of John Cage's piano during his performances in New York. Some of Her Early Artworks Sound Really Cool And some of it sounds crap, but who cares? It was New York in the '60s, what's not to like? John Lennon first met Yoko at a preview of her exhibition in London in 1966. He was taken in by one particular work, in which a ladder leads up to a black canvas on the ceiling; up there was a spyglass on a chain, which revealed the word 'yes' written on the roof, which is great. More recently, she's been installing Wish Trees around the world and inviting visitors to hang wishes, written on little cards, on the trees' branches. It's a bit naff, as evidenced by this note left by Pharrell on the New York installation: "Wishing 4 all who seek to experience the shift of widespread illumination will have the inner stillness to share in the most momentous aspect of the ether." What? Her Honeymoon Was Spent in Bed, Away from War That earnest positivity pulses through most of her pieces, and perhaps none more so than the infamous honeymoon 'Bed-In for Peace'. After they married in Gibraltar, Spain, in 1969, Yoko and Lennon curled up on white fluffy sheets in an airy Amsterdam hotel room and smiled for the cameras. The couple were protesting against the Vietnam War, they told the assembled media, and they thought they could change the world ("start a revolution from [their] bed," is how Oasis put it). The image probably had more artistic impact than political, but that, of course, counts for something. She's still campaigning for peace, on the macro and micro levels; at the MCA exhibition you're invited to write your most honest love letter to your mum. She's a Really, Really Nice Lady, It Seems Asked which artists inspired her today, Yoko gave a big shout out to, well, all artists working today. "I just love anybody that does anything in the art world and the artistic world," she said in an interview. "We just have to keep working and I want everyone in the field to know that we support them." That said, she does single out Lady Gaga for some love. "She has a very lovely bottom," Yoko said of Gaga, after it graced the stage with her. "I think she's wonderful. John would have loved her, because she's an artist, she's fearless and she pushes every limit, which we both always adored. She has played on John's white piano and I think that's wonderful. Life moves on and you embrace it." Yes She Did Design These Pants See you at the merch table at the MCA, boys. Bonus! Just this week Yoko released her hypnotically bizarre and instantly viral music video, 'Bad Dancer', starring her pals the Beastie Boys, Questlove, Ira Glass, Roberta Flack, Cibo Matto and more. One more life achievement down. https://youtube.com/watch?v=d3mvEfON2CI War Is Over! (If you want it), an exhibition of Yoko's work across multiple disciplines, will be on at Sydney's Museum of Contemporary Art Australia from November 15, 2013, to February 23, 2014. The artist herself will also be present.
As it turns out, there's now an upside to forking out heaps of money on road tolls, thanks to a new initiative by the NSW Government. It's expected almost 100,000 of the state's drivers will benefit from the new Toll Relief program, which offers reduced rego costs for those spending big on toll fares. If you're handing over $25 or more for tolls each week, or $1,300 over the financial year, you'll now save up to $729 when renewing your vehicle registration. To access the reduced rego, and find out how much you're eligible for, next time you're doing your rego renewal just add in your licence plate number and toll account. The rego discounts depend on the size of your car — which coincides with rego fees costing more, the heavier the car — with a full list of savings and sizes listed on the NSW Government website. As an added bonus, the government's backdating the toll spend from July 1, 2017, to June 30, 2018, which means you can still reap the benefits of all that money you spent last year. "So far 938 free regos have been claimed and $397,000 has been given back to drivers, with the average driver saving $423," said Minister for Finance, Services and Property Victor Dominello in statement. To find out more about the Toll Relief program and see if you're eligible, head to nsw.gov.au. Image: Flickr
Australian travellers can't seem to get enough of Japan. And it's not hard to see why — whether it's for the incredible theme parks, spectacular winter experiences, or the fact that you can still have a truly great time without blowing your budget, there are a multitude of ways for any type of traveller to experience the Land of the Rising Sun. And whether you know the streets of Shibuya like the back of your hand or you're thinking about making your first trip to the region, if Japan is on your must-visit list in 2023 you'd be wise to check out the upcoming Japan Travel Fair. Taking place at Luna Park's Grand Ballroom from February 4–5 — and organised by Japan National Tourism Organization — the fair will host around 20 leading tourism exhibitors who'll help you plan your perfect Japan trip. You'll also get a taste of what's to come when you do touch down, with the free event also featuring a range of traditional Japanese performances and cultural workshops. Plus, you'll also have the chance to score return flights for two to Japan thanks to Japan Airlines and All Nippon Airways — all you need to do is complete a simple survey and you'll go into the draw. You can also try your chances in the Lucky Prize Draw and win a special prize from an exhibitor, one of 200 other prizes. Japan Travel Fair takes place at Luna Park's Grand Ballroom on Saturday, February 4 (10am–5pm) and Sunday, February 5 (10am–4pm). For more information, head to the website.
Sydney's omakase options have skyrocketed in 2022, with restaurants boasting impressive and extensive Japanese set menus popping up in The Rocks, The Star's Sokyo and Chatswood. Chase Kojima, one of Sydney's most renowned Japanese chefs and the mastermind behind Sokyo's new omakase menu has also just opened Senpai Ramen, a ramen omakase experience on Sydney's north shore. The 20-seat restaurant invites visitors to experience ramen in a new way. Omakase is a Japanese dining tradition that loosely translates to 'leave it to the chef'. Senpai Ramen offers a 90-minute dining experience featuring a seven-course set menu that eases you in with entrees before building towards four signature ramen varieties. "At Senpai Ramen diners will enjoy a fun and unique experience with our tasty seven-course degustation," Kojima says. "We use the best seafood and meats, and combine them with incredible Japanese and Australian flavours for a unique and absolutely exquisite experience." The menu will set you back $65, but you can add additional courses and dishes if you fancy. Kicking things off is a mini Chirashi seafood experience featuring sashimi and Saikyo-style miso-marinated toothfish, while the main event is four varieties of ramen Kojima has crafted. The brothy bowls feature ingredients like 12-hour pork broth, spicy miso butter and rare smoked duck. Located across from Chatswood Mall with Kojima's Saikyo and Butter Chatswood nearby, Senpai is easy to spot with its eye-catching neon lights. The bright blue and purple lights continue inside where diners are immersed in a futuristic sensory experience while they sample sashimi and ramen. Spots fill up fast so it's best to jump online ASAP and book your place. Appears in: The Best Japanese Restaurants in Sydney
If you've been walking around Sydney in the last week, you may have noticed the fancy new plaques at most street crossings. But what you probably didn't know is that these signs now make up the most comprehensive network of braille and tactile signs in the world. That's right: the entire world. Thanks to the major effort by Sydney Lord Mayor Clover Moore, the signs were officially launched on Monday, July 4, with more than 2100 braille and raised-letter signs installed at pedestrian crossings in the city. The aluminium panels, which denote street names and building numbers, have been placed next to push buttons at crossing areas. These plaques improve signage and accessibility for the blind and vision impaired, and will allow them to navigate the city streets much more easily. A champion for the vision impaired, Moore is aiming to make Sydney more accessible for both locals and tourists. "The signs make it easier and safer for people who are blind or have low vision to use their city — to have the freedom and the independence of movement that most of us can take for granted," she told Concrete Playground. Basically, she rules. Both Vision Australia and Guide Dogs NSW/ACT are giving this act two thumbs way up and were integral in the program launch. "The design and installation arose from extensive consultation with the community and on-site testing with Guide Dogs NSW/ACT and Vision Australia," says Moore. "My sincere thanks to them for their help in this significant step towards an even more open and inclusive city." Making sure Sydney is accessible to the vision impaired is becoming increasingly important by the year — it is estimated that around 100,000 people suffer from non-correctable vision loss in NSW alone, and that number is predicted to increase by more than 20 percent by 2020. We've been truly impressed with Sydney's initiatives of late – like the fact that we're getting our own entrepreneur school and a permanent School of Life. This new braille network is a massive leap forward for the city's planning and an overall ace move. Nice one, Sydney. Image: Clover Moore via Instagram.
As Scott & Charlene’s Wedding, Melbourne expat Craig Dermody makes ebullient jangle-pop cut from the same raggedy cloth as Twerps, Witch Hats or Straight Arrows. Lump them all into one category like that and you’d think they were practicing their guitars in the same beer-strewn garage with adjoining sun-drenched backyard, except that Dermody now lives in Williamsburg. Since no one has garages or backyards in Williamsburg one assumes he works out of a bedroom, which is just as fitting when you consider his music's intimacy factor. On the track “Two Weeks” Dermody tackles the issue of physical distance. He sings about the distance across the Williamsburg bridge, and about how he gets awkward on video chat. It’s a suitable follow-up to last year’s “Epping Line”, a ruminative track about a “sad, sad day” on Melbourne’s South Morang railway line. On his return home he’ll be joined by guests and friends Songs and The Friendsters.
Marrickville's Bucket Boys bottle-o doesn't just serve all your takeaway craft beer needs, it also houses its own upstairs bar slinging craft brews, wines and spirits — and one tasty toastie. Across ten rotating taps, you'll find plenty of Australian brews to choose from — including Wayward, Capital Brewing and Wildflower — as well as international drops from the likes of Barcelona's Garage Beer Co and Portland's Cascade Brewing Barrel House. The bar is also pouring an impressive range of independently owned Australian wines (with weekly wine flights available), spirits and craft tinnies — the latter are only five bucks at happy hour, which is Wednesday–Friday from 4–6pm, Saturday from noon–2pm and all day on Sunday. If (somehow) none of this strikes your fancy, punters are also welcomed to peruse the enormous selection in the downstairs bottle shop and take it upstairs — we recommend saving this occasion for Wednesdays, when the bar offers free corkage all night. For nibbles, the bar's signature cuban sandwich is hard to beat. It's filled with marinated pork shoulder, spicy salami, double-smoked ham, pickles and cheese — and toasted to melty perfection — all for $12. A selection of cheese and charcuterie is also on offer. The venue regularly holds beer launch parties, meet-the-makers events, trivia and games nights, too, so keep on eye on Facebook for what's coming up.
If you're lucky enough to score tickets to Meredith Music Festival in any year via the event's ballot, one of Australia's best fests awaits no matter the lineup. 2025's roster of acts is characteristically impressive, however. On the just-dropped bill: TV on the Radio, Atarashii Gakko! and Perfume Genius, for starters, as well as Thee Sacred Souls, Pa Salieu, HAAi, Bar Italia, Colin Hay and Mildlife. And, there's still more where the came from. Folk Bitch Trio, Saya Gray, RONA. and Omar Souleyman are on the lineup, too. So are Dames Brown, Radio Free Alice, Sam Austins RP Boo, Wax'o Paradiso, Florist and Jack J. Add in Drifting Clouds, Dr Sure's Unusual Practice, Central Australian Aboriginal Women's Choir, Mouseatouille, Brown Spirits and Lazy Susan on MC duties, and expect a jam-packed three days across Friday, December 5–Sunday, December 7, 2025. [caption id="attachment_1017126" align="alignnone" width="1920"] Sumner Dilworth[/caption] How is the fest crew describing this year's event? "One of the best places on earth to spend a weekend, the Meredith Supernatural Amphitheatre has been natured and nurtured and then natured again, for the singular purpose of hosting the time of your life," organisers advise. So, expect "a permanent and purpose-built underground wunderland that provides optimal conditions for rarefied reverie", as well as to get "lost in music, lost in one another, for three days and two nights of Sup'ed up saucery". 2025 marks the beloved festival's 33rd year, with this three-decade-plus tradition taking over its namesake Victorian locale to kick off summer. The first round of the ticket ballot for the three-day BYO camping festival opened in July and ended on Monday, August 11, 2025, but you still have a chance to enter. The second round is now open, and you've got until 10.33pm AEST on Tuesday, August 19, 2025 to put your name in. So, book that long weekend, go in the running for tickets, then cross your fingers that you'll be spending a trio of days at The Sup with Tunde Adebimpe and company. [caption id="attachment_1017128" align="alignnone" width="1920"] Cody Critcheloe[/caption] Meredith Music Festival 2025 Lineup TV on the Radio Atarashii Gakko! Perfume Genius Thee Sacred Souls Pa Salieu HAAi Bar Italia Colin Hay Mildlife Folk Bitch Trio Saya Gray RONA. Omar Souleyman Dames Brown Radio Free Alice Sam Austins RP Boo Wax'o Paradiso Florist Jack J Drifting Clouds Dr Sure's Unusual Practice Central Australian Aboriginal Women's Choir Mouseatouille Brown Spirits Lazy Susan Meredith Music Festival returns to Meredith from Friday, December 5–Sunday, December 7, 2025. To put your name in the second round of the ballot to get your hands on tickets, head to the festival's website before 10.33pm AEST on Tuesday, August 19. Meredith Music Festival images: Chip Mooney, Leah Hulst, Ben Fletcher, Chelsea King and Steve Benn.
"The bear, it fucking did cocaine. A bear did cocaine!" That's it, that's Cocaine Bear. This based-on-a-true-story caper's title really does say it all, and those understandably concerned words in the trailer sum it up perfectly, too. Meet one of 2023's instant must-sees, complete with a ridiculously entertaining sneak peek that utterly perfects the mood a bear doing cocaine deserves. "Apex predator. High on cocaine. Out of its mind." There's another way to sum up this 80s-set flick, which does indeed follow the chaos that ensues when an American black bear unwittingly ingests a hefty package of cocaine in a Georgia forest. Everyone's exclaiming things in response, really — adults, kids, cops and drug dealers in the trailer, and you while you're watching. "It kind of seems like a thing that stays with a man forever," the sneak peek tells us. It's not wrong. Cocaine Bear marks the third feature stint behind the lens by Call Jane actor Elizabeth Banks, after previously directing Pitch Perfect 2 and Charlie's Angels. And yes, the story behind it very much happened back in 1985, after a drug-running plane crashed. Forget Yogi Bear and his penchant for picnic baskets — this growling 500-pound critter is doing blow, then seeking blood. Among those screaming on-screen about a bear doing coke: a stacked cast featuring Keri Russell (Antlers), O'Shea Jackson Jr (Obi-Wan Kenobi), Alden Ehrenreich (Solo: A Star Wars Story) and Margo Martindale (The Watcher), and also including Christian Convery (Sweet Tooth), Jesse Tyler Ferguson (Modern Family), Brooklynn Prince (The Florida Project) and Kristofer Hivju (Game of Thrones). Cocaine Bear also marks one of the last films starring the late, great Ray Liotta (The Many Saints of Newark) — and if there's ever been a time for Isiah Whitlock Jr (Da 5 Bloods) to bust out one of his famous "sheeeeeeeit"s, this is it. Cinemagoers Down Under can see the results in February, in what looks like a jaw-on-the-floor kind of good time — from the trailer and the whole 'bear does cocaine' concept, at least. Until then, the film's sneak peak is the wildest thing you'll see all day. Watching it more than once comes with the territory. Check out the trailer for Cocaine Bear below: Cocaine Bear releases in cinemas Down Under on February 23, 2023.
Most of the time, when bands take a break, they disappear into the land of never-to-be-heard-of-again. It's a kind of ex-rockers' purgatory, where would-have-, could-have- and should-have-beens sit around listening to early demo tapes, bemoaning the halcyon days when a record deal was forever just around the corner, and growing bitter about the fact that such-and-such became too egotistical or whatshisname retreated to the countryside to clean up his act. Not so The Basics. In their three-year hiatus, they've managed to win three Grammys (via Wally de Backer's transformation into Gotye), write a film score (Tim Heath's contribution to The Rise and Rise of Richard Latt) and catch malaria while checking out Kenya's local music scene (just one chapter in Kris Schroeder's excellent adventures). With all of that out of (or should that be in?) their system, they're ready for a reunion. So they've released new single 'So Hard For You' and will be touring nationally throughout September and October. "It's been a great challenge nutting out how to bring a large band, visuals and studio compositions together for the Gotye live shows over the last two years," Wally says. "But right now I'm looking forward to getting sweaty behind the drums and playing rock 'n' roll in these fab clubs with my brothers Kris and Tim." https://youtube.com/watch?v=bnDf9zLiUII
Alright, guys and dolls, ready yourselves for a night of risqué cabaret that's sure to get your heart racing. This summer, the Sydney Opera House will channel all the glitz and glamour of 1920s Paris during a fully immersive burlesque extravaganza. With toe-tapping jazz, beguiling burlesque, circus tricks, side-splitting comedy and amazing music, Blanc de Blanc Encore is the kind of party that would make Jay Gatsby jealous. If you attended the first iteration of Blanc back in 2016, you'll remember the infectious fun and frivolity which ensued in The Studio. If not, you best get a ticket this time around. Taking place from Friday, January 4 to Saturday, March 9, the show will feature some big international names, including singer Vanessa Renee Jordan (Postmodern Jukebox), aerial artist Reed Kelly (Cirque du Soleil) and Spencer Novich, an award-winning clown who's performed all over the globe. Wondering who to bring along? Take date night to cheeky new heights and treat your partner to a night of edge-of-your-seat theatre; or grab your ride-or-die girlfriends — of course, don your best flapper dress, feather boa and string of pearls — and get set for an evening of captivating cabaret. But if you're a little sensitive, you might end up clutching said pearls — nudity is involved so consider this your warning. Blanc de Blanc Encore will take place from Friday, January 4 to Saturday, March 9 at The Studio. Standard tickets start at $69 and are available for purchase from the Sydney Opera House website.
For some people an mp3 is like a Japanese leg pillow — it's just no substitute for the real thing. We're not relinquishing our iPhones and cancelling our Rdio and Spotify subscriptions any time soon, but those newfangled things make having music you can hold that much more special. Luckily it appears there are still plenty of discerning Sydneysiders who agree, so if you're sick of browsing the iTunes store then immerse yourself in one of these musical wonderlands instead. 1. RED EYE RECORDS Red Eye has been peddling LPs since 1981, making it Sydney’s largest independent music retailer. The store is small, but the selection is excellent. Second-hand collectibles and covetable memorabilia are Pitt Street’s scene, while the York Street shop will help you out with new releases. 143 York Street and 370 Pitt Street, Sydney; 02 9267 7440 2. TITLE Record junkies rub shoulders with movie buffs at this airy Crown Street store. It’s more orderly than most of its off-the-beaten-track counterparts, but that doesn’t mean TITLE isn’t a treasure trove. The film section is like one enormous cult department broken down into smaller cult subcategories including 'Hollywood Cool' and 'French New Wave', and their CDs and vinyls are just as deliciously obscure. 499 Crown Street, Surry Hills; 02 9699 5222 3. THE RECORD STORE Rock, indie, hip hop, funk, soul, drum ‘n’ bass, party breaks, eclectic electronica and sweet bargain fanatics flock to this LP paradise of over 1000 titles. Records come either meticulously organised or uncatalogued for your digging pleasure, and they’ll even transfer old vinyls to CDs. 255b Crown Street, Darlinghurst; 02 9380 8223 4. EGG RECORDS Milk crate bargain bins you have to get down on your knees to rifle through, too-cool-for-school customers, plenty of incredible finds and a few bits of overpriced memorabilia — this is everything a record store in 2012 should be. 3 Wilson Street, Newtown; 02 9557 4809 5. MOJO MUSIC Ever had a really cool friend who made you feel like your music collection was about as interesting as a cement museum? They probably shopped at Mojo. The Kings of the Back Catalogue aim to make your music world a little bigger and a little hipper, stocking everything from psychedelia to Cajun-zydeco. If you can’t find it anywhere else, you’ll find it here. And if you don’t, you can now drown your sorrows in a groovy drink — they've just received their small bar license. 73 York Street, Sydney; 02 9262 4999 6. REVOLVE RECORDS & RELICS Nestled in Erko for almost a decade, Revolve specialises in rare, collectable and out of print vinyl and CDs. They bring in fresh material on a weekly basis and the old stuff is just as frequently reduced, so you can balance out that $400 back issue purchase with one from the bargain bin. Revolve also stocks books, magazines, clothing and mothball-scented bric-a-brac. 3/65 Erskineville Road, Erskineville; 02 9519 9978 7. THE VINTAGE RECORD This friendly music haven boasts a good selection of used and new CDs and records, plus plenty of good vibes. They also have a boom box that plays vinyl, and it’s worth venturing out to Annandale for that reason alone. 31a Parramatta Road, Annandale; 02 9550 4667 8. LAWSON'S RECORD CENTRE If you like really weird movies that fall into genres like Lucha Film or Nudist Camp Horror, you will probably also like the eclectic and reasonably priced selection of records and CDs at Lawson’s. And if you don’t find exactly what you’re looking for, you’re 99% guaranteed to leave with something even more wonderfully bizarre. 380 Pitt Street, Sydney; 02 9267 3434 9. REPRESSED RECORDS This King Street mainstay recently moved down the road a few numbers, but they’ve taken their friendly staff and excellently curated musical repository with them. There’s something for everyone at Repressed, whether you’re into back issue psych vinyls or DIY zines. 413 King Street, Sydney; 02 9557 6237 10. PIGEON GROUND If you like amazing clothes, amazing records and insisting that Sydney is cooler than Melbourne, Pigeon Ground is probably already your favourite stomping ground. The vinyls are mostly sourced from private collections and garage sales, and cover pretty much any genre you can think of (except for ones that aren’t amazing). 102 Salisbury Road, Camperdown; 02 9557 6364
Back in simpler times, say about 30 years ago, it felt like every special occasion was topped off with a slice of Viennetta. Call it nostalgia, but this frozen treat seemed like the height of culinary indulgence, at least compared to the usual scoop of the most generic Neapolitan ice cream imaginable. However, things have changed in the world of dessert, especially since serious ice creameries like Gelato Messina hit the big time. Now that most of us have somewhat higher expectations when it comes to rounding out our meals, inspired creations like the Milo Messinetta offer a throwback bite with a lot more quality. Conceived as the ultimate Aussie summer dessert — and playing on the once-loved Viennetta — the experts at Messina have teamed up with the malt-based favourite to serve a reimagined frozen dessert featuring Milo gelato layered with Milo fudge and chunks of baked Milo cheesecake, finished with Milo crème chantilly. As malty as it sounds, the Milo Messinetta is available for pre-order online from Tuesday, October 14, or for pick up in stores from Friday, October 17–Sunday, October 19. For those seeking even more Messina-Milo goodness, the crew has also whipped up a decadent Milo Dinosaur Sundae for its Keng Eng Kee collaboration.
Not every film that wins an Oscar, earns a nomination for Hollywood's night of nights or gets selected by its country to go in the running for the coveted accolades makes it to cinemas Down Under beyond festivals. A movie can have international fests buzzing as well, yet still bypass a big-screen release in Australia. That's the fate for plenty of features; however, gone are the days when skipping a date with picture palaces was a sign of a bad movie. The streaming era means that a new flick is always dropping on one of the many platforms that are available to Aussie audiences. While they can't all be excellent, that's no different to what does make it to the silver screen. The gems that go straight to home viewing are up there with the gems that do get the movie-theatre treatment — as the highlights from January–June 2024 make clear. There are indeed Academy Award-winners on this list, as well as nominees. Films that'll compete next year, festival favourites, movies with big-name stars or from high-profile directors: they all feature as well. If you haven't caught them on the couch already alongside fellow straight-to-streaming standouts from 2024's first six months, take this as your motivation, whether you're after shattering documentaries, truth-is-stranger-than-fiction comedies, affecting dramas, gorgeous animation or plenty of horror. 20 Days in Mariupol Incompatible with life. No one should ever want to hear those three devastating words. No one who is told one of the most distressing phrases there is ever has them uttered their way in positive circumstances, either. Accordingly, when they're spoken by a doctor in 2024 Oscar-winner 20 Days in Mariupol, they're deeply shattering. So is everything in this on-the-ground portrait of the first 20 days in the Ukrainian port city as Russia began its invasion, with the bleak reality of living in a war zone documented in harrowing detail. Located less than 60 kilometres from the border, Mariupol quickly segues from ordinary life to an apocalyptic scene — and this film refuses to look away. Much of its time is spent in and around hospitals, which see an influx of patients injured and killed by the combat, and also become targets as well. Many of in 20 Days in Mariupol's faces are the afflicted, the medics tending to them in horrendous circumstances, and the loves ones that are understandably inconsolable. Too many of the carnage's victims are children and babies, with their parents crushed and heartbroken in the aftermath; sometimes, they're pregnant women. Directed by Pulitzer Prize-winning journalist Mstyslav Chernov, and narrated by him with the grimness and soberness that can be this movie's only tone, 20 Days in Mariupol even existing is an achievement. What it depicts — what it immerses viewers in with urgency, from shelled hospitals, basements-turned-bomb shelters and more of the city destroyed day after day to families torn apart, looting, struggling to find food and bodies of the dead taken to mass graves — needs to be viewed as widely as possible, and constantly. His footage has also featured in news reports, but it can and must never be forgotten. Doctors mid-surgery demand that Chernov's camera is pointed their way, and that he shows the world the travesties taking place. The Ukrainian reporter, who has also covered Donbas, flight MH17, Syria and the Battle of Mosul for the Associated Press, does exactly that. He's doing more than ensuring that everyone bears witness, though; he makes certain that there's no way to watch 20 Days in Mariupol, which shows the vast civilian impact and casualties, and see anything but ordinary people suffering, or to feel anything other than shock, anger and horror. 20 Days in Mariupol streams via DocPlay. Society of the Snow It was meant to be a fun trip to Chile with friends and family for a game. When the Old Christians Club rugby union team boarded Uruguayan Air Force Flight 571 in Montevideo on October 13, 1972, destination Santiago, no one among them knew what would happen next. The plane didn't make it to its destination, as 1976 Mexican film Survive!, 1993 American movie Alive and now Spanish-US co-production Society of the Snow each cover. All three features boast apt titles, but only the latest sums up the grim reality and existential dilemma of crashing in the Andes, being stranded for 72 days in snowy climes with little resources against the weather — or for sustenance — and attempting to endure. Taken from the memoir by Pablo Vierci, aka La sociedad de la nieve in Spanish, only this phrase adorning JA Bayona's (Jurassic World: Fallen Kingdom) picture encapsulates the tremendous effort that it took to find a way to persist, as well as the fact that trying to remain alive long enough to be rescued meant adapting everything about how the survivors approached each second, minute, hour, day, week and month — and also links in with how a catastrophe like this banded them together, doing whatever it took to find a way off the mountains, while reshaping how they contemplated what it meant to be human. Society of the Snow isn't just a disaster film detailing the specifics of the flight's failed trip, the immediate deaths and those that came afterwards, the lengthy wait to be found — including after authorities called the search off — and the crushing decisions made to get through. Bayona, who also helmed the 2004 Indian Ocean tsunami-focused The Impossible, has made a weighty feature that reckons with the emotional, psychological and spiritual toll, and doesn't think of shying away from the most difficult aspects of this real-life situation (including cannibalism). This is both gruelling and meaningful viewing, as crafted with technical mastery (especially by Don't Breathe 2 cinematographer Pedro Luque, plus Cinco lobitos' Andrés Gil and Cites' Jaume Martí as editors), built upon brutal candour, and paying tribute to resilience and then some. Its feats extend to its hauntingly acted performances from a cast that includes Enzo Vogrincic (El Presidente), Agustín Pardella (Secrets of Summer) and Matías Recalt (Planners), all contributing to an account of camaraderie and sacrifice that deserves its Best International Feature Film Oscar nomination. Society of the Snow streams via Netflix. The Devil's Bath Suspense and tension, how to cultivate such a strong atmosphere of unease that it feels as if it drips from the screen, the darker side of human nature, sheer existential exasperation: writer/directors Veronika Franz and Severin Fiala know these things. The Austrian filmmakers are just as well-aware of how to make movies that crawl under your skin as much as distress does with their characters. For that sensation at its very best, see: Goodnight Mommy, their Oscar-submitted 2014 debut (which was then remade in America in 2022). The Devil's Bath earns the same description, too. The duo's first feature since 2019's Riley Keough (Under the Bridge)-starring English-language horror flick The Lodge, it needles deep as it follows new bride Agnes (Anja Plaschg, Axolotl Overkill), who is thrilled to be starting her married life to Wolf (David Scheig, Heribet), even if that joy doesn't seem completely reciprocated. Relationship disharmony bubbles at the heart of this 18th century-set film, but that's not the only force bearing down on a woman that no longer has any agency — and, soon, little hope left simmering as well. Franz and Fiala begin The Devil's Bath with a different scene of domestic struggle. They haunt their viewers from the outset, too. First up, a woman throws a baby over a waterfall, then turns herself in for punishment, knowing that she'll meet her end via decapitation. With that scene as a prologue, it hardly appears strange that Agnes is thrilled to receive a severed finger as a wedding gift — a digit that's meant to bring luck for starting a family. But nothing in the way of good fortunes spring when she's soon away from her other loved ones, left alone in a woodland cottage as Wolf works by day, stuck navigating his disinterest in the bedroom each evening and frowned upon constantly by her new mother-in-law (Maria Hofstätter, Andrea Gets a Divorce). There's history to Franz and Fiala's screenplay, which draws upon real events, and the mood of despair that seeps from returning Goodnight Mommy cinematographer Martin Gschlacht's grey-toned frames sports a can-only-be-true bite to it. There's little sunshine shed on the imagery, or on the way that people treat each other — and there's even more terror in realising that the lines between this arresting picture's vision of the past, even as set within a deeply superstitious and puritanical community, and today are far from faint. The Devil's Bath streams via Shudder and AMC+. Hit Man The feeling that Glen Powell should star in everything didn't start with Top Gun: Maverick and Anyone But You. Writer/director Richard Linklater (Apollo 10 1/2: A Space Age Childhood) has helped the notion bubble up before as early back as 2006's Fast Food Nation, then with 2016's Everybody Wants Some!! — and now he riffs on it with Hit Man. When viewers want an actor to feature everywhere, they want to see them step into all sorts of shoes but bring their innate talents and charm each time. So, Linklater enlists Powell as Gary Johnson, a real-life University of New Orleans professor who wouldn't be earning the movie treatment if he didn't also moonlight as a undercover police operative with a specific remit: playing hitmen with folks looking to pay someone to commit murder, sting-style. Johnson doesn't just give the gig the one-size-fits-all approach, though. Once he gets confidence in the job, he's dedicated to affording every target their own personal vision of their dream assassin. So, Powell gets to be a polo shirt-wearing nice guy, a long-haired master criminal, a besuited all-business type and more, including the suave smooth-talker Ron, the persona he adopts when Madison Figueroa Masters (Adria Arjona, Andor) thinks about offing her odious husband. Hit Man is as a screwball rom-com-meets-sunlit film noir, and an excellent one, as well as a feature based on a situation so wild that it can only stem from fact. Alongside charting Gary's exploits in the position and the murkiness of falling for Madison as Ron, it's also an acceptance that the kind of darkness and desperation needed for a person to want to hire a stranger to kill to make their life better isn't a rarity — if it was, Gary's services wouldn't have been needed. Linklater has been in comparably blackly comic but also clear-eyed territory before with Bernie, the past entry on his resume that Hit Man best resembles. The also-ace 2011 Jack Black (Kung Fu Panda 4)-led picture similarly told a true tale, and also sprang from an article by journalist Skip Hollandsworth. This time, Linklater penned the script with Powell instead of Hollandsworth, but the result is another black-comedy delight brimming with insight. Hit Man is a movie about finding one's identity, too, and Powell keeps showing that he's found his: a charismatic lead who anchors one of the most-entertaining flicks of the year. Hit Man streams via Netflix. Frida For almost a century, the art-loving world has peered at Frida Kahlo. Her self-portraits have stared steadfastly back. You can glean much about a person from how they commit their own likeness to canvas; whether donning a velvet dress, reclining in a hospital bed, standing between curtains, sitting opposite herself, or accompanied by a black cat and a monkey, Kahlo was unflinching. Exhibitions have adored her work, whether she's taking centre stage in her paintings or not, for decades upon decades. Creatives in other mediums have shown the same affection, be it via books (1983's Frida: A Biography of Frida Kahlo), biopics (2002's Frida, with Black Mirror's Salma Hayek as the artist; before that, 1983's Frida Still Life), operas (as first hit the stage in 1991) or ballets (Broken Wings debuted in 2016). 2024's Frida brings Kahlo back to the screen with a new approach that she'd surely approve of: making her directorial debut with this portrait of the iconic Mexican painter, editor-turned-director Carla Gutierrez (who spliced fellow biodocs RBG and Julia) lets her subject speak for herself and her own complexity. Actor Fernanda Echevarría (Ella Camina Sola) actually does the talking, because the treasure trove of materials that Gutierrez has gained access to — illustrated diaries, essays and letters, photos and footage, plus interview transcripts by Frida: A Biography of Frida Kahlo's Hayden Herrera — doesn't include Kahlo's voice. But the impact remains: this is Kahlo as she saw herself and as she was herself, as she always fought to convey when she was living. Drawing upon Kahlo's art, Gutierrez also uses animation by Sofía Inés Cázares (Daughter From Another Mother) and Renata Galindo (A la mala) to accompany Kahlo narrating her childhood, her medical studies, her life-changing accident at the age of 18, her marriage to fellow artist Diego Rivera, her other romantic liaisons, and her thoughts about all of the above and more. It's an inspired touch, and not just in breaking up the black-and-white archival visuals with dances of colour. Seven decades since her death in 1954, Kahlo still feels alive in her work, but the latest raw, rich and deeply resonant documentary to pay tribute to her finds its own way to express and honour that sensation. Frida streams via Prime Video. American Fiction Here's Thelonious 'Monk' Ellison's (Jeffrey Wright, Rustin) predicament when American Fiction begins: on the page, his talents aren't selling books. Praise comes the Los Angeles-based professor's way for his novels, but not sales, nor attendees when he's part of writers' festival panels. And even then, publishers aren't fond of his latest manuscript. Sick of hearing that his work isn't "Black enough", and also incensed over the attention that fellow scribe Sintara Golden (Issa Rae, Barbie) is receiving for her book We's Lives in Da Ghetto, he gets a-typing, pumping out the kind of text that he vehemently hates — but 100-percent fits the stereotype of what the world keeps telling him that Black literature should be. It attracts interest, even more so when Monk takes his agent Arthur's (John Ortiz, Better Things) advice and adopts a new persona to go with it. Soon fugitive convict Stagg R Leigh and his book Fuck are a huge hit that no one can get enough of. Because of the story spun around who wrote the bestseller, too, the FBI even wants to know the author's whereabouts. Deservedly nominated for five 2024 Oscars — including for Best Picture, Best Actor for Wright and Best Supporting Actor for Sterling K Brown (Biosphere) as Monk's brother Clifford — American Fiction itself hails from the page, with filmmaker Cord Jefferson adapting Percival Everett's 2001 novel Erasure. Wright is indeed exceptional in this savvy satire of authenticity, US race relations and class chasms, and earns his awards contention for his reactions alone. Seeing how Monk adjusts himself to a world that keeps proving anything but his dream is an utter acting masterclass, in big and small moments alike. As the film dives into the character's personal chaos, that's where Brown's also-fantastic, often-tender performance comes in, plus Leslie Uggams (Extrapolations) as Monk's mother and Tracee Ellis Ross (Candy Cane Lane) as his sister, and also Erika Alexander (Run the World) as a neighbour who is a fan of his — not just Stagg R Leigh's — work. Don't discount how excellent American Fiction is beyond its literary hoax setup, in fact; as a character study, it's equally astute. American Fiction streams via Prime Video. Fancy Dance Lily Gladstone might've won the Golden Globe but not the Oscar for Killers of the Flower Moon, but her exceptional resume shows every sign of more awards coming her way. Fancy Dance, the other movie to join her filmography in 2023 — it premiered at Sundance that year, but only makes its way to streaming worldwide now — is yet another example of how the Certain Women and First Cow star is one of the very-best actors working right now. Where Gladstone's time in front of Martin Scorsese's lens showcased her mastery of restraint, playing an aunt trying to do what's best for her niece and a sister searching for her absent sibling benefits from her equal command of looseness. Jax, her character, is a pinball. When she bounces in any direction, it's with force and purpose as well as liveliness and determination, but the choice of where she's heading is rarely her own. All she wants is to find Tawi (debutant Hauli Sioux Gray) and protect 13-year-old Roki (Isabel Deroy-Olson, Three Pines), but set against the reality that law enforcement mightn't look as enthusiastically for a missing Indigenous woman — or treat one with a record attempting to do right be her family with consideration — that's far from an easy task. Writer/director Erica Tremblay hails from the Seneca–Cayuga Nation, where much of Fancy Dance is set. As Gladstone is, she's also an alum of Reservation Dogs — including helming two episodes — and so is experienced at depicting everyday reservation life with authenticity. Accordingly, her first fictional feature after documentaries Heartland: A Portrait of Survival and In the Turn takes a social-realistic approach in its details, especially when it's simply surveying the space and empathy that First Nations versus white Americans aren't given. Because Jax has a criminal history, child services deems her unfit to look after Roki, or even to take the teen to the powwow where the girl is certain her mum will attend to again steal the show in the mother-daughter dance competition; instead, Jax's white father (Shea Whigham, Lawmen: Bass Reeves) and stepmother (Audrey Wasilewski, Ted) are their choice of guardians. Fancy Dance's protagonist isn't one to simply acquiesce to that decision, and Gladstone makes both her fire and her pain palpable — and her tenderness for Roki, who is weightily portrayed by her Under the Bridge co-star Deroy-Olson, as well. Fancy Dance streams via Apple TV+. Infested For those firmly of the idea that there's no new stories in horror, just fresh takes on well-established sources of fear, Infested isn't here to change minds. Rather, the French movie is the latest poster child for what looking at a tried-and-tested concept anew can do, including while pairing it with up-to-the-moment social commentary. The genre staple here: spiders. When writer/director Sébastien Vanicek begins his feature debut — which he co-scripts with Florent Bernard (Meet the Leroys) — it's with a specific breed of the venomous eight-legged scurrying nightmares unearthed, literally, in a Middle Eastern desert. Within moments of emerging from the earth, the critters make the smugglers that are attempting to capture them pay. Horror fans should clock that Infested nods to classic ways to kickstart a scary flick from the outset, then, bringing The Exorcist's opening scene to mind. Prayer won't help the Parisian banlieue residents soon fighting arachnids for their lives, however, after Kaleb (Théo Christine, Gran Turismo: Based on a True Story) innocently purchases a new addition to his bedroom menagerie of exotic pets from a local convenience store. As he disagrees with his sister Manon (feature first-timer Lisa Nyarko) about selling the apartment that they've inherited from their mother, grapples with his grief, trades in sneakers to his neighbours to stump up a buck and is faced with small-minded prejudice just by stepping outside his door, what happens when Kaleb soon has a spider (and quickly, more than one) to track down? The critter he calls Rihanna was always going to escape, so havoc unsurprisingly eventuates. That's not to say that Infested goes through the motions. With energy and style as well as needling suspense, Vanicek makes a creature-feature equivalent of British alien-invasion gem Attack the Block, with shades of Les Misérables — the 2019 crime-thriller, not Victor Hugo-penned tale — and 2022's fellow standout Athena. He also gets his audience squirming. He filters his recognisable setup through welcome eyes. He knows how to make a heightened situation feel real to the deep distress of arachnophobics, and to get terror and tension scuttling through veins. And, he ensures that desperately rallying against forces that won't let you escape, in a setting that embodies that exact notion, proves both urgent and immediate. Infested streams via Shudder and AMC+. Stopmotion One of the most-haunting performances in Australian cinema belongs to Irish Italian actor Aisling Franciosi. She's acted in The Fall and Game of Thrones, I Know This Much Is True and Dracula: Voyage of the Demeter, and Jimmy's Hall and the upcoming Speak No Evil remake before and since, but her deservedly AACTA Award-winning work in The Nightingale — the second feature from The Babadook's Jennifer Kent, which follows a former convict's quest for revenge against a British officer in 1820s Tasmania — is stunning, searing and unforgettable. Also stellar half a decade later: Franciosi's turn in Stopmotion, which hails from the UK, has her playing the daughter of an animation genius and again tasks the immensely talented actor with confronting trauma. It's the product of a filmmaker in Robert Morgan with an uncompromising vision, too, with the English writer/director making his feature debut almost a decade after helming the D Is for Deloused segment in The ABCs of Death 2 with a movie that's never afraid to commit to its eerie chills, psychological thrills and macabre sense of wonder. Franciosi's Ella Blake has spent her entire life being told that her mother Suzanne (Stella Gonet, Breeders) is an unparalleled master at making the dead appear alive — because that's one way to see Stopmotion's eponymous art form. She's also spent much of her existence assisting rather than pursuing her own dreams, including after arthritis robs her mum of being able to use her hands to craft the exacting movements that their chosen medium requires. When the film begins, overwork has Ella fraying. Emotional cruelty has her internally raging, although she won't admit it. Suzanne has a project to finish, demanding her daughter's utmost commitment. When tragedy compounds her stress, Ella escapes into own creative vision instead, conjuring up a twisted fairy tale aided by a girl (Caoilinn Springall, The Midnight Sky) from an apartment neighbouring her new makeshift studio. Saying what Morgan unleashes from there is inventive, powerful and extraordinary — in live-action and animation alike — is an understatement. Stopmotion streams via Shudder and AMC+. Lumberjack the Monster Spanning big-screen releases, TV and straight-to-video fare, Takashi Miike has notched up 115 directorial credits in the 33 years since making his helming debut. Lumberjack the Monster isn't even the latest — it premiered at film festivals in 2023, which means that miniseries Onimusha and short Midnight have popped up since — but it is Miike back in horror mode, where 1999's Audition and 2001's Ichi the Killer famously dwelled. Here, the inimitable Japanese filmmaker and screenwriter Hiroyoshi Koiwai (Way to Find the Best Life) adapt the eponymous 2019 Mayusuke Kurai novel. Its namesake character also exists on the page in the movie itself, in a picture book. This is a serial-killer picture, though, and with more than one person taking multiple lives. A mass murderer wearing a bag over their head and swinging an axe is on a rampage, and lawyer Akira (Kazuya Kamenashi, Destiny) and surgeon Sugitani (Shôta Sometani, Sanctuary) aren't averse to dispensing death themselves. A clash is inevitable, not that the slick Akira expects it, or that his costumed attacker anticipates that their current target will survive his blade, sparking a cat-and-mouse game. Lumberjack the Monster doesn't just weave in fantasy boogeyman stories, offings upon offings, and characters with dark impulses going head to head. The police are on the case, giving the film a procedural layer, as well as Akira motivation to hunt down his assailant first. Science fiction also washes through, with brain-implanted chips and modifying human behaviour both for worse and for better part of the narrative. There's also a moral-redemption element weaved in. Consequently, it's no wonder that this tale is Miike joint. As well as being prolific, Miike loves making his resume the ultimate mashup. To name just a few examples, see: the yakuza action of Dead or Alive, superhero comedy Zebraman, titular genre of Sukiyaki Western Django, samurai efforts 13 Assassins and Blade of the Immortal, period drama Hara-Kiri: Death of a Samurai, video-game adaptation Ace Attorney, romance For Love's Sake, thriller Lesson of the Evil, vampire movie Yakuza Apocalypse and the crime-driven First Love. Unsurprisingly, Lumberjack the Monster is specifically the engrossing — and bloodily violent — Frankenstein's monster of a flick that Miike was always going to relish making when splicing together such an array of elements came his way. Lumberjack the Monster streams via Netflix. The Kitchen He has an Oscar, BAFTA and Golden Globe for Judas and the Black Messiah. He was nominated for all of the above accolades for Get Out, and should've won them all then, too. His resume spans Skins, one of Black Mirror's most-memorable episodes, plus Sicario, Widows, Black Panther, Queen & Slim and Nope as well. But The Kitchen marks a first for Daniel Kaluuya: his first movie as a director. Hopefully more will follow. Co-helming with Kibwe Tavares — who also notches up his feature debut behind the lens after shorts including Jonah and Robot & Scarecrow, which both starred Kaluuya — and co-penning the screenplay with Calm with Horses' Joe Murtagh, the actor makes a stunning arrival as a filmmaker. The Kitchen's setup: in the year 2044 in London, with class clashes so pronounced that not being rich is basically treated as a crime, a man (Top Boy's Kane Robinson, aka rapper Kano) living in the titular housing development crosses paths with a 12-year-old boy (newcomer Jedaiah Bannerman) who has just lost his mother, with the pair discovering that they have no one but each other as they endeavour to find a way to survive. Robinson's Izy has bought into the social-climbing dream when The Kitchen begins. He'll do so literally if he can come up with the cash for an apartment in a swankier tower away from everything he's ever known within 21 days, a dream that he's been working towards at his job selling funerals. It's at the latter that he meets Bannerman's Benji, who has nowhere to live after his mother's death and no one else to turn to for help. The film's scenario is pure dystopia, reflecting the inequities, oppressions and realities of today as all great sci-fi should. Its intimate emotional core hones in on people attempting to persist and connect, as the genre's best always does as well. Accordingly, this is an impassioned and infuriated portrait of society's gaps as everyone watching can recognise, a nightmarish vision of what might come and a thoughtful character study. As directors, Kaluuya and Tavares excel at world-building, at bringing such rich detail and texture to the screen that viewers feel like they could step straight into its social realist-leaning frames, and at guiding affecting performances out of both Robinson and Bannerman (who adds to the feature's impressive first efforts). The Kitchen streams via Netflix. Orion and the Dark Learning to face life's chaos, or even just recognising that life is chaos, has a particular term when Charlie Kaufman is making movies and audiences do the confronting. Describing something as Kaufmanesque sprang from the screenwriter and filmmaker's stunning run at the end of the 90s and beginning of the 00s — the Spike Jonze (Her)-helmed Being John Malkovich and Adaptation, plus the Michel Gondry (Microbe & Gasoline)-directed Human Nature and Eternal Sunshine of the Spotless Mind — and it's stuck ever since. Joining the trio of Synecdoche, New York, Anomalisa and I'm Thinking of Ending Things as well, all three of which he penned plus helmed, is new family-friendly animation Orion and the Dark. A Kaufmanesque kid-appropriate flick? It exists, and it's wonderful. Feature first-timer Sean Charmatz (TV movie Trolls Holiday in Harmony) directs, and Emma Yarlett's 2014 children's book provides the source material; however, this account of a boy afraid of the dark who then meets the literal Dark (voiced by The Afterparty's Paul Walter Hauser) is a Kaufman affair through and through. Also, iconic German filmmaker — and one-time Parks and Recreation star — Werner Herzog (The Fire Within: A Requiem for Katia and Maurice Krafft) pops up. Loaned the vocal tones of Jacob Tremblay (The Little Mermaid) as a child and Colin Hanks (The Offer) as an adult, Orion is petrified of sleeping without the lights on. And, just like the kids in Monsters, Inc that are scared of creatures in their cupboards, Orion and the Dark's protagonist is frightened of something real. Dark exists and, alongside Orion's parents (The Fall of the House of Usher's Carla Gugino and Bull's Matt Dellapina), is exasperated by the boy's response to nighttime. He can't help taking it personally, in fact, then offers to assist. For one 24-hour period, as darkness falls around the world, he gets Orion to accompany him on his travels with friends Sleep (Natasia Demetriou, What We Do in the Shadows), Insomnia (Nat Faxon, Our Flag Means Death), Quiet (Aparna Nancherla, The Great North), Unexplained Noises (Golda Rosheuvel, Bridgerton) and Sweet Dreams (Angela Bassett, Black Panther: Wakanda Forever) to demonstrate that being distressed is unfounded. It isn't just Herzog's involvement and a joke about David Foster Wallace's Infinite Jest that prove that this is a movie as much for adults as kids; amid its gorgeous animation, its understanding of existential dread is also that astute. Orion and the Dark streams via Netflix. Spaceman Should astronaut become a dictionary-certified synonym for melancholy? Cinema believes so. Its latest case in point comes via Spaceman, where life temporarily lived above and beyond the earth replaces gravity with loneliness and disconnection for Jakub Prochazka (Adam Sandler, You Are So Not Invited to My Bat Mitzvah). He's six months into a solo trip past Jupiter to investigate an eerie phenomenon in the heavens when this adaptation of Jaroslav Kalfař's 2017 sci-fi novel Spaceman of Bohemia kicks off. His quest is both time-sensitive and celebrated. South Korea is in close pursuit, he's frequently being told by Peter (Kunal Nayyar, Night Court), his contact at ground control — and Commissioner Tuma (Isabella Rossellini, Cat Person) happily keeps dialling him in for PR opportunities. As he soars through a strangely purple sky, however, endeavouring to fulfil his mission while pleading for maintenance approval on his crumbling ship, all that's really on his mind is his wife Lenka (Carey Mulligan, Maestro). Pregnant and left at home alone, she's no longer taking his fast-as-light-speed phone calls. Then Hanus (Paul Dano, Mr & Mrs Smith) scurries in beside Jakub, demanding attention — as a giant spider in space is always going to. For the best part of a decade now, seeing a live-action movie starring Sandler has meant heading to Netflix. In Australia, even Uncut Gems, his greatest-ever performance, arrived via the streaming platform. Alongside The Meyerowitz Stories (New and Selected) and Hustle, add Spaceman to the list of such features that give their star worthy parts and would've made welcome cinema releases. It isn't new news that Sandler is an excellent actor in dramatic and/or weightier roles, or that his career is more than the Billy Madison and Happy Gilmore-style comedies that he first became known for. Spaceman director Johan Renck (Chernobyl) has cast him expertly, in fact, in this tale of isolation, arrested development, otherworldly arachnids and amorous entanglements. Sending Sandler on an Ad Astra-, First Man- and Solaris-esque trip proves contemplative and empathetic — and, amid spider's-eye flashbacks to his complicated childhood in the Czech Republic, time spent with Lenka on the ground and floating around the film's claustrophobic main setting, also brimming with raw and resonant emotion. Spaceman streams via Netflix. STEVE! (martin) a documentary in 2 pieces To do justice to Steve Martin's life, career and impact requires more than just one movie. So, the engagingly and entertainingly in-depth, intimate, affectionate and informative STEVE! (martin) a documentary in 2 pieces explores the comedian and actor's existence in a pair of parts. The first is subtitled 'Then', honing in on his childhood and early stand-up days. The second, aka 'Now', jumps in when he made the leap to movies in the late 70s, which is where The Jerk, Pennies From Heaven, Planes, Trains and Automobiles, Dirty Rotten Scoundrels, Parenthood and LA Story comes in — and, of course, includes his tours with his ¡Three Amigos! co-star Martin Short, as well as their murder-mystery-comedy TV hit Only Murders in the Building. The initial half gets Martin narrating, sharing reflections personal and professional as accompanied by archival footage aplenty (and ample tapes of his stints in front of audience). The latter section treats him as an interviewee, with his wife Anne Stringfield, Short, Jerry Seinfeld (who has had Martin as a guest on Comedians in Cars Getting Coffee) and Tina Fey (who also co-starred with Martin in Baby Mama) among the talking heads. Behind it all is documentarian Morgan Neville, an Oscar-winner for 20 Feet From Stardom, as well as a filmmaker who is clearly taking his stylistic cues from his subject. That's noticeable in STEVE! (martin) a documentary in 2 pieces' moniker, for starters — it throws caution to the winds of grammar and title formats just as Martin has to comedy rules, as the two-part film makes plain again and again. No matter how well-acquainted you are with Martin, insights flow freely in this fascinating way to spend three hours surveying the ways that he's made people laugh over decades upon decades, beginning with doing magic tricks and working at Disneyland on his school holidays in the 50s. Revelations bound through about Martin as a person, too; more than once, he notes that his life has felt as if it has played out backwards, and not just because he only first became a father in his 60s. Clips of his stand-up act, and the response to it in the 60s and 70s, are gold. Hanging out with the man who originally was only going to create Only Murders in the Building, not star in it, when he's bantering with Short are as well. STEVE! (martin) a documentary in 2 pieces streams via Apple TV+. Am I OK? The question in Am I OK?'s title is indeed existential: is Lucy (Dakota Johnson, Madame Web) coping with being a thirtysomething in Los Angeles treading water emotionally, romantically and professionally? From there, more queries spring. Can she — or, more accurately, will she — shoot for more than not quite dating the smitten Ben (Whitmer Thomas, Big Mouth), right down to shaking his hand at the end of their evenings out together, and also for something beyond working as a day-spa receptionist while putting her passion and talent for art on the back burner? Is she capable of breaking free of a comfort zone padded out with spending all of her spare time with her best friend Jane (Sonoya Mizuno, House of the Dragon), including being so predictable that she always orders the same thing at their brunches at their favourite diner? Regarding the latter, she gets a push when Jane agrees to a lucrative transfer to London, splitting the pair for the first time since they were teenagers. Am I OK? is an arrested-development coming-of-age movie, then, and a film about being honest about who you are and want to be. Change comes for us all, even when we've built a cocoon to protect our happy status quo — and, at the heart of this romantic drama, change clearly comes for Lucy. She's forced to consider a path forward that doesn't involve solely being defined as half of a platonic duo. She also confronts the feelings for her coworker Brittany (Kiersey Clemons, Monarch: Legacy of Monsters) and the truth about her sexuality that she's never previously admitted. Am I OK? is a coming-out tale, too, but it treats Lucy's stuck-in-a-rut existence and at-first-tentative attempts to embrace how she truly feels holistically, seeing how life's passage inevitably shifts how we see ourselves. If the movie feels more honest than it might've been, that's because screenwriter Lauren Pomerantz (Strange Planet) spins a semi-autobiographical story. Also, the directing team of real-life couple Tig Notaro (2 Dope Queens) and Stephanie Allynne (who helmed Notaro's 2024 special Hello Again) — who met making 2015's In a World… — demonstrate the ideal light-but-delicate touch. Plus, Johnson and Mizuno exude genuine BFF chemistry, with the former again showing why fare such as this, Cha Cha Real Smooth, How to Be Single, The Peanut Butter Falcon, A Bigger Splash, Suspiria and The Lost Daughter, a diverse group of pictures, is a better fit than the Fifty Shades trilogy or a Spider-Man spinoff. Am I OK? streams via Binge. Looking for more viewing highlights? We picked the best 15 films that've reached cinemas in 2024's first half, too, plus the 15 best new TV shows of 2024 so far and the 15 best returning TV shows. 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.
While it may be a household name in Australian aviation, Jetstar hasn't exactly made waves within the LARPing community until now. Not sure what LARPing means? To get you up to speed, it's live-action role-playing. Similar to cosplaying, it involves dressing as historical or fictional characters with a fantasy theme, but it goes a step further by encouraging participants to play the role of their character as an actor would, often partaking in a friendly duel or battle. It might sound like a big commitment to get into this community, but with the oh-so-tempting offer of winning a share in a $50,000 flights voucher on the cards, now is the best time to give it a go. 21st birthdays often involve a lot more alcohol and live music than this, but historically, a 21st birthday marks a transition into adulthood and a time when a squire can earn the honour of knighthood. Jetstar isn't subverting expectations of birthdays with ancient traditions just to have a laugh — it's taking its 'Knights of the Skies' tournament on Sunday, May 25, very seriously. To put together this contest of champions, it's partnered with Swordcraft, Australia's largest LARPing organisation, who are lending trained LARPer warriors to bolster the ranks of the competition. And since every battle needs an overseer, radio host Liam Stapleton will play host… and a wizard, too. On the day, each participant will be divided into one of two teams. The last eight participants not to be felled by a mightier opponent will get the chance to claim a share in the prize: a $50,000 flight voucher, while runners-up can claim $1,000 vouchers. To enter, all you need to do is craft a medieval costume, the more DIY the better, and share it on Instagram, tagging @jetstaraustralia and #KnightsOfTheSkies, or sharing it via Instagram DM. The field of battle is yet to be decided, but will be somewhere within the kingdom of Melbourne, so keep an eye on Jetstar's social media to find out more. Jetstar's Knights of the Skies tournament will take place at an as-of-yet undecided location on Sunday, May 25. Follow Jetstar Australia on Instagram for more information.
Under current COVID-19 restrictions in Australia, there are various interstate border restrictions in place. Up-to-date information on restrictions are available at your state's health websites (click through for NSW, Victoria and Queensland). Of course, even border closures don't mean you can't start dreaming — bookmark this for when you can explore freely once again. Australia's hugely diverse landscape means there's plenty of choice when it comes to finding an off-road experience, no matter how you like to get around. From twisting turns across the Australian Alps to tropical rainforest descents, epic all-terrain mountain biking adventures can be discovered in every corner of the country. When you're ready to hit the road, don't forget to pack the new Sonos Roam. Designed to withstand a rough-and-tumble lifestyle, this lightweight and portable smart speaker is drop-withstanding and waterproof, making it the perfect device to soundtrack your journey. [caption id="attachment_812642" align="alignnone" width="1920"] Ain Raadik Photography[/caption] THE AUSTRALIAN ALPINE EPIC, VICTORIA When it comes to the Alpine Epic, everything you need to know is in the name. The first trail in the southern hemisphere to be designated, quite literally, 'epic' by the International Mountain Bicycling Association, this exhilarating cross-country trail begins from the lofty Mt Buller Alpine Village. From there, you'll pedal through 40 kilometres of incredible alpine terrain, including many of the region's most picturesque destinations. Passing through snowgum groves and wildflowers via Soul Revival, One Tree Hill and Gang Gangs on this challenging descent, the Australian Alpine Epic is suited to experienced riders, and takes around seven hours to complete. The trail is open from December to April. [caption id="attachment_818224" align="alignnone" width="1920"] Ready Aim Media[/caption] OURIMBAH STATE FOREST, NSW Situated at the southern end of the Watagan Mountains, just west of Wyong, Ourimbah State Forest is a popular destination for outdoor adventure activities near the Central Coast. As well as stellar hiking and ziplining experiences through the treetops, mountain biking is high on the agenda for many visitors with a series of well-maintained downhill and cross-country trails suitable for both beginner and experienced riders. You'll find plenty of obstacles and jumps to test your skills, with many of the routes designed with progression in mind. Plus, a convenient shuttle bus ensures you get a break on the way back to the top of the mountain. [caption id="attachment_818229" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] SMITHFIELD MOUNTAIN BIKE PARK, QUEENSLAND The dense, lush landscape of tropical north Queensland makes for the perfect destination when you're looking for some serious thrills. Featuring more than 60 kilometres of trails set deep within the rainforest, Smithfield Mountain Bike Park is considered one of the top all-terrain trail systems anywhere in the world. It hosted the 1996 and 2017 UCI Mountain Bike World Championships — and it's also the oldest mountain bike park in Australia. You can bounce your way across craggy hillsides and fast-flowing streams as you ride through vine-covered jungle and jagged ridges overlooking the Great Barrier Reef. While experienced riders flock to Smithfield for its great selection of quick technical routes to test their skills, beginners will discover a series of spacious, smooth trails that skirt the lower edges of the park. [caption id="attachment_812640" align="alignnone" width="1920"] Visit Victoria[/caption] ARTHURS SEAT PARK, VICTORIA Surrounding the 314-metre summit of Arthurs Seat State Park is a striking network of mountain biking trails that wind through the region's native bushland and rocky terrain. There are suitable off-road adventures for every experience level here, with 14 trails of varying difficulty. Beginners will prefer the well-connected Pink Line Trail, Slippery Gypsy Trail and East Link Trail with their low gradients and minimal obstacles. More accomplished riders can take on the highly technical Deadwoods Trail or the sharp drops of the Pins and Needles Trail. [caption id="attachment_812638" align="alignnone" width="1920"] Destination NSW[/caption] THREDBO MOUNTAIN BIKE PARK, NSW Alpine mountain biking doesn't get much better than what's on offer at the Thredbo Mountain Bike Park. The trails are open from November to May each year and offer an evolving network of cross-country adventures that ensure you can find a path to match your skillset. Featuring Australia's only chairlift-accessed gravity trails open throughout summer, Thredbo is a great place for riders with a bit of experience to test themselves on berms, rock drops and other technical obstacles. For those who'd prefer a more relaxing off-road experience, Easy Street and the Thredbo Valley Track offer a stellar combination of thrills and alpine scenery. Thredbo Mountain Bike Park also offers clinics for all ages and skill levels. [caption id="attachment_812641" align="alignnone" width="1920"] Visit Victoria[/caption] BIG HILL MOUNTAIN BIKE PARK, VICTORIA Situated atop the appropriately named Mount Beauty, Big Hill Mountain Bike Park is widely regarded as one of Australia's best mountain biking destinations. This labyrinth of downhill and cross-country trails spans more than 40 kilometres, with over 50 trails to choose from ranging in terrain and difficulty. Big Hill is home to the National Mountain Bike Championships, but there are a number of trails suited to less experienced riders including the Dart Spur Track and Sesame Street. With the charming town of Bright located within close proximity of this track, you can round out your outdoor adventures with a visit to the Bright Brewery or one of the many cafes in town. [caption id="attachment_818518" align="alignnone" width="1920"] Stromlo Forest Park[/caption] STROMLO FOREST PARK, ACT Stromlo Forest Park is the best place for mountain biking when you don't want to totally leave civilisation behind. Just a 15-minute drive from the centre of Canberra are over 40 kilometres of world-class trails that are suited to a wide range of riding abilities and age groups. Cemented in Australian mountain biking folklore thanks to its hosting numerous national championships and professional competitions, Stromlo Forest Park offers highly technical routes, including log rides and bridges, alongside easier trails with long, flowing descents. Stash away your lunch and Sonos for a relaxing post-ride picnic amongst the trees. [caption id="attachment_818267" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] NOOSA TRAIL NETWORK, QUEENSLAND Spanning a vast section of Queensland's rural landscape, the Noosa Trail Network encompasses eight distinct hinterland trails ideal for biking, hiking and horse riding. While these scenic journeys are slightly more focused on the incredible vistas that make up this part of the world, there are still plenty of challenges to be found. The 25-kilometre Kin Kin to Lake Macdonald Trail, for example, delves from wide-open countryside into the rainforest, while the Kin Kin Countryside Loop is a leisurely ride linking peaceful picnic spots with bird watching opportunities. Find out more about the new Sonos Roam at the official website. Top image: TBC
Everyone needs a holiday to look forward to. With 2025 now officially into its second month, and everyone's Christmas breaks feeling like a lifetime ago, planning your next getaway is a self-care essential. Fancy heading overseas, but not too far, to either laze around on a beach or see some mountainous sights? Enter Virgin's latest sale, which focuses on short-haul international flights. Trips to Bali, Fiji, Samoa, Vanuatu and New Zealand this year just got cheaper — and you've got five days to grab a bargain. So, get your suitcases ready and book that annual leave. Fares start at $439 return, and are available until midnight AEST on Friday, February 7, 2025, unless sold out earlier. The cheapest option is Melbourne–Queenstown return, but you can also head there and back from Sydney for $469. Next comes Brisbane to Port Vila in Vanuatu from $479, while trips to Bali from Melbourne start at $499 and kick off at $509 from the Gold Coast. Or, get to Queenstown and back from Brisbane from $549 — or to Fiji from Sydney for $569, from Brisbane for $589 and from Melbourne for $599. Other deals include Sydney–Bali from $619, Brisbane–Bali from $659 and Brisbane–Samoa from $689. This sale began at 12.01am AEST on Monday, February 3, 2025, with prices covering Virgin's Economy Lite option. If you're wondering when you'll need to travel, these deals are for periods between Monday, February 17, 2025–Friday, December 12, 2025, with all dates varying per route. As always, inclusions also differ depending on your ticket — and, as usual when it comes to flight sales, you'll need to get in quick. Virgin's February 2025 international flight sale runs until midnight AEST on Friday, February 7, 2025 — unless sold out earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Fancy scoring some new Aussie-made threads at the price of your choosing — and earning some much-needed funds for an eco charity in the process? Well, for the next few days, you can, thanks to a clever new initiative by local brand Assembly Label. The Sydney-based brand is best known for its minimalist aesthetic, but now it's also hoping to help minimise ocean pollution by adding a 'choose what you pay' option to its online store between June 20 and 23. It works like this. A range of Assembly's designs (both womens and mens) are currently available at up to 50 percent off. When you go to add something to your cart, you have the option of adding on a donation — you can pay what's on the pricetag, or add on $5, $10 or $15 more. Any extra amount is then donated to the Australian Marine Conservation Society (AMCS), with each customer donation matched equally by Assembly Label. So, if you fork out an extra $15 for those linen pants, $30 will go to the charity. View this post on Instagram Beachside essentials, our Crossover Pool Slide will be included in our Choose What You Pay promotion alongside a selection of men's and women's apparel and accessories. Online tomorrow from 9am and proudly supporting @marineconservation.au A post shared by Assembly Label (@assemblylabel) on Jun 19, 2019 at 12:21am PDT AMCS is an independent charity focused on the big issues affecting the sea, from improving the sustainability of Australia's fisheries, to protecting threatened species. The extra funds raised through the 'choose what you pay' program will go towards supporting its campaign against plastic pollution in the ocean. The sale is the latest in a number of moves Assembly Label is making to reduce its environmental impact and encourage others to jump on board. It's now using 100 percent biodegradable material for its packaging, has cut down on plastic waste wherever possible, and is working towards full transparency with all of its manufacturing processes. Assembly's also aiming to become a certified B Corporation, which'll require hitting the highest standards of ethical measurement across all aspects of its business. Needless to say, if you're in need of some new basic tees or a labelled sweater, now is the time to grab them. Assembly Label's Choose What You Pay sale will run from June 20–23 through its online store.
Three years ago, the National Parks and Wildlife Service (NPWS) discovered that Wedding Cake Rock — a brilliant white sandstone ledge suspended 25 metres above the Tasman Sea in the Royal National Park that's become famous (and infamous) on Instagram — could collapse at any time. There's a high chance it'll go within the next decade. But, the organisation's public warnings haven't stopped people risking their lives to grab a snap. Neither has a 1.6-metre high fence, stacks of warning signs and loads of on-the-spot fines. Just look up the geolocation on Instagram and you'll see hundreds of locals and tourists taking precarious pics on the rock. The warnings aren't without reason, either — the landmark has already claimed a life when part of it crumbled. In June 2014, French engineering student Fabien Ardoin fell to his death, while standing on a sandstone ledge nearby. In November 2015, two men fell onto a ledge below and were winched to safety. One sustained a spinal injury. [caption id="attachment_702793" align="alignnone" width="1920"] The current fence at Wedding Cake Rock. David Molloy Photography, Flickr.[/caption] "Unfortunately, there is a small minority of people who are choosing to disobey the warning signs and blatantly scale the 1.6-metre-high fence, usually for one purpose only, to take a photograph on Wedding Cake Rock," a spokesperson for the NPWS told Concrete Playground. Consequently, the NPWS has hatched plans to replace the fence with one of the same height, but made of tougher, more climb-resistant materials. "Nobody wants a national park filled with obtrusive fences and signs, but the irresponsible behaviour of those putting many at risk has left the NPWS with little choice," said the spokesperson. Not everyone thinks the fence will be successful, however, with one climber, who's previously taken pictures on the rock, telling The Guardian, "I don't think building a fence is a good idea. It will not stop people from climbing on it." Wedding Cake Rock lies along the Coast track, around one hour's walk south of Bundeena, NSW. The new climb-resistant fence will be erected in 2019. Top image: David Molloy Photography, Flickr.
Whether your pooch is of the pampered variety or simply has an untameable mop, the expert groomers at Pets on the Point will transform them into catwalk-ready canines. You can book your dog in for a basic wash and dry or a full groom and puppy pedicure. Pricing is dependent on your dog's size and hair type (afghan hounds will have to go in for the premium service), and all shampoo, conditioners and fragrances are natural and antibacterial. While you're there, you can restock your pup cupboard with dry and fresh dog food, splurge on new doggo accessories and bedding, and get your pal's flea, tick and worm treatments sorted.
Positioned less than a 100 metres from Mona Vale beach, Armchair Collective is a local favourite for its quirky style and the seamless way it blends eating, drinking and shopping. The cafe's menu honours simple, honest dishes that make it a perfect place to sink into one of its namesake armchairs for brekkie and a cup of Single O coffee, lunch and vinos, or tea and cake. Meanwhile, the back of the space is full to the brim with collectable art, books, furniture and homewares that will give your sanctuary from the world some chic coastal vibes. Images: Trent van der Jagt.
Friends, the time has come. Summer has, at last, arrived. La Niña has given us in Sydney a break from the endless barrage of rain, so it's time to dust off the sandals and cossies and enjoy the sun. There are activities galore to explore this summer season now that we can finally live large the way we've been aching to. When the weather for a banging beach day comes around, you might be looking for something free from a crowd. Don't worry, together with Sheridan — the expert purveyor of luxe beach towels — we've got you covered with a shortlist of only the finest swim spots in and around Sydney. [caption id="attachment_880577" align="aligncenter" width="1920"] Lance BB (Flickr)[/caption] SOMERSBY FALLS, SOMERSBY If you fancy a drive up to the Cenny Coast, Somersby Falls is a local summer favourite. Somehow it's secluded, while only being a quick hour up the freeway and turnoff from the Pacific Motorway. You'll find an all-day carpark (which requires a small fee) and a short (but steep) journey down rocky stairs of all shapes and sizes. Only 100 metres into your journey, you'll reach the larger of two pools, with the second waiting for you at the bottom — delightfully, both are great spots to cool off. Like all waterfalls, they're best after a bit of rain, just be careful not to slip. Ideal for a day trip, the journey in and out will take 20 minutes all up. [caption id="attachment_880563" align="aligncenter" width="1920"] Tim Patch (Unsplash)[/caption] AUSTINMER OCEAN POOLS, AUSTINMER Down south, approximately 90 minutes drive from Sydney, is the village of Austinmer. Easily reached by car, cityslickers can also jump on the South Coast train line to get straight to the seaside destination. It has two of the best ocean pools in the greater Sydney region, sometimes overlooked due to the legendary ocean drive to the north and The Gong's easy-breezy hub to the south. Famous as an entry-level ocean swimming spot, Austinmer's twin beach-pool design means strong swell can roll over the walls during high tide and create a natural wave pool. And when calm, it's as flat as a pancake. The southernmost pool is shallow and popular with kiddos, so if you're looking for some quiet laps, head for the longer pool. [caption id="attachment_860442" align="aligncenter" width="1920"] Andrew Harvey (Flickr)[/caption] UPPER GLEDHILL FALLS, KU-RING-GAI CHASE NATIONAL PARK If you've ever driven along McCarrs Creek Road on a drive up to the West Head Lookout or an intimate lunch at Cottage Point, you've passed within a stone's throw of this Northern Sydney favourite — Upper Gledhill Falls sits just below the road. You can park on the roadside near the bridge and make the short-but-tricky walk over – but fair warning, there are a few rocky outcroppings and big boulders to clamber over. The falls collect into a picture-perfect swimming pool — about 10 metres from end to end – that pulls in a crowd on most sunny days. It's perfect for cooling off after a long hike. A short stretch of sand offers a less-rocky alternative to sunbathing spots, and if you're in an adventurous mood, there's even a rope that swings out over the water. Just be careful to aim for the water and not any spectators. [caption id="attachment_880448" align="aligncenter" width="1920"] Phillip Terry Graham[/caption] KARLOO POOLS, ROYAL NATIONAL PARK Tucked away in the massive Royal National Park, the green realm that separates Sydney and Wollongong, Karloo Pools is one of the largest swimming pools in the greater Sydney region. It's either a 50-minute drive from the CBD or a similarly long train ride to Heathcote station, followed by a brief walk to the Karloo Track. It's a long journey, but one that's not that difficult and more than worth it. The bushy journey is accessible for all ages and most experience levels, but it's unpaved and sometimes overgrown in places. The track — which is a six-kilometre return trip — takes you directly to the pools. The largest is the most popular and, with a rim of shallow rock ledges, is easy to dip in and out of. Be warned: the hike out is uphill, so save some strength. [caption id="attachment_755788" align="aligncenter" width="1920"] Andrew Gregory[/caption] WHALE BEACH, NORTHERN BEACHES In the other direction, far into Sydney's locally dubbed 'insular peninsula', there's a beach often ignored by visiting swimmers. Whale Beach is sandwiched between Palm Beach and Avalon Headland, and can be easily passed if you're breezing up Barrenjoey Road searching for a dip. So, go there with intent or directions, otherwise you'll probably miss it. The beach is 600-metres long and feels quite secluded despite its location, which is no surprise considering it only became a residential suburb in the 1950s. If you fancy a surf, you may have heard of 'the Wedge', a famous break on the north side of the beach. But if you forgot the board, no stress. There's plenty of sand and a 25-metre rock pool at the other end (if you prefer your oceanic exposure to be cool and calm). [caption id="attachment_880568" align="aligncenter" width="1920"] Brian Waldron (Flickr)[/caption] VICTORIA CREEK CASCADES, BLUE MOUNTAINS In the magical splendour of the Blue Mountains, there are more than a few famous walking tracks that'll take you to creeks, cascades, falls and pools. But our pick of the lot is Victoria Creek Cascades, where a creek turns into falls and falls into a swimming pool. Plus, it's just under two hours out of Sydney. Be warned, this is a Blue Mountains track: it's going to be steep and mostly dirt. From the carpark, it's a one-hour walk to the pool at the base of the falls, which is the perfect place to soak your tired bones. The water stays cool even on hotter days, and it's mostly shallow and sandy, so your toes will remain unstubbed. Once you find your new favourite swim spot, elevate your summer game even further with a Sheridan beach towel. To make your pick, head to the website. Top image: Karloo Pools by Aiden Casey via Flickr
Sydneysiders, if catching a train is on your agenda as soon as the new year hits, you might want to rethink your travel plans. Transport for NSW has announced that major track work will take place over the first ten days of January 2021, with most of the rail network affected as a result — and buses replacing rail services in some instances. Across January 1–10, no trains will run over the Sydney Harbour Bridge, due to a maintenance project that will replace a timber deck with a concrete structure that's designed to last longer. "This work will ensure we continue to provide an efficient network for commuters, and is a once in a generation opportunity to extend the life of the 88-year-old railway corridor by 120 years," said Minister for Transport and Roads Andrew Constance. Given the time of year, the works are expected to have a lesser impact because trains traditionally aren't as busy as the new year kicks into gear. Around 40-percent fewer patrons usually hop onboard so early in January, Transport for NSW notes. But if you do need to ride the rails across the period, you'll definitely need to adjust. While buses will only replace trains between North Sydney and Wynyard on the T1 North Shore and Western Line, that move is expected to have flow-on effects for every other rail line apart from the T4 Eastern Suburbs and Illawarra Line. Trains will also run to a weekend timetable every day throughout the ten-day period; however, there'll be additional services in peak periods for those who are commuting to and from work. If you're thinking that this'll add some time to your journey, you're absolutely right. Travellers have been advised to factor extra time into their trips. For more information, visit the Transport for NSW website.
Saturday morning at Bronte Road Bistro is what happens when a classically trained chef starts making eggs for the hungover masses. It's a classic bistro doing cafe brekkies well and without fuss, with head chef Matt Barnett matching morning classics with Bloody Marys and champagne mimosas from 9am onwards. The bistro is an expressly bacon-and-egg-roll-free zone. Sydney's brekkie of the moment is baked eggs, and in the Bronte Road version, rich yolks spill out into a beautifully seasoned tomato mess. It's finished with a dollop of yogurt and a burst of mint and spring onions, and scooped up with a serious slab of woodfired bread. It takes a cheffy kind of confidence to present a pile of cavolo nero, goat's cheese and pan-fried mushrooms on bruschetta with little apart from a drizzle of olive oil and smattering of thyme. Barnett pulls it off by relying on fresh produce. It's the kind of food made by people who do things simply and properly. Spicy, meaty beans with labne and dukkah and scrambled eggs with walnut toast also look tempting. The sides go beyond the usual cafe cliches — pork belly hash sounds ridiculously good, but we opt for a vegetarian salad of crisp cabbage, sharp creamy Persian feta, sweet peas and zingy mint. Like everything else, it smacks of balance and consideration, and the bistro dining room shares a similar lack of adornment. The drinks menu also goes above and beyond. There's a hard ginger beer and Grey Goose with fresh-pressed apple juice — a little creative menu planning goes a long way. BRB makes a bold, strong latte, but the di Gabriela Earl Grey will satisfy tea drinkers usually chronically neglected in coffee-obsessed Sydney — there is not a soggy teabag in sight. An apple, pear and rhubarb crumble makes a lazy brunch special — which could be Bronte Road Bistro's credo. Smart service and a sunny location seals the deal. A friendly, solid Sunday morning option. The restaurant is also open for dinner from Tuesday to Saturday, 6-10pm.
Newtown's King Street has a new gelateria in its ranks. Mapo opened last month and is scooping quality gelato with a focus on sustainable ingredients. Italian-born owner Matteo Pochintesta is a rare architect-turned-gelato maker who trained under the owner of Milan's gelateria Ciacco — and recently returned to Sydney to put his skills to the test. Sure, there are plenty of gelato shops along King Street, but Pochintesta is bringing a purist's sensibility to the local ice cream game. That means he's not turning out complicated flavour creations. Instead, Pochintesta is focusing on using 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, but do not include milk replacements, like most vegan ice creams do. Instead, Pochintesta keeps them creamy by mixing the solid ingredients with water — which, surprisingly, really does work. [caption id="attachment_716744" align="alignnone" width="1920"] Kitti Gould[/caption] Other traditional Italian flavours include the fior di latte and the stracciatella (chocolate chip), both made with Barambah organic milk. For fruit flavours, expect in-season Australian varieties only — at the moment, there's organic nectarine, red plum, watermelon, and pineapple and mint. Flavours will remain limited to 12–14 at a time, with plenty of specials on offer. At the moment, those include blueberry and buffalo ricotta, matcha green tea and the incredibly creamy sea salt caramel — made with Pepe Saya butter, no less. For the cooler months ahead, liquorice, pear and cinnamon, and mascarpone and coffee are all on the docket. And, for the upcoming Easter holidays, Mapo has teamed up with Sonoma to create a decadent hot cross bun gelato. Plus, the shop will serve ice cream buns every weekend through Easter — stuffing those Sonoma HCBs with any gelato flavour you like. [caption id="attachment_716751" align="alignnone" width="1920"] Kitti Gould[/caption] The shop is also looking to keep things as sustainable as possible, using all compostable packaging. Another noticeable difference is that the gelato is kept in shiny stainless steel vats instead of in your typical display case. Mapo does not use any stabilisers, and instead keeps their gelato fresh the old school way — by keeping it covered. Don't worry, you're still invited to give any flavour a taste before making your final decision. As the choices are quite straightforward, it's suggested you mix two — and, with the 'one scoop with two flavours' option only costing fifty cents extra, there's really no excuse not to. Mapo is now open at 123 King Street, Newtown. Opening hours are Sunday through Thursday from noon–10pm, and Friday through Saturday from noon–10.30pm. Images: Kitti Gould.
The face mask is about to enjoy a peak in popularity, after the NSW Government strongly suggested Sydeysiders start wearing face coverings, at a press conference over the weekend. Premier Gladys Berejiklian has outlined four key situations where masks should be worn: if you're in an enclosed space and can't social distance, such as at a supermarket or on public transport; if you're working a customer-facing job, such as hospitality or retail; if you're attending a place of worship; and if you're in an area where there is high levels of community transmission. At this stage, masks aren't compulsory for NSW, but as the state continues to record daily new case numbers in the double digits, many locals are stocking up on those face coverings. And if you want to jump on board, you'll find plenty of locally made options to choose from. You can pick up affordable, one-use face masks from major retailers like Officeworks, Chemist Warehouse, Kmart and Bunnings. Some are offering delivery and click-and-collect options, though you'll need to check individual stores to see what's available and who's got stock. Alternatively, crafty folk Australia-wide are whipping up a variety of reusable cloth masks, available either to purchase in-store, or to buy online and have sent straight to your door. Keep in mind, however, that some may be experiencing slower manufacturing and delivery times thanks to the rush in demand, but most are restocking regularly. Here are a few local options to check out if you're masking up: [caption id="attachment_779425" align="alignnone" width="1920"] Masks from Ford Millinery[/caption] THE ECO MASK This Sydney company is slinging a huge assortment of face masks through its online store, starting from just $15 a pop. You'll find options here for both kids and adults, with designs ranging from bold block colours to lively prints, and new gear landing weekly. Each mask is handmade with two layers of cotton and a top wire to fit to your nose. The Eco Mask's masks are available online for $15 PAPINELLE You'll likely know this Paddington-based label for its luxurious sleepwear designs, but in keeping with the times, it's now having a crack at some swanky face coverings, too. Papinelle has got you protected in style, with washable masks made from silk. They've got adjustable elastic straps, interior filter pockets and even wire bridges to fit your nose. Due to demand, stock is being sent out in batches. Papinelle's masks are available online for $39.95 FORD MILLINERY Chantelle Ford's Sydney-based millinery business has turned its talents to stylish face coverings, even launching new initiative Masks 4 Mates. Shop this fab range of reversible printed fabric masks and five percent of each sale will go straight to charity. The designs are made from washable, pleated cotton and come in three different sizes. Ford Millinery's masks are available online for $29.95 LOVE, LAUGH AND LIGHT COLLECTIVE If you're after some eye-catching designs to wrap your face in, take a squiz at the latest range of masks from Love, Laugh and Light Collective. The medical supply company is stitching brightly hued face masks to order, available in both plain colours and snappy prints. The multi-layer designs are made by hand, each with a mouldable nose guard to ensure minimal facial squishing. Love, Laugh and Light Collective's masks are available online for $25.50–28.50 (single), or $46.55 (two-pack) THE SOCIAL OUTFIT This fashion-focused social enterprise is not only making face masks, but its new initiative B1-G1 will match each mask purchase by donating another to someone in need. The designs are double-layered, with elastic ear ties and wire nose bridging. And there are heaps of fun prints to choose from. The B1-G1 online store is currently waiting on stock, but in the meantime you can find a selection of masks at The Social Outfit's Newtown HQ. The Social Outfit's masks are available online and in-store for $27 BREATHE EASY Newcastle-based company Breathe Easy has your back with its collection of plain cotton washable face masks. Each multi-layer mask features adjustable ear straps and a filter for extra protection. You'll even score four new filter inserts included with any item purchased. Breathe Easy's masks are available online for $39.95 BUNDARRA This Australian clothing manufacturer makes stylish threads featuring artworks by First Nations artists and its extensive line of face masks is no different. Colourful prints from a range of contemporary artists have been transformed into face coverings, each made from three fabric layers and featuring a removable filter. New stock is arriving daily. The company also donates a percentage of all sales to non-profit The MaraWay. Bundarra's masks are available online for $24.95 SCOUT THE LABEL A local designer fashion brand with a conscience, Scout The Label has released a nifty new collection of face masks crafted in various natural fabrics. Each of the four-layer coverings come with an internal filter compartment and adjustable ear elastics to ensure comfy noggins. There are three sizes available, currently with five neutral hues to choose from. Scout The Label's masks are available online for $25–30 [caption id="attachment_779426" align="alignnone" width="1920"] A mask from KITX[/caption] KITX Ethical fashion label KitX has expanded its collection to include a range of reusable face masks made from fabric remnants. There are single-layer and triple-layer varieties on offer, all pleated for comfort and with elastic loops to secure at the ears. Go for a stylish print, or a plain hued version, like the blue hemp number currently in stock. KitX's masks are available in-store and online for $25-35 WHITE RABBIT GALLERY Its main focus has always been celebrating contemporary Chinese art, but the renowned White Rabbit Gallery is now dabbling in the face mask biz as well. The talented Rondah McKellar has been busy crafting a variety of colourful kids and adults masks for sale in the gallery's shop. They're super soft, reversible and feature three layers of fabric in a range of different prints. The larger sizes are currently sold out, but more are set to arrive in the coming days. White Rabbit Gallery's masks are available in-store from $20 (once restocked). To find out more about the status of COVID-19 in NSW, head to the NSW Health website. Top images: Ford Millinery
At the beginning of each year, many of us vow to be more health-conscious and eco-friendly, but life gets in the way and it's often too tempting to pick up additive-laden, mass-produced snacks without thinking about the consequences. Ever since the industrial age, convenience has been put above the environment. Not to mention the popularisation of quick 'n' easy foods in the 40s and 50s, with the likes of McDonald's, Spam and TV dinners. But now, with increasing awareness of how our diets impact the planet, it's time to shake up our snack habits for the better. That's why we've teamed up with the folks at Glad and its Glad to be Green range to come up with some oh-so-convenient — and sustainable — snack hacks, so you can better look after yourself and the planet. [caption id="attachment_742407" align="alignnone" width="1920"] Trent van der Jagt[/caption] BUY IN BULK When you're at the supermarket, it's all too easy to just buy what you feel like eating that evening. But, this is a surefire way to spend half your life trudging the aisles looking for inspiration. If you plan out what you need for the week, you only need to make one trip rather than several (which, you know, is also good for the environment), and you'll also reduce waste by planning a schedule that makes optimal use of your food. Even better, head on over to an environmentally conscious, waste-free outlet, such as The Source Bulk Foods stores across Sydney, Melbourne and Brisbane, to get the exact volume of pantry staples you need. MEAL PREP LIKE A PRO This one might not seem like a timesaver when you're doing it, but we guarantee you it is — and you'll be thankful that you took the time for days afterward. Cooking multiple portions of food doesn't necessarily mean it takes more time than preparing for just one dish. It also means you will have midweek meals prepped and ready for a quick reheat on those busy days when time seems to get away from you. Also, some dishes can taste better a couple of days later — think curries, stews and soups — so it's a win-win. And, for any baking you're doing, be sure to make the switch to Glad's compostable baking paper. It's certified home compostable, and it even breaks down in a worm farm. PALM OFF PALM OIL Due to its versatility and the relatively low cost of its production, palm oil's use skyrocketed in the 20th century. However, such a quick expansion has been at a huge environmental cost, with native forests in the tropics bulldozed and burned to make way for new plantations. The knock-on effect is huge, with everything from loss of animal habitats to the warming of the atmosphere and the violation of indigenous land rights all attributed to palm oil's so-called popularity. It's an ingredient found in plenty of ready-made food, so, if you care about the environment, you may want to rethink that choccy bar. Thankfully, it's quick and simple to make your own planet-savvy, palm oil-free bites. Think bliss balls, granola bars, savoury muffins, veggie chips — you name it, there are plenty of recipes out there. And, think of the bragging rights when you bring your own homemade snacks to work. SAY HELLO TO SMOOTHIES We've all been down to our local cafe and bought our favourite smoothie or juice without giving a second thought to how easily we can make them at home. Not only do we usually spend too much money on store-bought smoothies, but we're letting all those browning apples, wilted kale bunches and slightly bruised avos go to waste. Instead, save your pennies and throw in any bruised and browned fruit and veg in a blender. Smoothies and juices take no time at all to make, and you'll have a tasty, healthy and filling snack (or brekkie). And, if you're really keen, you can pre-chop your fruit and veg, pop them in Glad's plant-based sandwich bags and throw them in the freezer for those mornings when you hit snooze too many times. TRY OUT ALTERNATIVE PROTEIN SOURCES Australia is a country concerned about over-farming and the environmental impact of agriculture — according to Animals Australia, about 12.1 percent of us are now eating a fully or mostly vegetarian diet, which is up from less than ten percent in 2012. So, if you want to steer clear of the industry while still getting your protein fix, there are plenty of alternatives — from lentil patties and vegetarian sausages to bush tucker. And you can incorporate this ethos into your morning flat white, too. All alternative milks are better for the planet than dairy, with oat milk widely considered the best of the bunch from an environmental impact standpoint. SOUPER SUNDAYS Weekends are great — we get to sink into the sofa, catch up with friends and get to tick off some of the fun things on our to-do lists. But, Sundays always roll around too quickly, with Monday looming ever-closer. Didn't make it to the shops or local farmers market this weekend? We get it, sometimes living your best life gets in the way of chores. But, you probably do still have some food in your fridge and cupboard that needs to be used, and you need lunch for the week. This is where soup is your friend. Get your biggest pot, put all your veg in, add water, stock, herbs, spices and whatever else you fancy and, bingo, you've got a cheap, waste-free meal. Plus, Glad to be Green's, plant-based bags — which are made with 50 percent sugarcane (a renewable resource) and have a smaller carbon footprint — are great for when you want to split your soup into portions and freeze for later. Not only that, but they also have a handy space to date and name the contents to avoid any mix-ups (and potential sore tummies). Go green and visit the Glad website for more tips and tricks.
Compared to the likes of Sydney, Melbourne and Brisbane, the Central Coast may not come to mind as a specialty coffee destination. Yet, away from the city crowds, close to the water and without the urban dwellers, are a number of local cafes serving freshly roasted brews in a sustainable and ethical manner. The best Central Coast cafes have not only brought the community together through a shared interest in specialty coffee and honest food, some have even helped revitalise certain parts of the coast.
By now, it feels like no stone has been unturned by Sydney's big developers. But you know where they haven't developed yet? Underground. So perhaps that's why the NSW Government has set its sights below street level — today it announced its plans to turn the St James tunnels, a large subterranean space that adjoins St James Station, into an underground attraction. The tunnel is, after all, just sitting there. It was built back in the 1920s as part of a plan to connect the CBD with eastern suburbs, but the project was never realised. Since then, it's been used as an air raid shelter during World War II, an operations bunker for the air force and as a location for The Matrix Revolutions. Tours used to run, but now there's no way for the public to access the tunnels. The NSW Government is opening this one up to the floor, and is seeking expressions of interest from both local and international developers. Ideally, it would like something that would turn the tunnel and its platform into a "world-renowned attraction" — perhaps restaurants, bars, shops, or cultural and entertainment spaces. "Spaces like the St James tunnel are rare," said Minister for Transport and Infrastructure Andrew Constance in a statement today. "Around the world, hidden spaces are being converted into unique experiences and we want St James Station to be part of that." Expressions of interest will close November 6 — after they've been received, the process will be managed by Sydney Trains and real estate company CBRE. We'll keep you updated on the next stage of the process.
The striking black and white cover image of Bat For Lashes' Natasha Khan standing naked with a man dragged over her frame sets the scene for her most personal (and best) record yet, The Haunted Man. Stripping back the lush ornamentation of previous pop fantasias for a more intimate sound, these tunes foreground her beautiful, breathy voice and ability to inject a shivery, otherworldly drama into every song. Apparently the product of a harrowing writing and recording process, The Haunted Man reaches for a stark beauty and retains the enchanting pull of previous work despite its more emotionally direct approach. As well as headlining Laneway Festival, Bat For Lashes will play a more intimate sideshow at the Enmore Theatre. Her last tour was one of the best of the year, with inspired reinventions of Radiohead's 'All I Need' and The Cure's 'A Forest' featuring alongside classics like 'Daniel' and 'Pearl's Dream'. With the promise of stunning new songs like 'Lillies' and stirring single 'Laura', there's no doubt this tour will be every bit as magical. https://youtube.com/watch?v=EXK0Ejzin4c
Awarded Unearthed Artist of the Year at the 10th annual J Awards last night, Meg Mac — or Megan McInerney to her folks — is the Melbourne-based soul-pop artist making a serious name for herself in the indie music scene. The 23-year-old singer songwriter has come a long way from recording lyrics on her phone while still in high school. If her fast-growing fan-base, sell-out performances and distinctive, soulful sound are anything to go by, McInerney is definitely one to watch. Here are the top five things you should know about her. She's no one-hit wonder Though you may have already heard her powerful first single 'Known Better' played on triple j in the lead-up to the J Awards, don't overlook McInerney's more recent tracks. These songs showcase her bold, rich vocals – think 'Roll Up Your Sleeves' – as well as her talent for raw, personal lyrics — check out 'Every Lie'. 'Turning' also highlights the soul-meets-electronica sound she's developing, a unique style that has already captivated audiences. She takes cues from Motown, Irish folk and French chansons McInerney recently admitted to triple j Unearthed that, when she was nine, "I could not get enough of Vanessa Amorosi… please don't judge me. 'Absolutely Everybody' was my favourite." Lucky, then, that her dad introduced her to soul, primarily Motown, while her mum would sing her Irish folk ballads from an early age. It wasn't until she was 17 that she started writing her own songs and working on a personal style, inspired by her love of "big voices and a bit of that drama — [artists who] sing because they have to or they would die sort of thing, like Edith Piaf". She also counts Ray Charles and Sam Cooke among her primary influences, and more recently, James Blake and Frank Ocean. She's going from strength to strength It's an understatement to say 2014 has been a big year for the up-and-coming artist. In September she released her first EP, the self-titled MEGMAC, featuring four original tracks plus an impressive cover of a classic Bill Wither's song, 'Grandma's Hands'. The EP launch kicked off a national tour, with Melbourne and Sydney shows selling out in days, and Brisbane and Perth following soon after. Later nominated as Breakthrough Independent Artist of the Year, McInerney opened the Australian Indie Music Awards in October. #dogswearinghats A photo posted by MEGMAC (@megmacmusic) on Oct 10, 2014 at 12:11am PDT Her second favourite thing to do is dress up animals in human clothing When she isn't performing or making music, McInerney likes nothing better than to play dress ups with her dog. She told Music Feeds that she and her sister sent a photo of their pet to the Facebook page Dogs Wearing Hats, where "she got more Facebook likes than my whole music page in one hour." Following her knock-out live performances, its safe to say this is about to change. . @megmacmusic @kcrw So very welcome — Jason Kramer (KCRW) (@kcrwkramer) August 13, 2014 An international career is on the horizon While McInerney is gaining a serious fan base here, she's also making waves internationally, with 'Roll Up Your Sleeves' recently played on independent US radio station KCRW. The singer is already considering a trip to the US, where, she told Music Feeds, she'll "catch up with some label type people [who] want to meet me. It is exciting to think I can reach people away from my home." You can catch her at Falls Festival for NYE But before she jets off, McInerney will be taking on her first major festival as winner of the Falls Festival competition. Next to the likes of John Butler Trio, La Roux, Vance Joy and Empire of the Sun, she'll be performing some newly written songs with her sister as backing vocalist. Expect more bold piano sounds, big vocals and electronic elements from this promising young artist with a big future ahead of her.
Each Sunday, Lost Paradise and the Ivy link up to throw a raging end-of-week affair filled with some of the country's and world's best DJs. Lost Sundays has become a weekly mainstay of Sydney's nightlife scene, hosting everyone from local upstarts to global superstars like Four Tet, Denis Sulta and Skream. And, if you want to lock in a boogie for March, the event series is throwing a huge block party across the Ivy precinct. Lost Sundays Block Party will bring over 30 artists to the Sydney CBD on Sunday, March 17 for a huge precinct-wide shindig. Two of Australia's most exciting dance music exports lead the lineup, with DJ Boring and CC:Disco! both throwing down sets on the day. There are also some international additions to the program including Anz, KiNK, Special Request and Sally C. Plus, you can catch Chippy Nonstop, Gabrielle Kwarteng, Gerd Janson, Job Jobse, Kessler, Labat, Matisa, Sedef Adasi, Shampain, Sherelle and Spray. Discover 12 hours of world-class, dancefloor-filling tunes from 2pm and continuing all the way until 2am. Plus, food and drinks from some of Sydney's best restaurants has been promised so you'll be able to recharge between sets. If you want to secure your spot, standard tickets are available for $123, while VIP passes will set you back $174. Images: Jordan Munns
What's more terrifying: knowing that death is inevitable, because our fragile flesh will fail us all eventually and inescapably, or accepting that little we ever sense can truly be trusted given that everything in life changes and evolves? In horror movies, both notions stalk through the genre like whichever slasher/killer/malevolent force any filmmaker feels like conjuring up in any particular flick — and in You Won't Be Alone, the two ideas shudder through one helluva feature debut by Macedonian Australian writer/director Goran Stolevski. An expiration date isn't just a certainty within this film's frames. It's part of a non-stop cycle that sees transformation as just as much of a constant. You Won't Be Alone is a poetically shot, persistently potent picture about witches but, as the best unsettling movies are, it's also about so much that thrums through the existence we all know. Viewers mightn't be living two centuries back and dancing with a sorceress, but they should still feel the film's truths in their bones. First, however, a comparison. Sometimes a resemblance is so obvious that it simply has to be uttered and acknowledged, and that's the case here. Stolevski's film, the first of two by him in 2022 — MIFF's opening-night pick Of an Age is the other — boasts lyrical visuals, especially of nature, that instantly bring the famously rhapsodic aesthetics favoured by Terrence Malick (The Tree of Life, A Hidden Life) to mind. Its musings on the nature of life, and human nature as well, easily do the same. Set long ago, lingering in villages wracked by superstition and exploring a myth about a witch, You Won't Be Alone conjures up thoughts of Robert Eggers' The Witch, too. Indeed, if Malick had directed that recent favourite, the end product might've come close to this entrancing effort. Consider Stolevski's feature the result of dreams conjured up with those two touchstones in his head, though, rather than an imitator. The place: Macedonia. The time: the 19th century. The focus: a baby chosen by the Wolf-Eateress (Anamaria Marinca, The Old Guard) to be her offsider. Actually, that's not the real beginning of anyone's tale here in the broader scheme of things — and this is a movie that understands that all of life feeds into an ongoing bigger picture, as it always has and always will — but the infant's plight is as good an entry point as any. The child's distraught mother Yoana (Kamka Tocinovski, Angels Fallen) pleads for any other result than losing her newborn. You Won't Be Alone's feared figure has the ability to select one protege, then to bestow them with her otherworldly skills, and she's determined to secure her pick. That said, she does agree to a bargain. She'll let the little one reach the age of 16 first, but Old Maid Maria, as the Wolf-Eateress is also known, won't forget to claim her prize when the years pass. Nevena (Sara Klimoska, Black Sun) lives out that formative period in a cave, in her mum's attempt to stave off her fate — and with all that resides beyond her hiding spot's walls glimpsed only through a hole up high. Then the Wolf-Eateress comes calling, as she promised she would. From there, Nevena's initiation into the world — of humans, and of her physically and emotionally scarred mentor — is unsurprisingly jarring. Her transition from the care and protection of her "whisper-mama" to the kill-to-survive ruthlessness of her new "witch-mama" disappoints the latter, soon leaving the girl on her own. Still, the need to hunt, devour and mutate has already taken hold, even if Nevena is left fending for herself as she shapeshifts between animals and other humans, after extracting their innards and stuffing them into her own body first. With Noomi Rapace (Lamb), Alice Englert (The Power of the Dog) and Carloto Cotta (The Tsugua Diaries) also among the cast, You Won't Be Alone turns Nevena's curiosity-driven experiences of life, love, loss, identity, desire, pain, envy and power into an unforgettable, mesmerising and thoughtful gothic horror fable — charting switches and the stories that come with them with each metamorphosis. In her first new human guise, Nevena may as well be a newborn again; the families and communities she enters, assuming their members' forms, think her behaviour is strange to say the least even when she's been through the process a few times. But every incarnation teaches the young woman plenty, including that existence and its happinesses are oh-so fleeting, precarious, tenuous and precious. The more years that Nevena spends among the living, the more that the bitter Maria is dismayed, as she returns periodically to stress (and because completely leaving the child she took as her own isn't ever straightforward.) Stolevski doesn't let hurt and cruelty subside from You Won't Be Alone, especially as it ponders the way that women — be they mothers, daughters, spinsters desperate for children, ageing figures considered past their prime or anything in-between — are and have been so savagely treated in a patriarchal world. Suffering and fear dwell in the feature's intimate frames, which rove and roam, and also survey nature's horrors (as well as its splendours) as devotedly as they follow its central figure. Cinematographer Matthew Chuang adds the handheld camerawork here to his also immersive and expressive work in Blue Bayou, not only sweeping the audience on a witchy and whispery journey, but making them sense the film's emotions deeply. A repeated refrain, alongside that contrast between stark agonies and gorgeous sights, says everything about the movie, however: "it's a burning, breaking thing, this world; a biting, wretching thing. And yet... and yet...". Unnerving flicks, whether gruesomely carving up a body count like fellow 2022 release X or contemplating a plethora of weighty themes as Nope does, also pulsate with another truth: that life isn't something to lose or squander lightly. You Won't Be Alone emphasises that fact, and the yearning for connection that simmers within us all — recognising that being alive can mean blood, terror and tragedy, but also hope, beauty, affection, soul-changing bonds and even just delighting in the smallest of wonders. Cycling through its cast given the premise, the film's performances soar beyond the last category with their impressive and pivotal physicality, although it's You Won't Be Alone's ethereal mood, energy, understanding and reflection that hang powerfully and poignantly in the air. Take the title literally for many reasons, and because of one pivotal outcome: you won't be alone in being haunted by this meditation on what it means to live. To say that it is bewitching is obvious, too, but also accurate.
Group catch-ups: fun while they're happening, but a nightmare to organise. Conflicting availability. Wildly varying budgets. Throw a few different dietary requirements into the mix and you might find yourself thinking it'll be easier to stay home. Don't give up just yet. We've teamed up with Inner West Council to select eight local spots that'll make planning the next birthday bash, celebratory dinner or casual catch-up a breeze. These cosy restaurants have plenty of options for vegetarians, vegans and those with gluten, dairy or nut intolerances. And, in fact, most of them are pretty affordable, too. But finding a time and date when every person in your group is free? We're afraid you're on your own there.
Nowadays, glamorous Hollywood productions aren't the only ones to find an audience; independent directors creating movies on a next-to-nothing budget and embracing new technologies and methodologies have more of an opportunity than ever to get their work seen. An idea, a DSLR, a Pozible campaign, a screening party et voila! Cult cinema star status is at your fingertips. With that in mind, UTS presents microWAVE 2013 — a celebration of micro-budget filmmaking. The symposium spans three days of talks from academics, filmmakers and showbiz insiders who show aspiring directors that art can be achieved without the monstrous budget. Also on the program are screenings of films created without stacks of cash. microWAVE kicks off with writer Jack Sargent on the history of underground film, followed by a screening of Robert Byington’s Somebody Up There Likes Me, starring the insanely hilarious Nick Offerman. Nick Buchner will also speak on the endless possibilities of a micro budget. So if you see yourself as the next Lena Dunham, Shane Carruth or Duplass brother, take a lesson from the book of microWAVE. microWAVE 2013 is hosted at UTS in the Bon Marche Studio and The Level 2 Studio.
If you've ever fantasised about sleeping over in the hallowed grounds of the MCG, get ready to make those dreams a reality. For one night only — and for just two lucky guests — the iconic sports stadium will moonlight as a unique overnight stay. It's all thanks to booking.com, which is transforming one of the MCG's lofty guest boxes into the Unforgettable Legends Lounge — a special private guest suite for two, which is popping up for just one night to coincide with the final match of the ICC Men's T20 World Cup 2022. Two guests will get to experience the stay on Sunday, November 13, enjoying a full VIP package with all the trimmings. That includes return flights to Melbourne, an indulgent pre-game massage in the suite, and a top-shelf food and drink offering courtesy of a personal bartender (making cocktails on demand) and personal chef. Guests will also score a gift pack featuring personalised cricket merchandise for the ultimate memento. The suite itself is a little slice of sophistication, overlooking the ground from on high. It's decked out with a large double bed, a kitchen and a living area with sweeping views across the famed turf below. It's a once-in-a-lifetime opportunity — but of course, you'll have to put up a fight to make it yours. The exclusive stay will go to the first person to jump online and book with their speedy little fingers from 9am AEST on Friday, October 28. So yes, you'll want to be quick — cue the madness. The Unforgettable Legends Lounge and VIP experience is available to book exclusively for one person and their guest, for $30, with reservations opening at 9am AEST on Friday, October 28 at booking.com. 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.
"Time is an open-ended narrative — there's no right or wrong way to experience the space. People make their own story and every person will experience it differently." This is how international street artist Rone (Tyrone Wright) describes his latest and most expansive beauty-meets-decay exhibition, which opens to the public tomorrow, Friday, October 28. More than three years in the making, Rone's ambitious new work will completely transform Flinders Street Station's hidden third floor and ballroom. "Flinders Street Ballroom is one of those urban legends — you hear people talk about it, rarely could you find a photograph of it, and access to it was near impossible," Rone says of Time's location. "When I began the process back in 2019, no one had really been up here for 40 years." [caption id="attachment_875111" align="alignnone" width="1920"] Image: Switchboard Room, RONE's Time[/caption] Running with newly-announced extended exhibition dates until Sunday, April 23, 2023, Time is a masterclass in storytelling and imbued with history. Like a sentimental love letter to mid-century Melbourne, it invites audiences to time-travel back to post-WWII, its 11 themed rooms sharing fictional histories that shine a light on the working class. "I let the space and architecture inform the installation. For each building, I try to do something that feels like it has always been there — or belongs," Rone tells Concrete Playground. [caption id="attachment_875112" align="alignnone" width="1920"] Image: The Classroom, RONE's Time[/caption] "One of the biggest challenges was just the logistics — it's up on the third level, it's five flights of stairs, everything has to come through a very narrow doorway on an active train platform — so you can only move things when there's not a train at the station," Rone explains. "From the very beginning, I wasn't able to be onsite because of COVID — so I've only been in the space for about eight weeks ... I had to do it all offsite and on the computer in 3D before we actually constructed anything. So I designed something that could be built, and then taken apart into small pieces, and then reassembled." Each chamber is brought to life via a curation of original — and carefully recreated — heritage artifacts, lighting, soundscapes and historic architectural features; with the haunting female portraits that have become Rone's trademark. Prepare to be transported back to the public libraries, typing pools and machine rooms of yesteryear as you wander through the intricately designed spaces, pondering the meaning of time, progress and loss. [caption id="attachment_875121" align="alignnone" width="1920"] Image: The Typing Pool, RONE's Time[/caption] The major installation has taken a team of over 120 people several months to deliver, including long-time Rone contributors such as interior set decorator Carly Spooner and sound composer Nick Batterham. "Nick, who is the composer and did the sound — he engaged 12-15 musicians to record the composition, plus there's a sound engineer who designs the speaker layout and installation. Then there are five or six people who install all that — so there ends up being 20 people just for sound." [caption id="attachment_875120" align="alignnone" width="1920"] Image: The Work Room, RONE's Time[/caption] "There's been a couple of pieces that have really surprised me — that have been quite simple but come out really well, and quite beautiful," Rone says. Time follows similar large-scale transformations from Rone's famed back catalogue, including The Omega Project, which took over an abandoned Alphington cottage, and Empire, which transformed a deserted mansion in the Dandenongs. Both of these works presented imagined stories of the wealthy upper-class of old. The mysterious, long-closed Flinders Street Ballroom has enjoyed an artistic revival these past few years, having recently played host to Patricia Piccinini's otherworldly exhibition A Miracle Constantly Repeated. Find Rone's 'Time' at Level Three, Flinders Street Station, Melbourne, from October 28, 2022—April 23, 2023. Tickets are available online. Top image: The Glasshouse, part of 'Time', photo by Rone.
The centrepiece of the 2018 Biennale of Sydney was Ai Weiwei's 60-metre inflatable boat, a critique and exploration of the global refugee crisis. This year, when the Biennale returns to art galleries across Sydney, the lineup of 100-plus artists will be examining another poignant issue close to the heart of Australia: First Nations sovereignty and intergenerational trauma. Running from Tuesday, June 16 until Sunday, September 6, the 2020 Biennale is entitled Nirin, which means 'edge' in the language of western NSW's Wiradjuri people. This year's theme is timely, for two reasons: the 2020 blockbuster falls on the 250th anniversary of Captain Cook's voyage to Australia — and it will be helmed by a new First Nations artistic director, famed Sydney-born, Melbourne-based interdisciplinary artist Brook Andrew. Andrew has selected an impressive lineup of artists and creatives — many of them First Nations — from around the world to exhibit at the Art Gallery of NSW, Woolloomooloo's Artspace, Campbelltown Arts Centre, Cockatoo Island and the MCA. The National Art School, which was originally part of the program, will remain closed to the public for the foreseeable future, so the Biennale is currently looking to relocate its works to a new space. On the just-announced program, you'll find the Southern Hemisphere premiere of Arthur Jafa's Golden Lion-awarded work The White Album, Wiradjuri artist Karla Dickens's immersive work symbolising the disproportionate number of incarcerated Indigenous Australian women and a large-scale political protest piece by Pitjantjatjara artist Kunmanara Mumu Mike Williams (who passed away last year). [caption id="attachment_764834" align="alignnone" width="1920"] Hannah Catherina Jones, 'Owed to Diaspora(s)' (2020), courtesy the artist. Photo by Zan Wimberley. Installation view.[/caption] Cockatoo Island will be home to a wide range of works, including Ghanaian-born artist Ibrahim Mahama's sprawling installation of coal sacks; Tony Albert's interactive greenhouse, where you'll be invited to write and plant messages; and Tlingit/Unangax̂ artist Nicholas Galanin's excavation work that'll 'dig up' the land beneath the shadow of Hyde Park's Captain Cook statue. Elsewhere, Ahmed Umar's ceramic sarcophagus will be shown at the MCA; DJ Hannah Catherine Jones will perform an audiovisual work inspired by pop-culture, poetry and provocative imagery; Andrew Rewald's evolving community garden; and Leisa Reihana's multi-channel video installation and film will explore the history of Māori and South Pacific Islander peoples. Running at a later date will be Nirin Wir: a program of free and ticketed events taking place all over the city, from the Blue Mountains to La Perouse. You can listen to in-depth conversations between First Nations artists and other artists at the multi-location Aabaakwad, head to Cockatoo Island for 4ESydney Hip Hop Festival, watch an all-Indigenous Australian cast discuss Australia's 60,000-year history and debate the question "To cook Cook or not?" at Sydney Town Hall and join a performative walking tour of Parramatta Female Factory Precinct or a guided bushwalk through Dharawal National Park with Aunty Deirde Martin. Favourite events such as the Bankstown Poetry Slam and Sunday family day will also return for the festival. Dates for Nirin Wir are yet to be announced, but we'll be sure to keep you posted. Top images: Ibrahim Mahama, 'No Friend but the Mountains' (2012–20), Cockatoo Island, courtesy of the artist; Barbara McGrady, installation view, Campbelltown Arts Centre,c courtesy of the artist. Photos by Zan Wimberley.
If your 2024 resolutions involve seeing stunning art and travelling, here's one of the best ways to tick both boxes: a visit to digital-only art gallery teamLab Borderless in Tokyo. Not only is the Japanese venue finally set to reopen in a new location, but it'll welcome folks back in with a spectacular array of never-before-seen installations. If you fancy being surrounded by bubbles, jelly, flowers and oceans, you'll be especially thrilled. When it initially launched in 2018, teamLab Borderless instantly became one of the most spectacular must-sees on any Tokyo trip; however, the venue has been closed for a year and a half while shifting to its new site at Azabudai Hills. Come Friday, February 9, it'll reopen its doors with another dazzling array of artworks — pieces that epitomise terms like breathtaking, kaleidoscopic, glorious and delightful, and are worth a trip to Tokyo to see all by themselves. The new teamLab Borderless will span both evolved and brand-new artworks. So, even if you've been before at its old digs, you won't just be seeing the same things — even though they're definitely worth enjoying more than once. While the full range of works that'll feature at teamLab Borderless 2.0 still hasn't yet been revealed, the list keeps growing — and impressing. Pieces announced so far include the jaw-dropping Light Sculpture series, which cycles through an array of light formations and colours, as well as an eye-catching mirrored infinity room-style space that's tentatively been titled Microcosmoses. Among the world-premiere installations, there's also Bubble Universe: Physical Light, Bubbles of Light, Wobbling Light, and Environmental Light, which is comprised of spheres that look like soap bubbles and jelly, and will move through various colours. With Flowers and People — Megalith Crystal Formation, you'll spy florals bud and blossom, then wither and decay, repeating that pattern endlessly. And thanks to Black Waves — Megalith Crystal Formation, the sea gets a nod. Attendees can also enjoy Giant Solidified Spark, which is a sphere made from rays of light — plus Wall Without a Wall, which you'll see as a wall even though nothing physical exists. In its original guise, teamLab Borderless was also anointed the most-visited single-artist museum in the world during its first year of operation. Expect that to happen again in central Tokyo, where it's relocating to from its past Odaiba base. That means that you'll no longer be crossing over Tokyo's gorgeous Rainbow Bridge to get there — but your eyes will have much to feast on inside. If you were lucky enough to mosey around the OG spot before the pandemic, you'll know that the Borderless experience involves vibrant, constantly moving, always-changing interactive digital art keeps that keeps glowing and rearranging before your eyes. As the name makes plain, nothing is fixed or static here. Pieces move from one space to the next, and interact with other works. Sometimes, several different projections and installations mingle together. For attendees, peering at the end results isn't merely a passive experience, with the venue encouraging patrons to "wander, explore and discover". teamLab might be best-known for its Tokyo site, but it doesn't only operate in Japan. A second teamLab Borderless has already been open in Shanghai since 2019, and others are slated for Jeddah in Saudi Arabia and Hamburg in Germany — the former without an exact opening date, the latter slated to launch in 2025. The organisation also operates a different museum in Macao, and has its first teamLab Phenomena on the way for the Saadiyat Cultural District in Abu Dhabi, again targeting a 2024 launch. The list goes on, with teamLab's works a drawcard wherever they pop up. teamLab Borderless Tokyo: MORI Building Digital Art Museum will reopen at its new location at Azabudai Hills, Garden Plaza B B1F, 1-2-4 Azabudai, Minato-ku, Tokyo sometime on Friday, February 9, 2024, with tickets on sale from Tuesday, January 16 — for more information, visit the museum's website. Images: teamLab, Exhibition view of teamLab Borderless: MORI Building DIGITAL ART MUSEUM, 2024, Azabudai Hills, Tokyo © teamLab, courtesy Pace Gallery.
Before the Titanic collided with an iceberg, became one of modern history's most famous tragedies and inspired one of cinema's biggest box-office hits, a different cross-Atlantic liner sailed into chaos. So says Jantje Friese and Baran bo Odar, with the German pair's new — and wholly fictional — Netflix series 1899 taking place onboard the steamship Kerberos 13 years before the sinking that everyone knows about. This vessel is travelling from England to America with 1400 crew and passengers, filling everywhere from stately rooms to jam-packed halls, when it receives word of a missing craft. Owned by the same company, the Prometheus took the same route four months prior, and was thought to have disappeared without a trace until that distress signal beckons. Friese and bo Odar love a mystery, and 1899 has a hefty one right from the outset. Friese and bo Odar also love making labyrinthine puzzle-box shows that keep dropping clues, twists, and philosophical ideas about the meaning and point of existence in aid of the bigger picture — aka an approach that made their 2017–20 German-language effort Dark such a massive and deserving success. Over its three-season run, that series probed fate and destiny in a woodland town, not only diving into its residents' deepest secrets but charting the looping consequences backwards and forwards in time. Friese and bo Odar love grand ambitions as well, clearly, and Dark didn't just have them but fulfilled them, proving one of Netflix's best originals yet. How do the TV-making duo — Friese writes and co-writes, bo Odar directs and they both produce — ensure that sparks ignite twice? By diving even deeper into their favourite themes, tactics and flourishes, all in a series that couldn't spring from anyone else. If anyone familiar with Dark started watching 1899 without knowing their shared origins, they'd guess immediately. Everyone unacquainted with the former should end the latter desperate to seek it out ASAP. The one sizeable departure: inconsistent pacing, with 1899's first four season-one episodes glacial in setting the scene, and its last four busy to pack in as many revelations as possible. Still, taking the voyage comes with a boatload of thrills, suspense and intrigue; if Dark met Titanic, Snowpiercer, Black Mirror and Lost, and showed a ship's worth of love for the Alien franchise, it still wouldn't be close enough. Extra-terrestrials aren't the answer to this sci-fi/horror/mystery series, but the first Alien film started in the exact same way as 1899. Cue an unexpected transmission interrupting a trip, the crew committing to investigate, a derelict ship awaiting and a surprise making its way over from the abandoned vessel. Back on the Kerberos, like the Nostromo before it, cue crawling through passageways in search of answers, away from threats and to escape the discontent festering in the craft. In more than just the name of its other key ship, 1899 nods to the Alien saga's Prometheus as well — and for fans of the iconic Ridley Scott-created big-screen series, spotting the references adds a whole other game to a show that already has viewers sleuthing from the outset. Chasing clues is a prime pastime on the Kerberos, too — 1899's two ships draw their monikers from myth, aptly — with everyone from doctors, captains and sudden interlopers to enigmatic children and relocating Europeans trying to solve the show's puzzles. Chief among them are Maura Franklin (Emily Beecham, The Pursuit of Love), a rare female medical practitioner at the time; Kerberos' leader Eyk Larsen (Dark alum Andreas Pietschmann); and Daniel Solace (Aneurin Barnard, The Goldfinch), who climbs aboard while everyone's focusing on the Prometheus. As well as being perplexed by their situation, Maura and Eyk are haunted by their respective pasts; her brother is missing and her father (Anton Lesser, Andor) provides a firm presence in her dreams, while the captain can't stop thinking about, and believing he's seeing, the family he lost in a heartbreaking fashion. Traumatic histories are a common thread among the other passengers, too, as 1899 explores by beginning its early episodes honing in on a different character. Also onboard: Spaniards Ángel (Miguel Bernardeau, Everything Else) and Ramiro (José Pimentão, Teorias da Conspiração), one flouting wealth and the other posing as a priest; Ling Yi (newcomer Isabella Wei), who dresses like a geisha but speaks Cantonese with her travelling companion Yuk Je (Gabby Wong, Rogue One: A Star Wars Story); and Virginia Wilson (Rosalie Craig, The Queen's Gambit), who has more than a passing interest in the ship's Asian commuters. Then there's French couple Clémence (Mathilde Ollivier, A Call to Spy) and Lucien (Jonas Bloquet, Marie Antoinette), newlyweds hardly in the throes of marital bliss; stowaway Jérôme (Yann Gael, Saloum) and stoker Olek (Maciej Musial, The Witcher), found among the vessel's bottom levels; and a Danish family that includes religious fanatic Iben (Maria Erwolter, Outlaw), her husband Anker (Alexandre Willaume, The Wheel of Time), their pregnant daughter Tove (Clara Rosager, Morbius), scarred son Krester (Lucas Lynggaard Tønnesen, Borgen) and youngest child Ada (Vida Sjørslev, Carmen Curlers). And, thanks to the Prometheus, there's a mute boy (Fflyn Edwards, The Snow Spider) as well. With Friese and bo Odar pulling the strings, Dark and now 1899 instantly grab attention with their riddles, nightmarishly brooding mood and — as one series put right there in its name — their willingness to get and stay dark. Throw in the pair's penchant for existential musings, trippy setups and premise-shattering revelations, and both shows are catnip for mystery lovers. This one sports a heavy eat-the-rich vibe as well (although nowhere near as strong as 2022's also ship-set Cannes Palme d'Or-winner Triangle of Sadness), and contemplates how the unwanted turns that everyones' lives take shape our future choices and selves. With a moniker from the past, 1899 understands that no one can ever truly evade theirs, with our own personal histories causing not just ripples but waves and tsunamis. Friese and bo Odar have another crucial skill, however: casting. 1899 features an international collection of characters, each speaking their own tongue, all adding to the show's exploration of immigration and played by a stellar lineup of actors. The series has its on-screen talent act against a virtual studio, with special effects-created sets and locations made during the shoot — crafting 1899's effects in-camera, rather than afterwards — and the resonant performances that result bear the benefits. A Cannes Best Actress Award-winner for 2019's excellent Little Joe, Beecham is always potent to watch, but alongside fellow leads Pietschmann and Barnard she helps ensure that this mind-bender is as emotional as it is cerebral. All aboard, obviously. Check out the trailer for 1899 below: 1899 streams via Netflix.
Lightning Ridge might be best known for its enduring opal mining history, but the community's collection of bizarre museums and creative spaces are definitely a close second. Kangaroo Hill Complex is the stop for you if you're into off-the-wall antiques and unusual souvenirs. Others not to miss are the Bottle House Museum, Amigo's Castle, Beer Can House and the Astronomers Monument. Image: John, Flickr
Located across from Narrabeen Beach, this Asian-fusion diner from the team behind Paddington favourites Chubby Cheeks and Armchair Collective showcases a menu developed by ex-Mimi's chef Julian Laczyc-Wyhowski. Featuring a mix of contemporary twists, Fat Pomelo offers small 'chubby bites' and hearty mains reflecting its warm and inviting atmosphere. Stunning interiors from Giant Design take their cues directly from the venue's name. The pomelo, a large citrus fruit often displayed and consumed for good luck over Lunar New Year, is a symbol of prosperity and fortune and the heart of this venue's concept. With a bright and lively main dining space as well as intimate private rooms, Fat Pomelo offers an ideal and welcoming space for any occasion.
The end of winter means warming temperatures, blooming flowers and summer inching closer. In 2024, it also means looking up. To close out August, a blue supermoon will take to the sky — or a super blue moon, if you prefer. Both terms fit, because the Earth's only natural satellite will serve up both a supermoon and a blue moon. The date to point your eyes to the heavens: the morning of Tuesday, August 20. Stare upwards with your own two eyes at 4.25am AEST and you'll see a noteworthy sight at its peak. Of course, if you train your peepers towards the sky the evening before or afterwards, you'll still be in for a glowing show. While super full moons aren't particularly rare — several usually happen each year — blue moons only tend to occur every few years. Wondering why else you should check this one out? We've run through the details below. What Is It? If you're more familiar with The Mighty Boosh's take on the moon than actual lunar terms, here's what you need to know. As we all learned back in November 2016, a supermoon is a new moon or full moon that occurs when the moon reaches the closest point to Earth in its elliptical orbit, making it particularly bright. Again, they're not all that uncommon — and because the supermoon on Tuesday, August 20 is a full moon (and not a new moon), it's called a super full moon. A blue moon refers to either the second full moon occurring within a calendar month, or the third in an astronomical season with four full moons. August 2024's moon falls into the second category. Despite the name, it isn't blue in colour. Also, despite the saying, they happen more often than you might think, but still only ever few years. The last monthly blue moon occurred in August 2023, and the next blue moon of either type isn't set to happen until the end of May in 2026. The August moon is also a sturgeon moon. The name doesn't refer to its shape or any other physical characteristics, but to the time of year. In the northern hemisphere, August is around the time that sturgeon fish start to show up in big numbers in North America's lakes. Of course, that doesn't apply in the southern hemisphere, but the name still sticks. When Can I See It? As mentioned above, the blue supermoon will officially be at its peak at 4.25am AEST on Tuesday, August 20, Down Under — but thankfully it will be visible from Monday night Australian time. The moon does usually appear full for a few days each month, so you should find the night sky looking a little brighter this week anyway. That 4.25am AEST time applies in Sydney, Melbourne and Brisbane, with folks in Perth needing to look at 2.25am local time and people in Adelaide at 3.55am local time. Where Can I See It? You can take a gander from your backyard or balcony, but the standard advice regarding looking at glowing sights in the sky always applies — so city-dwellers will want to get as far away from light pollution as possible to get the absolute best view. Fancy checking it out online? The Virtual Telescope Project is set to stream the view from Rome at 5.30am AEST on Tuesday, August 20, too. For more information about the blue supermoon on Tuesday, August 20, 2024 in Australia, head to timeanddate.com. Top image: NASA/Joel Kowsky.
Uber apparently just wants Australians to be effortlessly happy and righteously lazy, and nothing says bliss like enjoying a few cheeky brews in your underwear. If last year's introduction of UberEATS hasn't already made us lazy enough, the company has just announced that, as of today, March 23, they'll be delivering booze too, starting with Melbourne. As part of the launch, UberEATS has partnered with Carlton Draught to release their alcohol delivery service just in time for the start of AFL season tomorrow. On Friday, March 24 from 12pm, the general alcohol service kicks off, and from 5pm, Melbournian's can choose one of the nineteen $30 plus meal deals on their app and receive a free four pack of the specially brewed Carltons to enjoy with (or without) the game. After supplies run out, normal hours of alcohol service are midday to 9pm. Thirty liquor license holding restaurants across Melbourne's city and inner city suburbs are participating so far, and we're pretty confident the service will quickly spread to the rest of metropolitan Australia as well. There are a few things to note before rushing to your app — alcohol will only be delivered with a food order and only a bottle of wine or six pack of beer is permitted per order. The drivers won't deliver to intoxicated folk either, so if you answer the door looking like a hot mess you'll be denied your booze. Under 18s shouldn't be cheering either — you'll need proof of ID to accept the delivery. Obviously the service isn't meant to completely replace bottle shop runs, but is more about bringing a 'complete restaurant experience' into your home — something existing booze delivery services will need to consider. It comes well timed with the turn of the season as well, as the Melbourne winter sure doesn't promote outdoor activity. So go ahead and order from your favourite dumpling joint, pop open that delivered brew, turn on Netflix and let the pants-off binge-watching commence.
Let them entertain you: with Better Man, the Robbie Williams biopic that takes its name from one of the British singer's tunes, filmmaker Michael Gracey and actor Jonno Davies have a clear mission that's shared with the man in the spotlight himself. The Australian-made, 16-time AACTA-nominated movie tells the warts-and-all tale of the boy from England's Midlands who has become an international superstar. It charts Williams' path through a complicated childhood, teen boy-band fame, relentless press attention, struggles with drugs and alcohol, tabloid-fodder relationships, a well-publicised reputation for partying, going solo, huge hits, sizeable scandals and plenty of reinvention — and, while never shying away from the tumultuous times that its subject has endured, it matches its unflinching view of his ups and downs with his love of monkeying around and putting on a show. The simian aspect of Better Man is literal. More than 20 years after 'Me and My Monkey' was a track on Williams' fifth studio album Escapology — a record that skewed personal to explore his experiences with pop stardom, and made hits out of 'Feel' and 'Come Undone' — his story reaches the screen with the former Take That member portrayed by a CGI chimpanzee. The approach renders Williams both a cheeky monkey and a performing monkey, and also reflects a journey that's had him swinging from limb to limb in life's jungle. The conceit was Gracey's choice, but based on the musician's own descriptions when chatting the Australian filmmaker through his existence. Better Man's helmer and subject first met when the director needed the singer's assistance with the former's debut feature. One of The Greatest Showman's original tunes won a Golden Globe and was nominated for an Oscar; however, star Hugh Jackman (Deadpool & Wolverine) had doubts about the songs going in — and, because the actor kept referencing Williams as a touchstone for his lead portrayal in the movie, Gracey hit him up for his thoughts and powers of persuasion. From there, the pair kept talking, then started recording Williams recounting his life story in the latter's studio. Next sprang the idea to make Better Man, which is how an Aussie talent came to craft a homegrown flick about one of the UK's biggest music figures of the past three decades. The film was initially announced in 2021, and news of Davies playing Williams arrived in 2022. That Better Man was going ape remained a secret until initial viewers cast their eyes on the flick at its world-premiere at the 2024 Telluride Film Festival, which was no easy feat. "I was astounded, because we really didn't want people to see any images from the film, and it blew me away that we managed to keep that under wraps for so long — just because we did scenes where we had 2000 extras, so at any point someone could've even given away shots of Jonno in the motion-capture suit. Or some image from the work that Wētā were doing could've found its way online. And it just didn't," Gracey tells Concrete Playground. "We tried really hard to make that the case because we wanted it to land in a way that was a very unique way to lens this story. And also having pitched it unsuccessfully for many years to financiers, I also knew that it would never make sense until people got to watch it," the filmmaker continues. "So there was really no point having chatter about an image and the conversation of whether that looks like Robbie or doesn't look like Robbie. I think that the most overwhelming response has been from people who are even sceptical about the conceit, that once they watch the film, they understand. And so I just desperately wanted to get in front of people before the conversation about 'why the monkey?'." [caption id="attachment_985602" align="alignnone" width="1920"] Monica Schipper/Getty Images for Paramount Pictures[/caption] A decade on from his screen debut in British TV's Casualty, Kingsman: The Secret Service and Hunters alum Davies has notched up what might prove the most-unique role of his career: playing Williams via motion-capture, and also voicing him in his younger years (Williams lends his own vocals to the movie, too). For his efforts, he's among the AACTA contenders for Best Actor. A fan going in of the man that he's portraying and of The Greatest Showman, Davies was instantly keen to take on the part, and has been revelling in the reactions that the movie has been earning since. "What's brilliant is seeing different audiences respond to the movie, whether that's an age thing, whether it's different continents, people that are Robbie Williams fans, people that have never heard of Robbie at all, and seeing how different people respond to it in different ways," Davies shares. "And seeing it being universally accepted — I think that was something we always wanted to focus on, is that Robbie is an everyday man. There's something in him, whether it's the relationship he has with his nan, whether it's his fear of imposter syndrome, there's something in him that anyone can relate to. There's something there that people connect [to]. I know Michael's had people coming up to him and saying 'I spoke to my dad for the first time in seven years' or people watch it and go 'you know what, it's made me want to ring my mum more or get in touch with the people I love'. Having those different connections and different responses is why you want to make cinema, why you want to make a film — is to affect people. It's been a joy." Down Under, Better Man was already making a splash before it reached Aussie cinemas on Boxing Day 2024; breaking the record for the most AACTA nods in a single year will do that. In a country with well-known fondness for Williams — if a biopic wasn't going to come out of Britain, Australia always seemed the next logical place for it — its main man has been popping up headlining the ABC's New Year's Eve coverage and doing a free gig in Melbourne's Federation Square, helping to give the movie a push, too. For viewers not instantly enticed by its subject or approach, the flick's biggest enticement sits within the feature itself, though. When 'Rock DJ' breaks out in a sequence filmed on London's Regent Street, it's a spectacular movie-musical moment. Gracey and Davies are relaying the tale of another great showman, after all, although that standout scene almost didn't happen. We also spoke with Better Man's director and co-writer, plus its star, about that unforgettable segment of the film, stepping into Williams' shoes — or a chimpanzee's feet, to be more accurate — and why monkeying around was the best way to tackle Williams' tale, as well as fandom, resilience and the full impact of Hugh Jackman's Williams obsession on The Greatest Showman. On Davies Playing the Man Responsible for One of His First Music Memories Jonno: "I was definitely a fan growing up. I saw him concert when I was nine with mum and dad. It's one of my earliest music memories, really. And when you're a child, you have no idea what your identity is, you're just in for a good time — and seeing this rock star on stage, peacocking about like he does, connecting with an audience, seeing how he's there to entertain the crowd rather than entertain himself. So then to 25-odd years later to be the one to play him is quite a pinch-me moment. I think it helped being from the UK, understanding the peak of his fame, how heavily, heavily documented his life was — much to his detriment, the lack of privacy there when he was suffering — I think that was a nice insight to have. But then also meeting in-person when we were in Melbourne when we first started, and then getting the rest of the story and sitting down with him, and him sharing some of his more vulnerable parts of himself — because he wants to make sure that this was an honest depiction. It takes someone very brave to allow themselves to be painted in quite a bad light a lot of the times in the movie. And so the fact that he then gave us his trust to collectively tell his story in a very honest and truthful way, I think it shows a calibre of a person." On How The Greatest Showman and Hugh Jackman Helped Bring Better Man About Michael: "It all stems back to working on The Greatest Showman with Hugh Jackman. Whenever we would talk about PT Barnum and what it was to be a great showman, he would always reference Robbie Williams — which used to make me laugh, and then after a certain period of time really annoyed me, because it was just always his go-to reference. Whether he was talking about music, whether he was talking about his swagger, or his charisma, or whether we were talking about choreography, he's like 'you know, the way that Robbie sort of moves' and I was like 'you know, every reference can't be Robbie Williams'. So at a certain moment when we were close to going into production, Hugh had a lot of voices in his ear about the music not being good enough, and he started to question the music. And at that point, we'd been working on the film together for six years, so I'd lost a lot of weight in my voice — because I was always the boy who cried wolf, who was like 'no, it's going to be great. This'll be the year we make it'. After six years, people start losing faith a little bit. So in a moment where Hugh felt that we should start again on the music, and I knew that that would mean the end of the film — and this is the music that is in the final film that Benji Pasek and Justin Paul wrote — I got in touch through my lawyer, because his daughter is friends with Ayda [Field], who is married to Robbie Williams. You know how you're always just like three people away from the person you want to get to? So I got a meeting with Robbie on a Sunday at his house, where I told him the story of The Greatest Showman, and then I played him the music. And at the end of the meeting, I said 'look, the only thing more bizarre than me showing up at your house on a Sunday is what I'm about to ask you now. It's one thing for me to tell Hugh Jackman what you think of the music. It's another thing for you to tell him entirely. So if you don't mind, can I just video you and you just talk into the camera as if you're talking to Hugh Jackman?' And that's what he did. He did this video message, which, to this day, if I'd written the script and said 'can you please read this to convince Hugh that this music is going to be great?' — what he did off the top of his head with ten-seconds' notice is why he is such an amazing showman. He was so compelling, the way he spoke about the music, he basically said to Hugh 'I've spent the last year working on my new album. I would scrap that album to sing these songs'. He literally was that effusive about how great the music was for The Greatest Showman. And he was right. The music was great. And history went on to prove that. But in that moment, that's exactly what Hugh needed to hear to have the confidence to move forward and make the film. So in many regards, there would be no Greatest Showman if there wasn't that video message from Robbie Williams. That's how we started then talking, and I just really enjoyed whenever we would talk, when he would tell me stories about his life. And with no intention to make a film — because unlike Jonno, I didn't grow up a Robbie Williams fan. Obviously growing up in Australia, you can't escape him. He's everywhere, but it's not like I listened to him. [caption id="attachment_985603" align="alignnone" width="1920"] Monica Schipper/Getty Images for Paramount Pictures[/caption] But what I really did love is I loved the way in which he talked about his life — and not just the events, but actually his delivery. I really enjoyed the manner in which, whether he's writing lyrics as a storyteller or telling you a story, he's a great storyteller. So I then just asked, knowing that he had a recording studio, when I was in LA, I would just drop over to his house and we would just sit in his recording studio and just chat. And those conversations took about a year and a half, and at some point during that, I started thinking 'wow, I could probably chop these up and make a radio play'. Then I went from there to 'actually this could make a really powerful film'. And in fact, those some of those recordings are in the actual voiceover of the film — those original recordings. But it was never the intention to make the film. It all stemmed from him and me just sitting in a studio just talking." On Why Portraying Williams as a Chimpanzee Was the Right Way to Tell His Story Michael: "I think that creatively, I just wanted to come at it with a unique angle. And also, I knew that narratively I wanted to explore both his internal life and his external life. So it was trying to find a device that would allow us to step between those two worlds, the world of the imagination and the world of reality. I think in a musical you're already in a heightened reality, because people are breaking into song, but I wanted something creative that would allow us to see more of Robbie than if it was just an actor playing him. And when I went back to those original recordings and I was listening to them, just time and time again Rob would refer to himself as a performing monkey. He would just say things like 'I was just dragged up on stage to perform like a monkey' or 'I'm up the back dancing around like a performing monkey'. And he said enough times that I was like 'there's definitely something to this performing monkey'. And when I looked at his story, whether it's him pretending to be tougher than he is in front of the kids in Stoke-on-Trent, where he grew up, or whether it's jumping up in front of the TV hoping that his dad would look at him the same way that he looks at Sinatra, there were just all these moments within the story that I was like 'he's always been that little performing monkey'. And the moment that I framed the entire film in that conceit, it just made me smile. I just thought 'this is going to work and it's going to work unbelievably well'. Convincing other people of that was the difficult part, but not convincing Rob. Rob was onboard in two seconds. I literally went to him and said 'if you're an animal, how would you see yourself?'. And he immediately said 'lion' and looked very proud. Then I sort of went 'really?'. And after about 30 seconds, he went 'nah, more of a monkey'. On Davies' First Reaction to Such a Unique Part Jonno: "There are so many challenges in this thing for an actor that every one is like 'oh my god, another reason to do it, another reason to do it'. One: motion-capture. Two: you are telling someone's story that's still alive, and someone that has many predetermined opinions on them, and so it's kind of up to you to try to shift those things. And I think that's what's useful about the monkey, is it separates people from Robbie Williams, and you follow this monkey story rather than necessarily this global superstar that people think they already know. But I was blown away by the concept. And I was I was blown away by the dream of it really. That's one of Michael's best assets, is he sells you the dream — but unlike many others, you get to actually go along with it. You get to join it. I was a massive fan of The Greatest Showman. I have always loved musicals. I love dancing, I love singing, but never thought I really had the chops to be a part of that world — certainly not a Broadway or a West End singer. So to be able to have Rob do the singing and me do the dancing, I was like 'how could I possibly not try to make this mine?'." On the Film's Celebration of Resilience and Persistence — and What That Concept Means to Davies and Gracey Jonno: "Resilience certainly comes in with the life of an actor. You are told 'no' many more times than you are told 'yes.' And you often value yourself on your last job, or the last job you did not get. I think it's about trying to stay resilient and trying to remember that you are authentically you, right? And so even though you're getting your nos, it doesn't mean you're crap, it means that you're just not right for this opportunity. It's a hard memory to keep inside, but I think it's one that is premier above all else. Otherwise you start to lose your identity. If you start thinking that 'I'm getting nos because I'm not good enough' or 'I'm not the right person', you start shifting your identity. Then you don't become what makes you, and that's essentially your best asset. And so resilience for me is about staying true to yourself, and if you're going to do something — Guy Chambers says it in our film, he says 'own it'. If it's crap, make it your crap. And I think that's a form of resilience that we can all take onboard." Michael: "Resilience is my entire life, because you have these grand ideas and it's up to you to continue to believe in them year after year after year. Showman took seven years to make, and at one point or another every single person involved in that project gave up hope — and you as the director cannot. Everyone else can lose faith, and you just have to keep on, you have to stand in that burning building and tell everyone it's going to be okay. This took six years. It was a high-concept idea that scared a lot of people, because the concept of the monkey immediately doubled the budget of the film. It made it a much more risky prospect. And it scared a lot of financiers away. The number of meetings that I had to do where people would just flat-out, the moment the monkey was mentioned, were like 'what are you talking about?' — and 'this is the end of the meeting'. That was the much more common response to that idea. And yet, I knew if there was a way to bring it into reality, it would be unique and it would be something that I'd be incredibly proud of. And so resilience is my entire career, and I would not be a director if I did not have that resilience. I think the joy you get as a director is finding other people to believe in that impossible dream, who stand alongside you and make it a reality, and that is the greatest privilege that you have as a director." On What It Took to Make the 'Rock DJ' Scene a Reality Jonno: "A lot of pogo-stick practice. It was the pinnacle of joy, right, in the film. It's the one moment that Robbie and the audience gets to really just live in dreamland, and there's no darkness that encases it, there's no version of himself telling him telling him he's rubbish. And so we were determined that when we arrived on Regent Street, that would be the feeling that we would feel. And, of course, you can only have that joy if you've put in the graft beforehand. And that's not just Michael. It's every department. It's Ash and Jen [Ashley Wallen and Jenny Griffin, both returning from The Greatest Showman], the choreographers, making sure that not only us, the Take That boys, but the 500 dancers were drilled so that we were never getting a bad take because of the dancing. You only have a set amount of time on Regent Street, so everyone had to just be shit hot, for want of a better term. We taped out a hangar, so the minute details, so every bush, every lamp post, was in its exact spot, so that when we arrived on the street, we were ready to go. It wasn't figuring out any proximity, etcetera. But it was a joy. It was one of my favourite experiences on set. I think you see it on our faces when we when we do Regent Street. I think you can probably see it in our pupils as well. There's kind of joy, combating a bit of 'we've got to get this done'. But it's such an iconic street, and it demanded an iconic routine — and I think Michael has delivered with that. Michael: "The practicalities of pulling that off were enormous. It was a year and a half in the planning. As Jonno mentioned, we rehearsed in a hangar the week before with the entire cast and crew, and double-decker bus and taxi, all those elements — only because the moment we got on the street, we had to start shooting, and we had very limited time overnight where we could lock down the entire street and film. It was shot over four nights, but after that week of rehearsal in the hangar, literally the day before we were about to start filming, the Queen passed away. And so we got shut down. There's ten days of mourning after the death of the Queen. Regent Street is crown land. So it was devastating because we paid out all of the costs to shoot. We'd locked down all those stores for those dates. We'd booked all of those dancers. So we lost all that money. There was no insurance for the death of the Queen. At that point, there were a lot of very serious conversations about cutting the number from the film. And I was like 'we've got to go out, we've got to raise that money again, we've got to get back onto Regent Street and we have to shoot this number — it is absolutely a cornerstone of this story'. It took another five months to find a window where we were allowed back on the street, and to raise the money again. And so every time that number plays, I just go in my head 'we were this close to that never happening' — but that comes back to your question about persistence. Better Man opened in cinemas Down Under on Thursday, December 26, 2024. Michael Gracey will chat about the film at the 2025 AACTA Festival, which runs from Wednesday, February 5–Sunday, February 9, 2025 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise, Gold Coast.
