Coca-Cola has been turning green lately with sustainable bottles and recycled store shelving already upping their eco-cred, but their latest venture in the Philippines might be the best yet. Partnering with WWF, their new 60 foot by 60 foot billboard features 3,600 Fukien tea plants held in pots made from recycled Coca-Cola products, the plants defining a simple silhouette of a Coke bottle. As well as catching the eye the billboard should soak up carbon from the immediate atmosphere, as each plant is capable of absorbing 13 pounds of carbon dioxide in a year. Critics have cited it as mere greenwashing, and only a drop in the ocean compared to Coke's giant production and transport carbon outputs. Nevertheless, at least it's a step in the right direction, and as well as advertising their product the billboard also highlights the issue of climate change. But, will it ever make up for the decades of flashing lights on the Kings Cross Coke sign? Will Sydney ever see the lights dimmed and replaced with some greenery? [via PSFK]
If we've said it once, we've said a thousand times: spring is an absolutely stellar time to be in Sydney. But we're not going to stop because it's just the weather is glorious and primed for outdoor activities — and our fair city follows suit, serving up countless springtime happenings. As its Spring Carnival continues, we've teamed up with Australian Turf Club to bring you five top-notch ways to celebrate the season this week. [caption id="attachment_745411" align="alignnone" width="1920"] George Gittany[/caption] EAT, DRINK AND DANCE YOUR WAY THROUGH A NEARBY STREET FESTIVAL When? Tuesday, October 15–Sunday, October 20 Spring is the season for street festivals — and this week, you can find one in almost every corner of the city. In the inner city, there's Paddington's long-running William Street Festival, which will see local shops, bars and cafes throw open their doors for an all-day celebration on Saturday, October 19. Meanwhile, on Sunday, October 20, you (and your dog) can make tracks to Marrickville's street party, featuring live music, free workshops and plenty of food trucks, or head over the bridge to Crows Nest's own party, which is celebrating its 30th year. Oh, and to get you geared up, head west to Parramatta for its expansive laneway festival — it's on from Tuesday, October 18–Friday, October 18, and will feature a 90s-themed club, a Pac-Man maze, roving performances and much more. [caption id="attachment_745951" align="alignnone" width="1920"] 'Unbearable Darkness' by Choy Ka Fai[/caption] WITNESS A BOLD PERFORMANCE AT THIS EXPERIMENTAL ART FESTIVAL When? Thursday, October 17–Sunday, October 27 Spring is all about shaking the winter shackles off and mixing up the routine after months of cosy nights in under your doona. And catching a bunch of outrageous performance art fits the bill perfectly. This week sees the return of Carriageworks' annual experimental art festival Liveworks. For eleven days, the expansive space will be filled with bold experiments by innovative artists and curators — think interactive installations, live performances, workshops and parties. This year's celebration has two central themes: championing female and non-binary visionaries and telling stories through the lens of cultural identity. The festival will feature five newly commissioned works — including Chicks on Speed's performance art piece I'll Be Your Body Instrument using wearable music devices — alongside three world premieres and three Australian premieres. [caption id="attachment_746452" align="alignnone" width="1920"] Paul McMillan[/caption] CATCH SUPERSTAR KELLY ROWLAND AT THE EVEREST RACEDAY When? Saturday, October 19 The six-week Everest Carnival culminates this weekend in a rather lavish event day. It's the biggest day on the spring carnival calendar — and there'll be plenty of action happening off the track at The Everest Raceday that you can get involved in, too. Alongside a bevvy of food trucks, pop-up bars and champagne vending machines, you can expect entertainment in the form of a roving brass band, a DJ set from Nat Sax in the Palm Springs-inspired oasis Pony Palms, and none other than global pop star Kelly Rowland closing out the day with an energetic live performance. SIP MANY PINK DRINKS AT THIS BAR'S ROSÉ-INSPIRED FESTIVAL When? Any day Rosé may not be the official drink of spring — despite the fact that we all start ordering it in copious amounts as soon the weather warms up — but it might as well be at Barangaroo House. For the entire month of October, the harbourside bar has transformed its entire three-storey venue into an homage to the blush drop — think hot pink decor (including a hidden all-pink room), rosé vending machines, pop-up bars, themed cocktails and even $55 bottomless rosé lunches, which you can enjoy from Friday to Sunday. SNAG A PRELOVED GEM AT A LOCAL GARAGE SALE When? Saturday, October 19–Sunday, October 20 We know what you're thinking: aren't garage sales for... grandpas? Not so, dear bargain hunter. If you like your stuff to be one-of-a-kind, garage sales are an opportunity to uncover some truly fantastic finds — and also unload a few items of your own that have been collecting dust in your wardrobe, under your bed or (shocker) in the garage for a while. This weekend, more than 18,000 garages are expected to open their doors for the tenth annual Garage Sale Trail. Aside from the retro goodies up for grabs, the Trail is all about sustainability. Instead of ending up in landfill, unwanted clutter becomes a fantastic find. So get that tight pair of sunnies for peanuts and help the environment at the same time. Head here to find your closest sale. Everest Carnival runs until November 2 at Rosehill Gardens and Royal Randwick. For more information, head this way. Image: Paul McMillan.
Sometimes eye-opening, sometimes distracting, sometimes just 'meh', cameras have become a common sight on the Australian stage. Recently, Belvoir’s production of The Glass Menagerie used them to great effect, exploring the limitations of personal memory. At key points, the cameras captured and cropped the events onstage. When this footage was projected onto two large screens above the set, the feed the audience saw was completely distorted; it was decontextualised, romanticised and bore only the slightest relation to the scene we were witnessing. This was both innovative storytelling and a means of reconciling a work which writer Tennessee Williams, through the protagonist, had claimed was simultaneously truth and sentiment. In STC’s production of Williams’ Suddenly Last Summer (directed by an unrelated Williams, Kip), a similar fusion is attempted, albeit for different reasons. Unfortunately, a more hamfisted approach means that despite strong performances, the events unfolding on stage feel like a sideshow, collateral damage of the true spectacle — a struggle between cinema and theatre. The play takes place in the lavish New Orleans estate of Violet Venable (Robyn Nevin), a wealthy older woman struggling to come to terms with the loss of her son Sebastian, who died overseas in mysterious circumstances. Mrs Venable has long contended that the account of his travelling companion and the last person to see him alive, Catharine Holly (Eryn Jean Norvill), is not only false but slanderous. Summoning a number of people, including a young psychosurgeon (Mark Leonard Winter) and Holly herself to the estate, she sets about extracting the truth. The extended and very dramatic nature of the explanation, coupled with the roomful of shocked onlookers, means that this occasionally feels like Murder on the Orient Express, but the script is unsettling and the cast emanate a tangible sense of dread. Nevin, though confined to a chair for much of the play, is simultaneously wolfish and austere as Mrs Venable. Norvill is wonderful as Catharine, a woman who can’t be certain of anything except the terrible event she witnessed, and Melita Jurisic adds to the almost Lovecraftian nature of the piece with her weird, bewildered turn as Venable’s maid, Miss Foxhill. The shortcomings of Suddenly Last Summer lie in Williams’ decision to film the play live with a camera crew who move freely about the stage, walking in and out of each scene. The text is relatively naturalistic and places a high priority on creating an unsettling, anxious atmosphere. This is achieved in the first scene, which is filmed entirely out of view. Sebastian’s overgrown greenhouse, referred to as a "well-groomed jungle", is made chaotic and threatening by the cameras. Talk of lobotomies and Mrs Venable’s remembrance that her son equated the face of God with baby turtles shredded by gulls on the Galapagos Islands establishes a creeping horror. Then the wall shifts. Where before there had only been glimpses of the camera crew, they are now in full view and the shroud of terror falls. Our reality and the reality of the play begin to butt heads and the plight of Catharine Holly fades in importance. Putting technicians next to performers is like putting live animals on stage. With no investment in the constructed reality of the stage, their honesty is inherently more interesting to watch than the assumed characters of the performers. Their presence does allow for an exploration of the cinematic nature of Williams’ work, but in doing so, they become the piece. The production is no longer a Tennessee Williams play but a play about the making of a film of a Tennessee Williams play. In this context, the fate of the characters becomes rather arbitrary and a strange new dynamic is created, whereby half of the people onstage wail and rage at each other while the other half remain uninvolved and unmoved, content to witness these events through the lens of a camera. Although the concluding scenes are an impressive marriage of cinematography and staging which work to give the ending real punch, Suddenly Last Summer’s cinematic and theatrical elements spend so much time straining against each other that by the time the ending is reached, this struggle has already done irreparable damage to the whole.
Has it ever crossed your mind that this is a ridiculously impossible idea and that you might not actually be able to do it? Artist Willoh S Weiland is on the other end of Skype and laughs at the question. "What I love about this project is that it's about the audience — people love doing stuff that's impossible. I think it's our job as a project team to make it a reality." The project in question is Forever Now, an epic artistic and curatorial collaboration between MONAFOMA director Brian Ritchie (of Violent Femmes fame), Jeff Khan (director, Performance Space), Thea Baumann (artistic associate, Aphids) and jokingly self-titled 'Evil Overlord' Weiland (artistic director, Aphids). With the launch on June 15, the fantastic four will open the call out to anyone and everyone in the world to submit one-minute audiovisual artworks that represent humanity in the 21st-century. The team will select 44 applications to go on a digital golden record, which will then be launched into outer space at MONAFOMA 2014. "Forever Now is the third in a trilogy of art science works that I've been doing over the last four years, all of which have explored space and astrophysics," says Weiland. "I thought that the ultimate challenge to complete this trilogy would be for us to try and get contemporary art actually into the galaxy." Thirty-six years ago, NASA launched a Golden Record of its own into outer space on The Voyager spacecraft. Like the sci-fi version of the classic message in a bottle, there is hope that intelligent extraterrestrial life might discover the record, have the brains to correctly decipher the instructions, the fingers with which to operate them on a turntable and the sensory capacities to consume the record's contents and learn about our lonely planet. The Voyager is the furthest human thing from planet Earth, currently floating on the edge of our galaxy, about to enter interstellar space. Moreover, the Golden Record is made from gold-plated copper and uranium-238 that is designed to last over 4 billion years. Weiland describes the differences between NASA's 1977 Golden Record and what she hopes to achieve with Forever Now: "Firstly, [the Voyager Record] was created in six weeks in a totally closed curatorial process by a group of scientists and cultural experts." The Forever Now launch and open call for submissions is a direct reaction to that. "There was no digital democracy in 1977," says Weiland, "so the idea is that the curatorial process is completely transparent and able to be influenced by the public and that the record we compile will be an evolving process over six months." A second point of difference, as she sees it, is to the curatorial limitations that NASA worked within. "They deliberately didn't send anything that was about conflict or war or argument or famine or anything — it was a very shiny, upbeat representation of humanity. So we want to look more at the queer and the horrible.” On whether or not she believes in aliens, Weiland replies, "I think that one of the most exciting developments of the last thirty years compared to when the Voyager went out is the discovery of exoplanets (planets outside our Solar System) and also the absolute certainty that we will within my lifetime find biological life somewhere else." And how might an alien respond if it got its hands (or other limbs) on the Forever Now record? "If they weren't a gas, I can only say what I'd hope, which is that they'd be curious about us and be compelled to find us," she says. "I think we've been trying to understand our own aloneness for a long time and I think finding that out, that we weren't, would be such an intense, massive shift. It would be like when they worked out that the world wasn't flat." Plans for sending the physical record into outer space are yet to be confirmed, though Weiland declares, "We will do our valiant best to get it into space. We have a lot of possible plans ranging from gifting it to NASA, or to lesser known space programs like South Korea. The main issue in that is dealing with how much you have to compromise the content in order to participate in what is essentially a really militarised industry." There is also the possibility of launching Forever Now privately, "though this will carry implications for how far the work will be able to travel". More information about the project will come to light at the official unveiling ceremony on June 15 at the State Library of New South Wales. "The launch in June is also the launch of the research and implementation for both Susan Cohn, who's making the record, for Erin Milne, who's working out how to get it into space, and for the curators, who are going to be talking to the public and dealing with the submissions process." Forever Now is an Aphids project in association with Performance Space, MONAFOMA and Vitalstatistix. It launches as part of the Performance Space Switched On season, and the launch webcast can be watched on the their website.
"Things are mental at the moment." "I'm totally slammed." "Where has this month gone?" Sound familiar? At this time of the year, work schedules can get pretty crazy. With the end of financial year, the start of a new one and everything in-between, it probably means you're starting earlier, finishing later and answering emails whenever they hit your inbox — even if it's 11pm and you're in bed. So, no doubt, you're clocking a lot of hours of screen time. A huge problem with that is that screens emit a blue light that strains our eyes and makes our brains think it's daytime — even when it's midnight and you're about to go to bed. With your brain still running around in circles, chances are, you won't be able to switch off and drift into the deep sleep that you need to be chipper and productive the next day. But there's no need to throw in the towel (or throw out your phone) completely. Oscar Wylee offers lenses that filter out this blue light, which you can add to your glasses whether they're prescription or not. Think of it as an easy way to set yourself up for a restful sleep and a super productive day ahead. And that's just one way you can increase your productivity. Once you've got those eyes sorted, you can get into these stress-busting hacks that will help you make the most our of each work day and get stuff ticked off your to-do list. USE AN APP TO SORT OUT YOUR TO-DO LIST Almost missed that 2pm meeting? Keep forgetting to pay that overdue gas bill? Constantly double-booked on Saturday nights? There's a lot to keep on top of. From birthdays to boxing classes, we're swimming in a sea of emails, alarms, missed phone calls and unanswered messages. But there are several ways to make your life easier. Enter project management apps. They're the lifesaving, schedule-sorting saviours that keep your to-do list in check at the office and at home. These handy apps act as a virtual assistant, reminding you of all the stuff you've already forgotten about. Simply type whatever you need to do, add a due date and let the app do the rest. Talk about taking the stress out of adulting. Ready to get started? Check out Asana, Trello, Airtable or Wunderlist to get your to-do list sorted. INVEST IN THE RIGHT EQUIPMENT TO GET THE JOB DONE Eight hours of staring at a screen is, well, about as fun as it sounds. Hunched shoulders and headaches are usually how it ends. But there is a way to combat that 3pm fuzz, even if you just can't leave your desk for that highly necessary walk. Look to glasses that filter out blue light, like Oscar Wylee's blue light filter lenses. These bad boys help block the harmful rays of blue light that can lead to eye strain and disrupted sleep pattern. Using clear lenses, these glasses are perfect for digital desk dwellers who spend long hours on their computer or smartphone. Plus, blocking blue light will help you sleep better. Our brains associate blue light with daytime, so these lenses make winding down after a big day a breeze. BLOCK OUT YOUR CALENDAR SO NO ONE INTERRUPTS YOUR FLOW Meetings can chew up so much of time at the office. So treat your desk time like all those back-to-backs you've been in, and book it in like an appointment. Better yet, add a daily appointment in the cal for your lunch break. It's time to take control of your calendar. Set aside 15 minutes at the beginning of your week to block out 'no meetings' hours each day. Consider what project deadlines are looming and prioritise your time towards these tasks accordingly. Make sure to lock in time for yourself, too, such as lunch dates and midday workout classes. Establishing boundaries will help others better respect your time, which in turn, will help you get through the day's tasks they're nagging you about anyway. [caption id="attachment_728617" align="alignnone" width="1920"] April, @coffeewithme.[/caption] TAKE YOUR LUNCH BREAK AWAY FROM YOUR DESK We've all been there. You're swamped with reports to write and emails to respond to. Then Word crashes, your laptop freezes and all your hard work disappears into the digital abyss. Sure, you've now got your Oscar Wylee blue light filter lenses on to combat the strain on your eyes, but you need to combat the strain on your brain, too. As counterproductive as it might seem, taking a break away from your desk can be the best move. When we're flustered and overwhelmed, getting out and into the fresh air does wonders to clear the mind. Even just 20 minutes sitting in a nearby park or walking to a local cafe will do the trick. Soak up that vitamin D, take a brisk walk and try to avoid scrolling through your phone while doing so. You'll return feeling refreshed and, most likely, in a better mood, making the recovery of that hard work not so daunting. SWITCH OFF YOUR EMAIL AND PHONE NOTIFICATIONS Staying on task can be tough. The buzz of a phone and ping of our emails can be enough to pull us way off course. These might seem like tiny distractions, but their powers are mighty. There are plenty of findings out there linking mobile phones and depression, but also those distractions end up putting you in a state of multitasking. What's so wrong with that? Well, it slows your productivity right down. So, kick the habit of jumping between tasks once and for all. By turning off those pesky notifications that lure you back to your inbox, you'll be much better placed to smash through your to-do list. Plus, you can batch your time to respond to emails in one go, rather than drip-feeding responses throughout the day. Prime yourself for your productivity kick. Head to Oscar Wylee to pick your frames and speak to its team about adding a blue light filter to your lenses. You and your less-strained eyeballs can thank us later.
The couple at the centre of relationship dramedy Before Midnight is one we know oddly well, Jesse (Ethan Hawke) and Celine (Julie Delpy). In a typically Gen X act of slacker romanticism, they spent one night walking and talking around Vienna in 1995's Before Sunrise and were finally reunited for a further afternoon in Paris in 2004's Before Sunset. In the nine years since, it turns out they've stuck with each other, but the insouciance of those early encounters has gone now they're into their early forties. "When was the last time we just walked around bullshitting?" Jesse says in one beautifully self-aware moment, as they rediscover the pastime on holiday in Greece. With this series of films, dialogue is everything. In Before Midnight, it sparkles, dances and defies the bounds we expect of film. All three instalments are the product of a unique collaborative partnership between director Richard Linklater, Hawke and Delpy; from the start the actors have written parts of their own selves into the characters, and the possibility for honest exploration seems to have deepened with the passing of time. Before Midnight is in cinemas on Thursday, July 18, and thanks to Hopscotch Films, we have ten double in-season passes to give away to. To be in the running, sign up to the Concrete Playground newsletter (if you haven't already), then email hello@concreteplayground.com.au with your name and address. Read our full review of Before Midnight here.
Dumplings are a hot commodity in this city. The ability to encase pure, unbridled joy in an edible cocoon of merriment is an art respected by Sydneysiders citywide. Select few dumpling palaces are at the top of their game, those you’d happily wait many an agonising minute for. If you’re any kind of dumpling aficionado, the words Din Tai Fung will have already sprung to mind. Start mixing that chilli/soy balance, the dumpling monarchs have some big ol’ news for you — they’ve opened another new restaurant. Arguably their biggest and most ambitious restaurant yet, Din Tai Fung are opening a two-story, 220-seater eatery at the newly renovated Westfield Miranda. Snuggled amongst the Kingsway precinct, Din Tai Fung's newest member will be cranking out those Xiao Long Bao dumplings you know and love in a brand new setting. The realms of Poseidon are the thematic flavour of the day at the new DTF, Featuring fish scale-like tiling, large koi murals, white-washed walls and aqua detailing. The newest DTF comes after last year's opening of the Chippendale chapter. Southern Sydney residents won't have to commit to an hour trek for those famous Dumpling Gems. "It’s about time we brought our well-loved dumplings down to Sydney’s south," says Australasian director Dendy Harjanto. "We’ve always had Shire customers asking us to bring our dumplings closer so when we were invited to be part of the Miranda revamp we said yes, and what great timing with Lunar New Year just around the corner." Din Tai Fung pumps out over 6000 dumplings daily, with dumpling training carried out at the World Square HQ. It takes two years to become a dumpling master. Two. Years. RESPECT YOUR DUMPLINGS. Din Tai Fung Miranda can be found at Level 2, Kingsway Restaurant Precinct, Miranda Westfield Shopping Centre, Miranda. Open for lunch Monday to Sunday 11am – 3pm, and for dinner Thursday to Saturday 5 – 9.30pm, Sunday to Wednesday 5 – 9pm.
Vivid Ideas and Vibewire have decided to join forces to produce some creative good in the world. Well, at least for one of seven young social innovators who are the finalists in this competition. What’s the deal you ask? These young guns will pitch their creative project idea to the judging panel in the hope of scoring $1000 in seed funding, 6 months of workshop space at the Vibewire Hub, workshops and mentoring. All those important things needed for a startup. And they will get the title of Vivid Ideas Fellowship winner (hopefully with some kind of pagent style tiara). There will be rapid fire pitches presented by the finalists to the panelists and the audience (you – if you’re there). Will you choose Joanna Bayndrian and her Suburban Heritage Project, or Sabrine Elkhodr’s The Paper Bag which provides the homeless with handmade stationery items made from recycled materials. The other entries are Joshua Davey’s Owl, Nathan Li’s Young Entrepreneurs of Australia, Ryo Ishii’s Urban Myth Sydney, Jesse Cox’s Driveway and Jordan Bryon’s Turf. If you love competitions and getting to vote on a crowd favourite (and who doesn’t?) this might be one to mark in your diary. There will also be some nibbles and beverages, and it’s all free. Tick. Just remember to do that rsvping thang.
Trust a mockumentary about the undead to keep coming back in new guises. Taika Waititi and Jemaine Clement's What We Do in the Shadows first came to light as a short film in 2005, then made its way to cinemas in rib-tickling feature-length form in 2014, and already has a werewolf-focused sequel in the works. Now, it's getting a TV spinoff. Slated to air on New Zealand television in 2017, Paranormal Event Response Unit won't spend more time with everyone's favourite Wellington-dwelling bloodsuckers, even though Waititi and Clement conceived the six-part series. Instead, it'll follow police officers Karen and Mike, who WWDITS fans might remember came knocking at the vampire share house's door. The cop duo will keep trying to keep the city safe from supernatural happenings — and we're sure viewers will keep watching. On Twitter, Waititi described the show as "Mulder & Scully but in a country where nothing happens", should you need any more reason to get excited. And we know he likes buddy flicks with mismatched characters, so expect that kind of vibe to come through too. As for the ingeniously titled We're Wolves, aka the Rhys Darby-starring, wolfpack-oriented big-screen continuation we mentioned above, it's still in development; however Waititi has been more than a bit busy of late. His last movie, Hunt for the Wilderpeople, proved a runaway hit when it opened in cinemas earlier this year. And over the last few months, the filmmaker has been hanging out on Gold Coast and in Brisbane directing a little flick called Thor: Ragnarok. Via Radio NZ.
White Night might not be lighting up the Melbourne CBD this year, with the event's inner-city edition bowing out to make way for the new Rising Festival. But if you're willing — or even eager — to get out of town, you'll still be able to treat your eyeballs to that famously vibrant program of large-scale projections and light installations when White Night makes its much-anticipated return to the streets of Bendigo and Geelong this spring. After the two regional events were postponed last year due to the pandemic, they're now back on the arts calendar. White Night Bendigo firing will fire up on Saturday, October 2, followed by White Night Geelong on Saturday, November 6. As always, the program will see each regional city come alive after dark for one jam-packed night, with a mix of illuminations, projections, music, art, performance, culinary experiences, and interactive artworks from leading local and international talent. Public spaces including laneways, streets and parks will be brought to life with striking installations and audio-visual delights. Even the Geelong foreshore is set to score some extra decoration of its own, playing host to a major hub during the festival's local run. All up, it's set to be as diverse a program as ever — with artists guided by the theme 'everything on the land is reflected in the sky', and globally renowned artist Joseph O'Farrell heading things up as the festival's new creative director. When White Night Geelong made its grand debut back in 2018, the event pulled around 70,000 attendees. The same year, White Night Bendigo also proved a roaring hit, with a crowd of over 60,000. The call is now out for expressions of interest from artists for both events — and stay tuned for more program details to be unveiled in the coming months. White Night Bendigo returns on Saturday, October 2, while White Night Geelong follows on Saturday, November 6. For more information, jump over to the White Night website. Images: White Night Bendigo, Visit Victoria
Urban beekeepers in Australia are on the increase, with more and more people besotted by an unusual new love affair with backyard native beekeeping. According to Sydney's Lord Mayor, Clover Moore, the new trend has brought an element of nature back to the city, where residents and native bees alike are reaping its benefits. The Asylum Seekers Centre community garden in Surry Hills is currently home to several hundred sugarbag bees. Volunteer Jess Perini says that asylum seekers are “hooked” on the beauty of the tiny bees, which produce roughly one kilo of sugarbag honey – an expensive, nutritious variety – a year. Not only do the creatures add to the splendour and biodiversity of the garden, they have also helped to break down language barriers for asylum seekers. Sydneysiders can expect the backyard beekeeping craze to stay with the instalment of native beehives in several community gardens later this year. In Brisbane, a code of practice for urban beekeeping has already been established. And in Melbourne, an organisation called Rooftop Honey offers people the chance to sponsor their own hives. Australia is home to ten different species of stingless bees which grow to only a few millimetres. Tiny and harmless, they quite literally take the sting out of a mutually beneficial relationship. Backyard beekeepers are able to harvest their own sources of honey, while the bees find sanctuary from the destruction of their habitats from land clearing. Native bees also play an important role in balancing the natural ecosystem by pollinating native plant species and crops. With so many environmental and community benefits, it’s not hard to see why urban beekeeping has generated such a buzz. And it’s not limited to Australia – since a ban on beekeeping in New York was overturned in 2010, the popular pastime has hit the roof on NYC's rooftops.
When it was announced back in 2016 that Moulin Rouge! was being turned into a stage musical, fans around the world thought the same thing in unison: the show must go on. Since then, the lavish production premiered in the US in 2018, then hit Broadway in 2019, and also announced that it'd head Down Under in 2021 — and if you're an Aussie wondering when the latter would actually happen after all the chaos of the past two years, the same mantra thankfully applies to its upcoming Melbourne season. Originally set to debut in August — a date that was obviously delayed due to lockdown — Moulin Rouge! The Musical will now make its Australian debut at Melbourne's revamped Regent Theatre on Friday, November 12. It'll do so as a newly minted Tony-winner, too, after picking up ten awards earlier in October, and also becoming the first-ever Aussie-produced show to win the Tony for Best Musical. Based on Baz Luhrmann's award-winning, Nicole Kidman and Ewan McGregor-starring movie — which celebrates its 20th anniversary this year — the stage musical brings to life the famed Belle Époque tale of young composer Christian and his heady romance with Satine, actress and star of the legendary Moulin Rouge cabaret. Set in the Montmartre Quarter of Paris, the film is known for its soundtrack, celebrating iconic tunes from across the past five decades. The stage version carries on the legacy, backing those favourites with even more hit songs that have been released in the two decades since the movie premiered. The musical is heading to Melbourne in the hands of production company Global Creatures, along with the Victorian Government. The Government is also a big player behind the Regent's upgrade works, having dropped a cool $14.5 million towards the $19.4 million project. It co-owns the site, along with the City of Melbourne. Moulin Rouge! The Musical's spectacular spectacular Melbourne season is set to stick around for a while, with tickets currently on sale until April 29. https://www.youtube.com/watch?v=ihH1VttqMzc&feature=emb_logo Updated October 26, 2021. Moulin Rouge! The Musical image: Matthew Murphy.
If Face to Face is anything to go by, 100 percent of psychiatrists have some serious issues of their own to resolve. In Ingmar Bergman's film, here adapted for the stage by constantly impressive young director Simon Stone, the protagonist, Jenny (Kerry Fox), is confronting a lifetime of dissociation. The only other shrink we meet (Humphrey Bower) has some intense schadenfreude, and he'll end up her doctor. Despite Jenny's life looking beyond normal, she's long papered over her sense of disconnection from her basically invisible husband, her child (Jessica Nash), the auntie (Wendy Hughes) and uncle (John Gaden) who raised her, the patients she treats (Anna Martin), and the lover she's contemplating taking (Mitchell Butel). Eventually, she'll have to confront these spectres in psychology's traditional playground: dreams. It's thrilling to see each new work Stone comes out with at this point, given his string of mature, vivacious, and influential productions from Thyestes to this year's Strange Interlude and Death of a Salesman. Face to Face was always destined to be a tough one. The film has a quality of cool reserve, keeping the characters' motivations enigmatic, but we're able to connect with Jenny through the camera's insistent close-ups. There's no such luxury in theatre, so heed is paid to theatricalising her psychological journey. Unfortunately, not enough is done, and, keeping to theme, Face to Face doesn't quite connect. The creatives make much in the program notes of having never seen the film but rather responding to the screenplay and Bergman's own perceived flaws in it. It's a deliberately myopic move that may have sabotaged some of their decisions. They achieve a beautiful effect with the staging (Nick Schlieper), creating a grandiose, fey first half that overlaps time and place to make the real world seem like a dream, and making the dreams that dominate the second half a harsh, constrictive reality that demands to be faced. At the same time, something is lost in the overly literal parade of dreams. Dreams don't usually yell and lecture; they stalk and forebode. That's assuming dreams do much meaningful at all. Face to Face is essentially outdated in that sense. The film was released in 1976, a time when it was thought that psychological issues could be traced back to underlying emotional trauma and that Freudian psychoanalysis, particularly of dreams, was the tool it took to fix it. Now our view of mental illness is permeated by more complex neurological and psychological factors. If this story has a timeless heart, it will take more dramaturgical digging to find it. Face to Face has moments of deep humour and humanity, but ultimately a build-up of little things, some slightly flat performances included, mean it doesn't quite come together. Watching it on this stage, you can't help but be reminded of last year's surprising Gross und Klein, similarly a story of alienation from a female perspective among sets that convey the spectacularly surreal. In that comparison, Face to Face is left grasping for poetry, complexity, and relatability.
Yeah, we're thinking he's back — John Wick, that is. Five years after Keanu Reeves introduced everyone's favourite assassin (and dog owner) to the world, and two years after the film scored its first sequel, the action-packed franchise is bringing its third instalment to the big screen in 2019. Entitled John Wick: Chapter 3 — Parabellum and due to hit cinemas in May, the series' latest follow-up picks up where the last flick left off, aka with Wick being hunted down by his fellow killers. With a $14 million price tag on his head, plenty of hitmen and women are out to collect the bounty. And all of this because, in the first movie, he became the proud owner of an adorable pooch. As Wick notes, of course, "it wasn't just a puppy". If you're not up on your Latin, parabellum means 'prepare for war', which is just what a kick-ass Keanu looks primed to do. This time, he'll have Halle Berry in his corner — and he's not adverse to brandishing some firepower while atop a horse or mowing down his enemies while he's riding a motorbike. With this year marking two decades since The Matrix first arrived and blew movie-goers' minds, he's not against quoting one of that film's most famous lines either. Like John Wick: Chapter 2, Parabellum does re-team Reeves with Laurence Fishburne once more, so prepare for another Neo and Morpheus reunion. As for the rest of the cast, Ian McShane, Lance Reddick and Jason Mantzoukas all return from the previous flicks, while Anjelica Huston ranks among the new additions. Behind the lens, former Keanu stunt double turned filmmaker Chad Stahelski directs again, as he has did with the previous John Wick flicks. The film's first trailer arrived earlier this year, and now a second sneak peek has dropped. Check them both out below: https://www.youtube.com/watch?v=pU8-7BX9uxs https://www.youtube.com/watch?v=7v2P3cpPOXY&feature=youtu.be John Wick: Chapter 3 — Parabellum releases in Australian cinemas on Thursday, May 16.
Another Emmys year has rolled around, Breaking Bad and Modern Family dominated yet again, Matthew McConaughey missed out on his expected golden accolade for True Detective and everyone was mean about Lena Dunham's dress. Between Benedict Cumberbatch and Martin Freeman nabbing matching Sherlockian trophies, American Horror Story popping up in every last category and Australian audiences scrawling down lists of shows they'll be pirating soon, there were a few big ol' magic moments that caught our attention this year — for the high-fivably better and WTF-inducing worse. HIT: Brian Cranston and JLD Had a Big Ol' Pash Dentist Tim Whatley and Elaine Benes reunited in a big fat smooch. Multi Emmy-winning Brian Cranston (who once played Elaine's dentist boyfriend on Seinfeld back in the day) proved he truly is The Danger by planting a big ol' pash on Julia Louis-Dreyfus after she was announced Outstanding Lead Actress in a Comedy Series for Veep. On her way to the stage, Cranston intercepted Louis-Dreyfus for a big wet snog after exclaiming, "You were on Seinfeld!" Mackin' legends. MISS: Sofia Vergara Was Objectified on a Rotating Pedestal During a Speech About Diversity Seriously, what were they actually thinking? Maybe, just maybe, if you're the president of the Academy about to give a speech about diversity on globally-watched television, do not deliver said speech with Modern Family's Sofia Vergara on a rotating pedestal beside you, blatantly revolving like a piece of meat. As Huffington Post points out, only 26 percent of the nominees this year are women, not to mention the fact that the Emmys have only twice awarded a Latina actress with an award. Leave the rotating pedestals out and let Vergara stand on her own two feet huh? HIT: Woody Harrelson and Matthew McConaughey Looked Like a Night at the Roxbury Donning suits akin to Chris Kattan and Will Ferrell in their 1998 comedy, the True Detective bros offered up an offensive amount of swagger in their matching promworthy tuxes. Even Kattan noticed. HIT: Billy Crystal Made the Only Speech that Could Be Made for Robin Williams "He was the greatest friend you could ever imagine... It's very hard to talk about him in the past, because he was so present in our lives," Crystal said, inviting a minute's silence for the recently-passed legend, following the Emmys' 'In Memoriam' segment. "He was the brightest star in the comedy galaxy," he said of his super close friend, before closing with an outstanding last line: "Robin Williams, what a concept." https://youtube.com/watch?v=hYv7qSDIRRY MISS: Julia Roberts Didn't Miss an Opportunity to Make Everything About Julia Roberts Mere seconds before awarding Bryan Cranston with his straight-up deserved Emmy for Outstanding Actor in a Drama Series, presenter Julia Roberts took a moment to remind everyone about number one. "Apologies to anyone who doesn't get to hug me in the next ten seconds," she said, before reading out Cranston's winning spot. Top marks, Roberts. HIT: Everyone Realised the Director of True Detective is a Stone Cold Fox As if we all pictured Cary Joji Fukunaga as a Tom Waits-like, porch-dwelling, gravel-voiced cowboy, the True Detective director got more applause on Twitter for being smokin' hot than he did for his award-winning series. Kind of like every Emmy-winning actress ever. https://youtube.com/watch?v=ygcHfkOoAeQ HIT? Sarah Silverman Might Have Been Stoned "We're just molecules and we're hurling through space right now." We're not sure, Silverman rules anyway. Check out the entire list of Emmy winners and nominees right here.
It's time to clean out your stein, wash off your lederhosen and reacquaint yourself with the wonders of oom pah pah music, because Oktoberfest is back again. The world's most (in)famous piss-up has outdone itself again this year with 6 million people expected to show up for the 179th instalment. As always, the real winners of the festival shall be the brewers, who are expected to sell in excess of last year's 8 million litres at a touch over US$12 a glass. The festival was kicked-off in traditional fashion on Saturday, September 22 with Munich mayor Christian Ude's tapping of the first keg. With a cry of "O'zapft is!" ("It's tapped!") the Bavarian festival, in all its dirty, drunken, debaucherous glory, was launched for another year of liver-beating, cardio-destroying-mayhem. Here is a little peek into the thrills and spills of the first week of Oktoberfest 2012. Oom Pah Pah, Oom Pah Pah That's How it Goes! Beer-drinkers Wonderland Ordinary Man Drinks Beer: Becomes Legend A Boy in Traditional Dress Surveys the Damage A Tiny Snapshot of the Estimated 6 Million Oktoberfest Revellers It's On for Young and Old A Man Wearing Hops on his Head: Doesn't it look so innocuous like this... Oktoberfest - When One Beer is Never Enough Polish Girls in Traditional Polish Dress Get In On the Oktoberfest Action Bavarian Men in Traditional Dress Totally Look the Part: Moustaches and All "Prost!" ("Cheers!")
Mexican kitsch shrine and firm placeholder in our list of Sydney's best tacos, Mexico Food & Liquor is moving. The restaurant-bar closed its doors on Sunday, April 6, and promises to reopen in an as-yet-unknown spot. The team is seeking "a more expansive location better suited to its buzzy format which swings from lunch through dinner and with a healthy following for post-work and apres-dinner drinks". That reads a lot like 'CBD', but only time will tell. It's easy to see why the colourful joint would want to move from its entirely romanceless spot across the road from Central Station; however, Mexico was plugging a cool-dining-shaped hole in the area that is now once again gaping. Opening at the end of 2012, Mexico was the casual dream of New Zealand chef and ex-District Dining restaurateur Warren Turnbull. The staple tacos are among the most innovative we’ve come across, combining favourite flavours from other cuisines that make you wonder why you never thought of wrapping it up in a tortilla earlier. For example: blackened duck with mango, coriander and sour tamarind ($7); pork cheek cooked in beer with guajillo chillies, olives and citrus cured apple ($7); and chimichurri fish with bacon and mussels with pickled green tomato and mayo ($7). Come back soon, Mexico. We'll keep our bocas at the ready. By Rima Sabina Aouf and Eloise Basuki.
Sydneysiders are lucky enough to live in a city with a thriving gallery scene, and every two years, things turn up a notch — when several of the city's major cultural institutions band together for a free citywide program of art. Titled The National, this biennial celebration of Australian art kicked off back in 2017, before returning for a blockbuster run in 2019 and then again for a much-need post-lockdown dose of art in 2021. Now, it's back with its latest iteration, The National 4: Australian Art Now. This time around, there are four participating galleries — the Art Gallery of NSW (AGNSW), Carriageworks, the Museum of Contemporary Art Australia (MCA) and Campbelltown Arts Centre (C-A-C), marking the first time the program has expanded outside of the inner city and into the west. [caption id="attachment_895419" align="alignnone" width="1920"] Erika Scott, 'The Circadian Cul-de-sac', 2023. Installation view, 'The National 4: Australian Art Now', Carriageworks. Photo: Zan Wimberley[/caption] The exhibitions all run for a slightly different length of time at each gallery, with both C-A-C and Carriageworks getting their fix until Sunday, June 25, the MCA until Sunday, July 9 and the AGNSW until Sunday, July 23. Forty-eight new artistic projects are appearing across the four distinct spaces. Some of the highlights include an immersive exploration of migration through the lens of artist Allison Chhorn's Cambodian-Australian family; The Circadian Cul-de-sac, an otherworldly mess of discarded items like fish tanks, Tampax instructions and empty photo frames from Erika Scott; a massive ceramic piece made from over 600 hand-formed tiles by Gerry Wedd; and Nabilah Nordin's colourful and immensely textured new sculpture Corinthian Clump. Plus, for the first time, The National is also activating the Brett Whiteley Studio in Surry Hills, with Archibald Prize-nominee Natasha Walsh presenting her new body of work Hysteria, where she reinterprets famous paintings of women painted by men. [caption id="attachment_895418" align="alignnone" width="1920"] Heather Koowootha, The Bush people's walking pathways of Country sites and story places, 2023 . Installation view, The National 4 - Australian Art Now Carriageworks. Photo: Zan Wimberley[/caption] Top image: Anna Kucera.
Attention Sydney foodies, fans of Japanese cuisine and connoisseurs of fine dining. Prepare your tastebuds for an epicurean adventure like no other. Get ready to savour the flavours of omakase dining as Concrete Playground and Haku Vodka offer you the chance to win a $2500 restaurant voucher to omakase restaurant Bay Nine. Located along Campbells Cove in The Rocks, Bay Nine's minimalist yet inviting ambience sets the stage for a truly unforgettable dining experience. The restaurant boasts an intimate setting on the waterfront with a ten-seater counter as well as throughout the cosy venue. For those unfamiliar with the term, omakase is a Japanese dining tradition that loosely translates to "I'll leave it up to you". It means placing your palate entirely in the hands of skilled Head chef Yul Kim and his team, who craft each dish with passion, precision and creativity. There is no fixed menu at Bay Nine — only mouth-watering seasonal dishes that are made with the freshest, most premium ingredients available. In addition to the six-, eight- and 11-course menus, the restaurant offers a 40-strong sake menu with dedicated sake flights, wines and a solid range of Japanese spirits — including Haku Vodka. If you aren't the overall winner of the $2500 restaurant voucher, you need not worry. Ten runner-ups will score a bespoke Haku Vodka Gift Pack (valued at $60 each) with a 200ml bottle of Haku, two martini glasses and two Haku martini pins. To be in with a chance to win this delectable dining experience or score a runner-up gift pack, fill out the form below. [competition]917167[/competition]
After a couple of years spent staring at screens our brains are pretty thirsty for some lush green scenery. We are in the mood for tumbling waterfalls, secluded swimming spots and remote rainforest hikes that make us feel like we're living in an endless summer. Luckily for us, Tropical North Queensland fits the bill nicely — and you won't have to renew your passport to get there. In this part of the world, summer lives on a little longer with refreshing tropical rains and warm autumn days. The national parks are a little quieter and the waterways run a little deeper during this time of year, making it the ultimate time to explore the rainforest from top to bottom. From canopy walks, to castles and kayaking — there are plenty of ways to experience the rainforest this autumn.
Battles will be had, blood will be shed, and brothers will unite on stage in this Bell Shakespeare production of Henry V, but not quite as you remember it from high school lit. Shakespeare's tale tells the story of King Henry V, who, having ascended the throne following the death of his father, promptly — after a few people tell him he should probs do something else — declares war on France. Essentially, Henry tries to rally his troops to fight their best while simultaneously avoiding assassination and getting a French wife (because nothing says romance quite like declaring war on your crush's country). In this production, director Damien Ryan is bringing the story to life with a contemporary take, inspired by a true story. During the London Blitz in 1941, a group of young men, bored and stuck in a bunker, started a club, where they would rehearse and perform plays to others in the shelter. "With England on the precipice and Churchill comparing the fighter pilots to the 'happy few' at Agincourt, it is hard to imagine that a Henry V would not have struck their hearts," said Ryan. With this in mind, he has re-imagined one of Shakespeare's more politically charged plays. An exploration of violence, manhood and assumed power from the heart of a gloomy British bunker. Henry V is on from October 21 to November 16 at the Sydney Opera House Playhouse, following acclaimed seasons in Melbourne and Canberra. Thanks to Bell Shakespeare, we have three double passes to give away to the performance on Tuesday, October 28, to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email win.sydney@concreteplayground.com.au with your name and address.
Five years after Sydney's lockout laws were introduced by Liberal Premier Barry O'Farrell, it could be a Liberal Government that finally winds them back. NSW Premier Gladys Berejiklian has this morning announced a review of the city's night-time economy — which will include the lockout laws. The ten-member cross-party committee — made up of politicians from both the upper and lower house, the NSW Government and cross-benchers — will consult with police, health, entertainment and live music stakeholders to decide if, and what, changes need to be made. It will consider factors such as community safety and possible ways to enhance the night-time economy, with Ms Berejiklian saying in a statement that the government is hoping to "strike a balance between limiting alcohol-related violence and maintaining a vibrant night-time economy". While Ms Berejiklian says the lockout laws have done a lot of good since their introduction in 2014 — saying, "the number of non-domestic violent assaults have declined in the Sydney CBD Entertainment and Kings Cross precincts" — there is evidence that they've done a lot of damage, too. [caption id="attachment_652980" align="alignnone" width="1920"] Kings Cross. Andy Vermeulen / Destination NSW.[/caption] A reported 176 venues have closed since the laws were introduced and, according to a report by Deloitte Access Economics, they have contributed to NSW missing out on $16 billion in potential profits, caused by an underdeveloped night-time economy. This won't be the first review of Sydney's nightlife, either. A year-long parliamentary inquiry into the state of the Sydney's music and nightlife economy also found that the industry was in "peril" due to the NSW Government's history of neglect, and lack of funding. The government, in response to this inquiry, did not repeal or relax the lockouts — so it's possible they won't again. The 2016 Callinan report into liquor licensing only suggested the lockout time be extended by half an hour. There are also some community groups that continue to stand by the lockout laws. The NSW/ACT Alcohol Policy Alliance, which is made up of 48 groups, including frontline emergency services, law enforcement and health services have said that the lockout laws have been "life-saving" and have led to a "sharp drop in alcohol-related violence". But, this time round, it is looking slightly more promising — with Ms Berejiklian recently giving the go-ahead to relaxing a heap of licences. More than 20 venues have been granted half-an-hour live entertainment extensions, and Oxford Street, and the surrounding area, has gone lockout-free for Mardi Gras the past two years. Earlier this year, Chippendale favourite Freda's and Petersham's Oxford Tavern both had licences extended, too — although neither of them are located within lockout zones. Either way, we'll have to wait a few months until we find out review's recommendations — and the NSW Government's response to them — with the committee set to report back by the end of September, 2019. After that, any changes to lockout legislation will be need to be passed through parliament. Although, if the Coalition is bringing the motion to relax the lockout laws, it's likely it will be — especially as the Shooters, Farmers and Fishers Party has already expressed its support for scrapping them. You can check out the major parties' views on live music and the lockouts in our pre-state election wrap-up. Image: Frankie's by Katje Ford.
Every year, once gifts have been given, turkey and prawns devoured, drinks sipped and backyard games of cricket played, the festive season delivers another treat. Whatever you spend your Christmas Day doing, Boxing Day is just as exciting if you're a movie buff — or even simply eager to escape the weather, and your house, to relax in air-conditioning and watch the latest big-screen releases. Just like in 2020, 2021 has seen many cinemas Down Under spend months empty, with projectors silent, theatres bare and the smell of popcorn fading; however, the country's picture palaces are well and truly back in business. And, they're screening a wide array of Boxing Day fare as always — so at least one thing about this chaotic year is proceeding as normal. If you're wondering not only what's showing, but what's worth your time, we've watched and reviewed the day's slate of new titles. It includes a trip back into an adored sci-fi franchise, getting swept up in a musical romance, catching a scorching new Shakespeare adaptation and taking in a glorious 70s-set coming-of-age slice of life. Even when you're done unwrapping your presents, these silver-screen gifts await. THE MATRIX RESURRECTIONS Hordes of imitators have spilled ones and zeros claiming otherwise, but the greatest move The Matrix franchise ever made wasn't actually bullet time. Even 22 years after Lana and Lilly Wachowski brought the saga's instant-classic first film to cinemas, its slow-motion action still wows, and yet they made another choice that's vastly more powerful. It wasn't the great pill divide — blue versus red, as dubiously co-opted by right-wing conspiracies since — or the other binaries at its core (good versus evil, freedom versus enslavement, analogue versus digital, humanity versus machines). It wasn't end-of-the-millennia philosophising about living lives online, the green-tinged cyberpunk aesthetic, or one of the era's best soundtracks, either. They're all glorious, as is knowing kung fu and exclaiming "whoa!", but The Matrix's unwavering belief in Keanu Reeves and Carrie-Anne Moss is far more spectacular. It was a bold decision those two-and-a-bit decades ago, with Reeves a few years past sublime early-90s action hits Point Break and Speed, and Moss then known for TV bit parts (including, in a coincidence that feels like the product of computer simulation, a 1993 series called Matrix). But, as well as giving cinema their much-emulated gunfire-avoidance technique and all those other aforementioned highlights, the Wachowskis bet big on viewers caring about their central pair — and hooking into their chemistry — as leather-clad heroes saving humanity. Amid the life-is-a-lie horrors, the subjugation of flesh to mechanical overlords and the battle for autonomy, the first three Matrix films always weaved Neo and Trinity's love story through their sci-fi action. Indeed, the duo's connection remained the saga's beating heart. Like any robust computer program executed over and over, The Matrix Resurrections repeats the feat — with plenty of love for what's come before, but even more for its enduring love story. Lana goes solo on The Matrix Resurrections — helming her first-ever project without her sister in their entire career — but she still goes all in on Reeves and Moss. The fourth live-action film in the saga, and fifth overall counting The Animatrix, this new instalment doesn't initially give its key figures their familiar character names, however. Rather, it casts them as famous video game designer Thomas Anderson and motorcycle-loving mother-of-two Tiffany. One of those monikers is familiar, thanks to a surname drawled by Agent Smith back in 1999, and again in 2003 sequels The Matrix Reloaded and The Matrix Revolutions. But this version of Thomas Anderson only knows the agent from his own hit gaming trilogy (called The Matrix, naturally). And he doesn't really know Tiffany at all, instead admiring her from afar at Simulatte, their local coffee shop. Before Reeves and Moss share a frame, and before Anderson and Tiffany's awkward meet-cute, The Matrix Resurrections begins with blue-haired hacker Bugs (Jessica Henwick, On the Rocks). She sports a white rabbit tattoo, observes a scene straight out of the first flick and helps set the movie's self-referential tone. As a result, The Matrix Resurrections starts with winking, nodding and déjà vu — and, yes, with a glitch, with Lana and co-screenwriters David Mitchell (author of Cloud Atlas) and Aleksandar Hemon (Sense8) penning a playful script that adores the established Matrix lore, enjoys toying with it and openly unpacks everything that's sprung up around it. Long exposition dumps, some of the feature's worst habits, explain the details, but waking up Anderson from his machine-induced dream — again — is Bugs' number-one aim. Read our full review. WEST SIDE STORY Tonight, tonight, there's only Steven Spielberg's lavish and dynamic version of West Side Story tonight — not to detract from or forget the 1961 movie of the same name. Six decades ago, an all-singing, all-dancing, New York City-set, gang war-focused spin on Romeo and Juliet leapt from stage to screen, becoming one of cinema's all-time classic musicals; however, remaking that hit is a task that Spielberg dazzlingly proves up to. It's his first sashay into the genre, despite making his initial amateur feature just three years after the original West Side Story debuted. It's also his first film since 2018's obnoxiously awful Ready Player One, which doubled as a how-to guide to crafting one of the worst, flimsiest and most bloated pieces of soulless pop-culture worship possible. But with this swooning, socially aware story of star-crossed lovers, Spielberg pirouettes back from his atrocious last flick by embracing something he clearly adores, and being unafraid to give it rhythmic swirls and thematic twirls. Shakespeare's own tale of tempestuous romance still looms large over West Side Story, as it always has — in fair NYC and its rubble-strewn titular neighbourhood where it lays its 1950s-era scene. The Jets and the Sharks aren't quite two households both alike in dignity, though. Led by the swaggering and dogged Riff (Mike Faist, a Tony-nominee for the Broadway production of Dear Evan Hansen), the Jets are young, scrappy, angry and full of resentment for anyone they fear is encroaching on their terrain (anyone who isn't white especially). Meanwhile, with boxer Bernardo (David Alvarez, a Tony-winner for Billy Elliot) at the helm, the Sharks have tried to establish new lives outside of their native Puerto Rico through study, jobs and their own businesses. Both gangs refuse to coexist peacefully in the only part of New York where either feels at home — even with the threat of gentrification looming large in every torn-down building, signs for shiny new amenities such as Lincoln Centre popping up around the place and, when either local cops Officer Krupke (Brian d'Arcy James, Hawkeye) or Lieutenant Schrank (Corey Stoll, The Many Saints of Newark) interrupt their feuding, after they're overtly warned as well. But it's a night at a dance, and the love-at-first-sight connection that blooms between Riff's best friend Tony (Ansel Elgort, The Goldfinch) and Bernardo's younger sister María (feature debutant Rachel Zegler), that sparks a showdown. This rumble will decide westside supremacy once and for all, the two sides agree. The OG West Side Story was many things: gifted with a glorious cast, including Rita Moreno in her Academy Award-winning role as Bernardo's girlfriend Anita, plus future Twin Peaks co-stars Russ Tamblyn and Richard Beymer as Riff and Tony; unashamedly showy, like it had just snapped its fingers and flung itself off the stage; and punchy with its editing, embracing the move from the boards to the frame. It still often resembled a filmed musical rather than a film more than it should've, however. Spielberg's reimagining, which boasts a script by his Munich and Lincoln scribe Tony Kushner, tweaks plenty while also always remaining West Side Story — and, via his regular cinematographer Janusz Kaminski (The Post) and a whirl of leaping and plunging camerawork, it looks as exuberant as the vibrant choreography that the New York City Ballet's Justin Peck splashes across the screen, nodding to Jerome Robbins' work for the original movie lovingly but never slavishly. Read our full review. LICORICE PIZZA A Star Is Born has already graced the titles of four different films, and Licorice Pizza isn't one of them. Paul Thomas Anderson's ninth feature, and his loosest since Boogie Nights — his lightest since ever, too — does boast a memorable Bradley Cooper performance, though. That said, this 70s- and San Fernando Valley-set delight isn't quite about seeking fame, then navigating its joys and pitfalls, although child actors and Hollywood's ebbs and flows all figure into the narrative. Licorice Pizza definitely births two new on-screen talents, however, both putting in two of 2021's best performances and two of the finest-ever movie debuts. That's evident from the film's very first sublimely grainy 35-millimetre-shot moments, as Alana Haim of Haim (who PTA has directed several music videos for) and Cooper Hoffman (son of the late, great Philip Seymour Hoffman, a PTA regular) do little more than chat, stroll and charm. The radiant Haim plays Alana Kane, a Valley dweller of 25 or 28 (her story changes) working as a photographer's assistant, which brings her to a Tarzana high school on yearbook picture day. Enter the smoothly assured Hoffman as 15-year-old Gary Valentine, who is instantly smitten and tries to wrangle a date. Alana is dismissive with a spikiness that speaks volumes about how she handles herself (a later scene, where she yells "fuck off, teenagers!" to kids in her way, is similarly revealing). But Gary keeps persisting, inviting her to the real-life Tail o' the Cock, a fine diner he claims to visit regularly. In a gliding ride of a walk-and-talk sequence that's shot like a dream, Alana says no, yet she's also still intrigued. As a smile at the end of their first encounter betrays, Alana was always going to show up, even against her better judgement (and even as she firmly establishes that they aren't a couple). Her demeanour doesn't soften as Gary interrogates her like he's a dad greeting a daughter's beau — a gag Anderson mirrors later when Alana takes another ex-child actor, Lance (Skyler Gisondo, Santa Clarita Diet), home to meet her mother, father and two sisters (all played by the rest of the Haims, parents included) and he's questioned in the same manner. That family dinner arises after Gary enlists the new object of his affection to chaperone him on a trip to New York, where he's featuring with Lance in a live reunion for one of their flicks. Upon returning to Los Angeles, Gary is heartbroken to see Alana with Lance, but all roads keep leading her back to him anyway. Charting Alana and Gary's friendship as it circles and swirls, and they often sprint towards each other — and chronicling everything else going on in the San Fernando Valley, where PTA himself grew up — Licorice Pizza is a shaggy slice-of-life film in multiple ways. Spinning a narrative that Anderson penned partly based on stories shared by Gary Goetzman, an ex-child talent turned frequent producer of Tom Hanks movies, it saunters along leisurely like it's just stepped out of the 70s itself, and also sports that anything-can-happen vibe that comes with youth. It's a portrait of a time, before mobile phones and the internet, when you had to either talk on a landline or meet up in person to make plans, and when just following where the day took you was the status quo. It captures a canny mix of adolescence and arrested development, too; teen exuberance springs from the always-hustling Gary, while treading water is both an apt description of Alana's connection with her would-be paramour and a state she's acutely aware of. Read our full review. THE WORST PERSON IN THE WORLD When Frances Ha splashed a gorgeous portrait of quarter-life malaise across the screen nearly a decade back — proving neither the first nor last film to do so, of course — its titular New Yorker was frequently running. As played by Greta Gerwig, she sprinted and stumbled to David Bowie's intoxicating 'Modern Love' and just in general, while navigating the constantly-in-motion reality of being in her 20s. It takes place in a different city, another country and on the other side of the globe, but The Worst Person in the World's eponymous figure (Renate Reinsve, Phoenix) is often racing, too. (Sometimes, in the movie's most stylised touch, she's even flitting around while the whole world stops around her.) Norwegian writer/director Joachim Trier (Thelma) firmly understands the easy shorthand of watching someone rush — around Oslo here, but also through life overall — especially while they're grappling with a blatant case arrested development. Capturing the relentlessly on-the-go sensation that comes with adulthood, as well as the inertia of feeling like you're never quite getting anywhere that you're meant to be, these running scenes paint a wonderfully evocative and relatable image. Those are apt terms for The Worst Person in the World overall, actually, which meets Julie as she's pinballing through the shambles of her millennial life. She doesn't ever truly earn the film's title, or come close, but she still coins the description and spits it her own way — making the type of self-deprecating, comically self-aware comment we all do when we're trying to own our own chaos because anything else would be a lie. The Worst Person in the World's moniker feels so telling because it's uttered by Julie herself, conveying how we're all our own harshest critics. In her existence, even within the mere four years that the film focuses on, mess is a constant. Indeed, across the movie's 12 chapters, plus its prologue and epilogue, almost everything about Julie's life changes and evolves. That includes not just dreams, goals, fields of study and careers, but also loved ones, boyfriends, apartments, friends and ideas of what the future should look like — and, crucially, also Julie's perception of herself. As the ever-observant Trier and his regular co-screenwriter Eskil Vogt track their protagonist through these ups and downs, using whatever means they can to put his audience in her mindset — freezing time around her among them — The Worst Person in the World also proves a raw ode to self-acceptance, and to forgiving yourself for not having it all together. They're the broad strokes of this wonderfully perceptive film; the specifics are just as insightful and recognisable. Julie jumps from medicine to psychology to photography, and between relationships — with 44-year-old comic book artist Aksel (Anders Danielsen Lie, Bergman Island), who's soon thinking about all the serious things in life; and then with the far more carefree Eivind (Herbert Nordrum, ZombieLars), who she meets after crashing a wedding. Expressing not only how Julie changes with each shift in focus, job and partner, but how she copes with that change within herself, is another of The Worst Person in the World's sharp touches. At one point, on a getaway with friends more than a decade older than her, Julie is laden with broad and trite generalisations about being her age — which Trier humorously and knowingly counters frame by frame with lived-in minutiae. Read our full review. THE TRAGEDY OF MACBETH Bringing Shakespeare to the big screen is no longer just about doing the material justice, or even about letting a new batch of the medium's standout talents bring their best to the Bard's immortal words. For anyone and everyone attempting the feat (a list that just keeps growing), it's also about gifting the playwright's material with the finest touches that cinema allows. It's never enough to simply film Macbeth like a theatre production, for instance, even if all that dialogue first penned four centuries ago still ripples with power — while riffing about power — without any extra adornments. No Shakespeare adaptation really needs to explain or legitimise its existence more than any other feature, but the great ones bubble not only with toil and trouble, but with all the reasons why this tale needed to be captured on camera and projected large anew. Joel Coen knows all of the above. Indeed, his take on the Scottish play — which he's called The Tragedy of Macbeth, taking Shakespeare's full original title — justifies its existence as a movie in every single frame. His is a film of exacting intimacy, with every shot peering far closer at its main figures than anyone could ever see on a stage, and conveying more insight into their emotions, machinations and motivations in the process. The Bard might've posited that all the world's a stage in As You Like It, but The Tragedy of Macbeth's lone Coen brother doesn't quite agree. Men and women are still merely players in this revived quest for supremacy through bloodshed, but their entrances, exits and many parts would mean nothing if we couldn't see as far into their hearts and minds as cinema — and as cinematographer Bruno Delbonnel's (The Woman in the Window) stripped-down, black-and-white, square-framed imagery — can possibly allow. In a year for filmmakers going it alone beyond the creative sibling relationships that've defined their careers — see also: The Matrix Resurrections — Joel Coen makes a phenomenal solo debut with this up-close approach. His choice of cast, with Denzel Washington (The Little Things) as powerful as he's ever been on-screen and Frances McDormand (The French Dispatch) showing why she has three Best Actress Oscars, also helps considerably. The former plays Macbeth, the latter Lady Macbeth, and both find new reserves and depths in the pair's fateful lust for glory. That's another key element to any new silver-screen iteration of Shakespeare's most famous works: making its characters feel anew. Washington and McDormand — and Coen as well — all tread in the footsteps of of Michael Fassbender, Marion Cotillard and Australian filmmaker Justin Kurzel (Nitram) thanks to 2015's exquisite Macbeth, but they stand in absolutely no one's shadows. The narrative details remain the same, obviously, from the witches prophesying that Macbeth will soon be king to his murderous actions at Lady Macbeth's urging to make that prediction become a reality. All that scheming has consequences, both before and after Duncan (Brendan Gleeson, Mr Mercedes) is stripped of his throne — and one of the smartest parts of the movie's central casting is the change it brings to the Macbeths' seething desperation. Due to Washington and McDormand's ages, their versions of the characters are grasping onto what might be their last chance, rather than being ruthless with far more youthful abandon. That's the intensely meticulous level that Coen operates on in The Tragedy of Macbeth. His visual use of light and darkness is just as sharp, too; here, stepping back into the acclaimed play is a lean, ravishing, eerie and potent experience again and again. Read our full review. SWAN SONG Sit down on your couch to watch Swan Song, and a Mahershala Ali (Green Book)-starring sci-fi drama about mortality, farewells and leaving a mark on the world beckons. Head to the cinema instead, and you'll see the great German actor Udo Kier grappling with the same concepts — in a movie that shares the same name, too, and is also anchored by a weighty central performance. They're vastly different features in almost every other way, however, and only one boasts the inimitable Kier. His seven-decade resume spans everything from the original Suspiria and Ace Ventura: Pet Detective to a wealth of Lars von Trier movies, but he turns in career-best work in this SXSW-premiering film-festival favourite about a small-town hairdressing superstar enjoying one last hurrah by styling a former favourite client who has just passed away. Kier plays Pat Pitsenbarger — and, when the movie begins in an Ohio nursing home, he looks as washed-out as a months-old dye job. With a stare that stings like bleach, he fills his days refolding napkins in an extremely precise way and spending his Social Security benefits on cigarettes he's not supposed to smoke. After his lawyer arrives with the $25,000 funeral gig offer, Pat isn't initially willing to shatter his dull routine, but getting a rare taste of a life less institutionalised is too alluring to pass up. His initial reaction — "bury her with bad hair!" — isn't so quickly cast aside, though. From his acerbic attitude to the rings he packs onto every finger, Pat has spent his life fighting to do things his own way, and he isn't about to change that for anyone. The care that Kier puts into Pat can't be underestimated. His is an attention-grabbing performance, but also always a deeply nuanced one, all while playing a character that's gleefully outrageous and always has been, and is also unshakeably tinged with melancholy. Every second that Kier is on-screen is a marvel, because every second conveys new character details or plunges further into the many complexities of a man who proudly strides down his own path. Writer/director Todd Stephens (Another Gay Movie) has clearly conceived Pat with just as much thought and precision, and extended the same meticulousness to the town around him. Swan Song could've played like a one-note gag — a flamboyant senior citizen making a splash in a conservative midwestern spot — but interrogating what it means to be an openly gay man in such surroundings, both in the past and now, sits firmly at the core of this poignant drama. Like its lead, Swan Song is both eclectic and electric, especially in balancing different tones in every way it can muster. The narrative is episodic and encounter-driven, but each chapter heaves with slice-of-life glimpses that contrast who Pat once was with the situation that he's in now. Stephens' film can look both candidly naturalistic and glitteringly dreamy — and, in the same vein, Kier stands out in his nursing home garb and rocking a women's safari suit alike. Swan Song also smartly acknowledges the struggles that today's queer elders have navigated and survived, embodied here by enduring grief over past losses and the impending closure of Pat's old favourite gay nightclub, as well as the world they find themselves in now. Brief appearances by Jennifer Coolidge (The White Lotus) as Pat's former assistant and Michael Urie (Younger) as someone touched by his trailblazing add the same layers, in a film that couldn't be more delicately styled if it was sculpted one snip at a time with hairdressing scissors. DELICIOUS No one eats the rich in Delicious, but French nobility is still savaged in this gently pointed gastronomical comedy. The year is 1789, the revolution hasn't yet broken out, and the chasm between the wealthy and everyone else is so glaring that it even extends to cuisine — with eating well solely reserved for the kinds of aristocrats who smugly think that no one else could appreciate a fine meal. At one such dinner in the Duke of Chamfort's (Benjamin Lavernhe, The French Dispatch) household, his personal chef Pierre Manceron (Grégory Gadebois, Night Shift) earns the table's ire by daring to cook a new dish featuring potatoes and truffles, which he dubs 'the delicious'. The humble tuber is considered beneath the Duke's dining companions, but Manceron refuses to apologise for his new creation, choosing to leave his prestigious post and man his own roadside inn instead. Delicious is framed around the restaurant trade and its beginnings; it isn't just superheroes that earn origin stories these days, it seems. With his son Benjamin (Lorenzo Lefèbvre, Sibyl) following him home, Manceron busies himself cooking for travellers — but he's both fiercely proud of his past work and visibly bitter about how the whole situation has turned out. He's so aggrieved with his current lot in life that when a woman, Louise (Isabelle Carré, De Gaulle), arrives at his door asking to become his apprentice, he's sharply and rudely dismissive. He questions her story, and perpetuates the stereotype that women can't be great chefs, too. But she's a key ingredient in his quest towards a different future, which first involves trying to re-win the Duke's favour, and then boils up a bowl of revenge. Everything from Parasite to The White Lotus have set their sights on class disparities with far more brutality, but Delicious adds an affable course to this ongoing pop-culture reckoning. It's the dessert of the genre, even as its frames are filled with sumptuous close-ups of savoury dishes in various stages of creation — pastry kneaded, potatoes and truffles placed exactingly, and egg wash glistening to begin with. (Yes, if you haven't eaten before watching, it'll make your stomach rumble.) An opening title card sets the scene, advising that dining away from home, and for pleasure in general if you weren't rich, was utterly unheard of at the time. Writer/director Éric Besnard (L'esprit de famille) then spends nearly two hours slowly smashing that status quo, albeit by firmly sticking to the obvious. Recipes are a culinary staple for a reason, though; amass the right parts in the right way and magic frequently happens. Delicious isn't the filmic equivalent, but it's charming nonetheless — as engaging as sitting down to a well-cooked meal where you know what everything will taste like in advance, but you're happy to get swept up in the flavour. It mightn't have proven so appetising without Gadebois, Carré and Lefèbvre, however, even if their parts are clearly thinner in Besnard and Nicolas Boukhrief's (The Confession) script than they play on-screen. The handsome period staging also assists immensely, including all those shots of tastebud-tempting cuisine. Eating is as much about the setting and the company as the food, of course, a concept Delicious bakes into its frames. SING 2 Star voices, a jukebox worth of songs, anthropomorphic animated critters, cheesy sentiments: that's the formula fuelling far too many all-ages-friendly films of late. Back in 2016, Sing used it to box office-smashing success by doing little more than spinning a colourful version of American Idol but with zoo animals doing the singing. It wasn't the worst example of this kind of flick, but perhaps the most interesting thing about it was the skew of its soundtrack, which favoured songs that the adults in its audience would like more than the pint-sized viewers entranced by its bright hues, talking lions and koalas, and frenetic pacing. It should come as no surprise, then, that Sing 2 doubles down on that idea by not only mining the discography of U2, but by also casting Bono as a reclusive ex-rockstar. For the Irish frontman, the double payday must've been nice. For everyone watching Sing 2, what follows is the latest example of a style of filmmaking that resembles turning on Nickelodeon or your other kid-centric TV network of choice, cueing up a Spotify playlist full of past hits and letting the two run at the same time. Returning writer/director Garth Jennings explored how young minds process, respond to, and both internalise and externalise pop culture in the delightful 2007 comedy Son of Rambo, but his Sing franchise only wishes it could echo to such depths. The fact that its characters are merely belting out souped-up karaoke is telling, because giving familiar 'believe in yourself' and 'trust your pals' rhetoric some new packaging is the gambit here. Yes, the animated creatures are cute, plenty of the songs are classics, and it's clearly meant to be disposable fun, but it's all so dispiritingly lazy and generic. It might begin with a saccharine rendition of Prince's 'Let's Go Crazy', but that song choice isn't instructional or descriptive; nothing here departs from the expected. This time around, after already gathering a gang of music-loving animals via a singing contest in the first flick, koala Buster Moon (Matthew McConaughey, The Gentlemen) has a hit show filling his theatre — but he still wants to make it big in the bigger smoke. Alas, Suki (Chelsea Peretti, Brooklyn Nine-Nine), a dog and a talent scout, advises that Buster's ragtag crew don't have what it takes. He's determined to prove otherwise, taking pigs Rosita (Reese Witherspoon, The Morning Show) and Gunter (Nick Kroll, Big Mouth), gorilla Johnny (Taron Egerton, Rocketman), porcupine Ash (Scarlett Johansson, Black Widow), and elephant Meena (singer Tori Kelly) to Redshore City to pitch directly to wolf and media mogul Jimmy Crystal (Bobby Canavale, Nine Perfect Strangers). If Sing was an animal karaoke caper that turned reality television into a star-studded cartoon while trying to evoke warm and fuzzy sentiments — and it was — then Sing 2 proves a case of just flogging the same exact thing. The narrative has changed slightly and been overstuffed, but that's all just new words set to the same beat. While a few parts of the initial flick gleamed beyond the template, mainly because it still remained just fun enough, it's all about as fresh as a U2 greatest hits CD here. Children will still be distracted, but family-friendly entertainment should always strive for more. Dropping two already over-used Billie Eilish tracks within five minutes to sprinkle in some more recent cuts says plenty about Jennings' second-time approach, as does the heavier reliance upon songs in general to convey all the movie's emotions and fill almost all of its minutes, too. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; and December 2, December 9 and December 16. You can also read our full reviews of a heap of recent movies, such as The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter and The Scary of Sixty-First.
The Duffer brothers, aka Stranger Things creators Matt and Ross, have made a deal with their streaming god — and more time pondering Hawkins, the Upside Down, eerie monsters and all things 80s is now firmly in everyone's futures. Fancy adding a new Stranger Things spinoff to your Netflix queue? Keen to see how Stranger Things might turn out as a stage play? Like Kate Bush-loving teenagers battling demons, these things are now happening. Just days after the final two episodes in Stranger Things' fourth season arrived — aka just days after everyone tried to binge them so quickly that Netflix crashed for around half an hour — the Duffers and the streamer have revealed what's coming next. We already knew that there'll only be one more season of Stranger Things itself, with the show set to end after season five. Now, we have a couple of still-strange things to look forward to once the OG series says farewell. First, the spinoff — which comes as zero surprise given that Netflix has also announced that Stranger Things 4 is now in the number-one spot on the platform's all-time Most Popular English TV list. So, it's committing to leaping back into the show's world, via a new live-action series based on an original idea by the Duffers. As for other details, such as the storyline, cast and release date, they're as scarce right now as a drama-free day in Hawkins. Theatre-loving Stranger Things devotees can also rejoice, with a new stage play set within the world of the series also in the works. Who it'll be about, when it'll arrive and where it'll premiere also hasn't been unveiled as yet, but it'll be produced and directed by Stephen Daldry (The Crown, Billy Elliot, The Reader). Netflix and the Duffer brothers also revealed a few bits of non-Stranger Things news, if you're keen to see what the latter does next beyond creeping viewers out via Demogorgons, Vecna and the like. On their list, courtesy of the siblings' new production company Upside Down Pictures: a live-action TV adaptation of Japanese manga and anime series Death Note, a new original show from Dark Crystal: Age of Resistance's Jeffrey Addiss and Will Matthews, and a series that adapts Stephen King and Peter Straub's The Talisman. And yes, back to Stranger Things hitting the stage, that has already happened before — but as an unofficial musical parody. In fact, that satirical song-filled show is coming to Australia this year, playing Melbourne in November. Until more news about Stranger Things' Netflix spinoff and stage play arrives, check out the trailer for the second half of Stranger Things season four below: Stranger Things is available to stream via Netflix. Read our full review of Stranger Things season four volume one. Images: Courtesy of Netflix © 2022.
UPDATE, November 02, 2020: Your Name is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. Most mornings, when her younger sister comes to wake her up, Mitsuha (voiced by Mone Kamishiraishi) is fondling her own chest. It becomes an ongoing joke between the siblings, but there's more than awkward teenage self-exploration at play. Most mornings, you see, her body is actually inhabited by someone else. Mitsuha is a high school student from the quiet town of Itomori, and when she asks the universe for a more exciting life, that's actually what she gets. Swapping bodies with the city-dwelling Taki (Ryunosuke Kamiki), she's soon working his shifts in an Italian restaurant, while he's fumbling through her classes and forgetting to make breakfast. It's a premise straight out of a body-swap movie — think Freaky Friday, Dating the Enemy and The Change-Up, to name a few. Mitsuha and Taki change bodies on alternating days, but they can't remember each other's names. To navigate the chaos of suddenly becoming someone else, they communicate via notes left in their phones, gradually settling into a routine. Alas, just as they start to feel comfortable switching into each other's skin, learning from their escapades and forming a growing connection, fate once again intervenes. In his fifth feature Makoto Shinkai (The Garden of Words, Children Who Chase Lost Voices) dives head-first into the offbeat yet insightful adventure that comes with literally putting his protagonists in someone else's place. However, taking inspiration from the traditional Japanese tale Torikaebaya Monogatari, Your Name proves more than just a quirky comedy. Starting with a meteor shower accompanied by narration about "that day when the stars came falling, like a dream…a shared dream," Shinkai flirts with everything from star-crossed romance to impending disaster, as well as notions of identity, gender, the ever-changing reality of life, and the difficulty of reconciling many everyday contrasts. It's telling that Shinkai highlights the dream-like nature of the material from the outset. An ethereal air infiltrates each scene, while the gorgeous, glistening animation makes every moment feel both hyper-realistic and like a fond memory. Indeed, the script's numerous charms are matched by endless visual delights. Full of montages and catchy pop songs, the film plays out in a recognisable world – particularly for anyone who has ever visited Tokyo. Yet it feels just as magical as it would were Mitsuha and Taki being spirited away to another realm. That's one of the reasons that the M word keeps being thrown around: 'Miyazaki', that is. Thanks to the film's phenomenal popularity in Japan, Shinkai has been dubbed the spiritual successor to the Studio Ghibli great — and while that's high praise, it also fails to capture just what makes the film such a treat. Part teen rom-com, part sci-fi contemplation of weighty concepts, the anarchy and confusion of life has rarely felt so vivid, honest or enchanting.
In 2015, Volumes brought a new multi-venue live music journey to Sydney, establishing themselves as some of the city's finest purveyors of live musical, visual and electronic art. As part of their now annual mini-festival, the crew has hosted a wealth of local artists including Harvey Sutherland & Bermuda, Inkswel, and The Posse. It's all about pushing the envelope with these guys, and the launch of Volumes Monthly vows to be no different. A new monthly series of works from rising stars in electronic art, Volumes Monthly was hosted at Cake Wines Cellar Door in Redfern for the March instalment. This time around, they're headed to The Cliff Dive off Oxford Street. Expect an eclectic cornucopia of sounds, visuals and a healthy injection of energy as artists Manu Crook$, Genesis Owusu, Slim Set and FlexMami take the stage. Despite legislative appearances, Sydney's electronic scene is alive and kicking, and the Volumes Monthly series looks to keep that scene growing in size and scope. Early bird tickets are available for $10. Image: Volumes.
After Australia got its first dedicated KitKat boutique in Melbourne a few years ago, Sydney is now getting its very own, so you can indulge on OTT KitKat flavours whenever you need a break (pun intended). The space will feature a shop, tasting bar and interactive workshop area and have a more extensive lineup of KitKats than you'll find on the supermarket shelf. Opening on Monday, July 6 in Mid City shopping centre on Pitt Street, the KitKat Chocolatory intends to offer a "premium chocolate experience" according to the sugar fiends at Nestlé. You can whip up your own chocolatey creation, with up to 30,000 possible combinations. You'll be matching your pick of chocolate with a bunch of tasty ingredients, then wrapping it up in your own custom packaging. If you'd rather skip straight to the good stuff, you can sample a range of chocolatey goods with a 90-minute dessert degustation at the onsite Tasting Table. But that's not all at this chocolate haven. You can pick up new and limited-edition creations that you won't find anywhere else — think fillings such as yuzu ganache, peanut butter and raspberry, cotton candy, sake and, perhaps the most strange, wasabi crème. Sydney's KitKat Chocolatory is slated to open Monday, July 6. For more information, head here.
Think you can tackle nearly three kilograms of pho in under 20 minutes? Well, you're in luck. Cabra-Vale Diggers is running a month-long pho-eating challenge and you're invited. The challenge is taking place over four noodle-filled Tuesdays in August before the final takes place on Tuesday, September 5. If you register, you'll pay $35 for your enormous bowl of pho — but if you complete the challenge, you get your money back. Each bowl features 1050 millilitres of broth, 650 grams of noodles, 600 grams of beef, 360 grams of bean sprouts and 45 grams of fragrant greens, all combining into 2.8 kilograms of noodle soup for you to scoff down. As well as your money back, if you can finish the bowl in under 20 minutes you'll also score a Giant Pho Bowl T-shirt. And if you think you can knock it off even faster than that, you might be in line to compete in the final. The fastest ten contestants from across the four heats will then go through to the final. There they will battle it out for the grand prize of a $3000 travel voucher. Register to take part via this Google Form.
Aussie festival lovers, get your best Queen voice on. It looks like another one’s biting the dust (for a year at least). The Hunter Valley's Gum Ball organisers Matt Johnston and his fiancée Jess have just announced that there’s every chance the event won’t be happening next year. We shouldn’t be too hard on the live music-loving couple, though. After ten years of providing stages for the likes of Jinja Safari, Ed Kuepper and Turin Brakes, they’re going to take some time out to tie the knot. “What I do want to tell you is that excitedly Jess and I are getting married early next year,” Johnston said. The statement begs the obvious question: why not kill two birds with one stone and get hitched at Gum Ball, in front of thousands of loyal festival fans? Not the plan, apparently. All might not be lost quite yet, however. Johnston did suggest the possibility of outsourcing the organisational frenzy to another party. “No exact plans have been made... as yet,” he explained. “Though, there is a bit of a desire to go on an extended holiday at a time that would otherwise be peak Gum Ball preparation time. “Perhaps we can source someone to help us make it all happen... The thing is you can’t do this event in halves and, as has been the case for the last ten years, you can’t really expect to have much downtime when you take it on.” If this, combined with Sound Summit’s recent hiatus announcement, has you crying all the rivers, don’t despair entirely. After all, Matt and Jess aren’t leaving us totally high and dry – PigSty in July is coming up on July 5. And, given Gum Ball’s popularity, it’s highly likely to be back on the festival calendar come 2016. Via TheMusic.com.au.
2020 didn't bring much that sparked joy, but it did let Sydneysiders wander through a large-scale, multi-sensory Vincent van Gogh exhibition that projected Dutch master's works onto walls, columns and floors. In 2021, art lovers will be able to repeat the feat, this time with a heap of French Impressionist masterpieces — because Monet & Friends — Life, Light & Colour is heading to town from March. The idea behind Monet & Friends is the same as its predecessor. It stems from the same team as well. As you wander around the Royal Hall of Industries in Moore Park from Friday, March 12, you'll feast more than just your eyes on huge projections of Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, Paul Cézanne and Edgar Degas' work. Light, colour, sound and fragrance are also all part of the exhibition, which is designed to make you feel as if you're walking right into the hefty array of paintings. The list of 19th- and early 20th-century artists showcased goes on, too, including Édouard Manet, Henri de Toulouse-Lautrec, Berthe Morisot, Alfred Sisley and Mary Cassatt. Also featured are Gustave Caillebotte, Armand Guillaumin and Henri-Edmond Cross, plus Paul Signac and Georges Seurat. Once more, the project is the brainchild of Melbourne-based Grande Exhibitions, which, for the past 16 years, has hosted immersive exhibitions and gallery experiences in over 145 cities around the world. The company also owns and operates Rome's Museo Leonardo da Vinci. For Monet & Friends, it's once again using state-of-the-art technology that combines 40 high-definition projectors to create multi-channel visuals, all while a classical musical score accompanies the vibrant colours in cinema-quality surround sound. When you're peering at pieces by the 15 featured artists, you'll be doing so in a socially distanced setting — with visitor numbers restricted to maintain enough space (which will exceed the one person per four-square-metres required by New South Wales' COVID-19 rules). So, that means that you'll have less company than you'd usually expect at a big exhibition of French Impressionist art. It also means that sessions are probably likely to get booked out quicker than normal, though. Monet & Friends — Life, Light & Colour opens at The Royal Hall of Industries, adjacent to the Entertainment Quarter, Moore Park on Friday, March 12 — with tickets available via presales from 12pm on Thursday, January 28 and in general sale from 12 on Monday, February 1.
An inventive and highly extravagant dining experience is running out of Pyrmont's The Star from two acclaimed local chefs. Named ELE, this $255 guided meal takes you on a journey through three different venues as you enjoy an ever-evolving multi-course menu. The exciting new venue is the latest creation from LuMi and LoDe owner Federico Zanellato and his partner in crime at the award-winning Italian restaurant Leo — Karl Firla. Together, the pair have been concocting boundary-pushing Italian dishes at Leo over the past two years, however, ELE is their most innovative offering yet. "ELE is more than our food, we want to appeal to every sense when you dine with us," Zanellato says. "This is a progressive experience where you move around the whole restaurant while you eat, discovering new dishes, sounds and sights each time you sit down." Your meal at ELE will take place across three distinct spaces — The Bar, The Dining Room and The Chefs Table. The menu is constantly evolving, with the goal to always "highlight Australian premium produce". On arrival at The Bar, you'll be treated to a selection of snacks that can range between wagyu tartare, amaebi prawns, sourdough crumpets and smoked cod brandade. These delightful snacks are paired with a welcome cocktail or a glass of champagne. From there, you'll head to the colourfully mood-lit Dining Room. Here the walls are adorned with immersive luminous displays, setting the tone for your luxurious meal. Food-wise you can expect dishes like dry-aged Murray cod, confit potatoes with pearl meat, glazes marron tail and corn soufflé. Your final stop is at The Chefs Table. The transition can be a bit of a shock as you move from the moody dining room to the stark lighting of the kitchen, but the drawcard of this room is you're given a front row seat to watch ELE's chefs do their magic. As you watch the night's dishes crafted in front of you, you'll be treated to your final set of treats. Concluding the meal is a mix of savoury and sweet, shifting from the likes of Mayura Station wagyu with a marsala beef jus through to desserts like frozen parfait of toasted grains or a chardonnay experience that takes you from fresh grapes through to frozen grape sorbet. The experience is entirely unique, however it will set you back a fair chunk of your paycheque. As mentioned, the food will cost you $255pp, however if you opt for the atmospheric wine pairing, you'll need to add an additional $170 to that price tag. The pairing experience includes seven wines hand-picked to go with each dish throughout the night. And, if you're not looking for an ever-flowing selection of top-notch wines, you can take your pick from the cocktail menu as you pass through each room. Each cocktail is indicative of an element, taking inspiration from the ocean with a Manly Spirits gin, Italicus and white coral creation, or the sun, with sunset gin, Imbroglio bitters, Maidenii Nocturne and lime. [caption id="attachment_857568" align="alignnone" width="1920"] Frederico Zanellato and Karl Firla[/caption]
In The Guest Edit, we hand the reins over to some of the most interesting, tasteful and (or) entertaining people in Australia and New Zealand. For this instalment, we've enlisted the effortlessly chic Emma Lewisham — founder of the self-named skincare empire — to share her favourite planet-friendly brands available across Australasia. CP: If there's one woman who knows environmentally conscious brands, it's Emma Lewisham. She's the face and name behind the Aotearoa-made skincare line which became the world's first verified carbon-positive beauty brand under Toitū Envirocare's Climate Positive Product Certification in September 2021, before becoming officially B Corp Certified in February 2022. The brand launched a refill system in February 2021 under the Emma Lewisham Beauty Circle, which has since sold over 13,000 refills and saved over 10, 295 kilograms of CO2e in total. All Lewisham's products are certified Climate Positive, meaning they sequester more carbon than they emit, and her pioneering efforts garnered a personal endorsement from renowned environmentalist Dr Jane Goodall. So, yes, you could say she knows her stuff. If you're looking to take your eco-friendly efforts beyond the bathroom cabinet, Lewisham has handpicked a selection of brands available across Aotearoa and Australia whose founders share a similar ethos. EL: I see business as a tool to tackle problems, find solutions and leave behind something better. To me, this means giving more than we take and using business as a force for good. Profits should never come at an expense to people or the planet and I'm proud to be building a business which proves that sustainability and success can go hand-in-hand. MAGGIE MARILYN When investing in new clothing, it's important to me to support local brands that are ethically and environmentally produced. Maggie Marilyn's clothing is as beautiful as it is sustainable, with the mission being to use fashion to create a better world. I love that the brand offers a repair programme for clothes that develop 'love marks' and their range of everyday essentials is designed to be circular — either able to be composted or recycled at the end of life. As a brand, they aren't afraid to step outside of the status quo and challenge the industry norm, which are values that really align with us at Emma Lewisham. KOWTOW Another New Zealand brand I live in is Kowtow. Their simple and classic designs are ones I reach for time and time again. The incredible quality of the fabrics really elevates a casual outfit, and I always feel effortlessly polished and understatedly elegant when wearing my Kowtow pieces. Built from uncompromising sustainability values, their fabrics are organic, fairtrade, renewable, biodegradable and regenerated. The brand also has a repair programme using the Japanese patching technique Sashiko to mend garments. The technique is a special embroidering method which mends your clothes while also making them beautiful, which I think is really special. ECOSTORE I'm incredibly conscious of the products I use around my home, ensuring that we don't use any harmful or unnecessary chemicals — especially as I have a young daughter. It's also essential to me that we are using products that don't contain chemicals that pollute our waterways. Ecostore has been my go-to brand for safe and natural cleaning products for years. I love that their products are refillable and I've also been loving their cleaning concentrates where you just add water to make the formulation at home. FRANK GREEN When it comes to reusable cups, I've tried many brands over the years and Frank Green is easily my favourite. The cups are beautifully designed, great to drink out of, consciously produced and best of all - don't leak in your bag when you've finished your drink. BONDI BORN The sustainable swimwear space has grown rapidly over the past couple of years, with lots of new and existing brands switching to using recycled nylons to reduce their reliance on virgin materials. Bondi Born, however, is really a step above the rest. The fabric they use for their swimwear has a carbon footprint 10 times lower than fabrics made from recycled plastics and they also have certifications to support all their sustainability claims - such as Oeko-Tex which confirms no harmful chemicals have been used during production. Bondi Born is also a member of 1% for the Planet, a commitment to donate at least 1% of annual sales to environmental nonprofits — and to reinforce their incredible work, the brand is B-Corp certified. FLUIDFORM PILATES Since the pandemic, I've really changed my habits around where and how I exercise. I've started doing a lot more online exercise classes, which although something small, has really helped to decrease the amount of time I spend in the car. It also gives me so much more flexibility to fit classes in around my schedule and means I get to spend more time with my family outside of work. Fluidform Pilates has an extensive library of online classes that I can access from anywhere in the world and I find the classes really help to keep both my mind and body healthy. Fluidform also works closely with the Pretty Foundation, an organisation dedicated to creating a world where girls are comfortable in their own bodies and have the confidence needed to conquer their goals.
If making TV shows and movies bubbles down to a formula, it's simple to see how The Tourist came about. Starring Jamie Dornan as a man caught up in a mystery in Australia's sprawling outback, this six-part series jumps on several popular trends — saddling a famous face with battling the Aussie elements chief among them (see also: the upcoming film Gold, which plonks Zac Efron amid the nation's dusty, yellow-hued expanse). Dornan's trip Down Under also plunges into a familiar thriller setup, with memory loss playing a key role. Memento famously did it. The Flight Attendant did as well. Combine the two, throw in all that striking scenery that constantly defines Australia on-screen, and that's the template beneath this easy-to-binge newcomer. Every thriller that hits a streaming platform and drops all of its episodes in one go wants you to keep watching until you've watched the whole thing at once, of course. That's television 101 in the online age. The Tourist fits the bill perfectly again, but also because it has fun with its premise — and its onslaught of twists. Dornan isn't in goofy, silly territory here, as he was so gloriously in 2021 standout Barb and Star Go to Vista Del Mar. The Tourist doesn't satirise any of its underlying components, either. Nonetheless, it knows that zigzagging thrillers that work from a clearcut roadmap should make their familiar pieces feel anything but. They should take their audience along for a wild ride and ensure they enjoy the many sights, even if they're largely driving down a recognisable road. Adding another TV role to his resume alongside The Fall, Death and Nightingales, New Worlds and Once Upon a Time — and another part to his eclectic filmography, given that he's been in the vastly dissimilar Synchronic and Wild Mountain Thyme in the past year, and looks set to get an Oscar nomination this year for nostalgic drama Belfast — Dornan plays an Irish traveller in Australia. The character's name doesn't matter at first, when he's using the bathroom at a petrol station in the middle of nowhere. But after he's run off the road by a steamrolling long-haul truck shortly afterwards, he desperately wishes he could remember his own moniker, plus everything else about his past. Local Constable Helen Chalmers (Danielle Macdonald, French Exit) takes a shine to him anyway; however, piecing together his history is far from straightforward. His other immediate questions: why is he in the middle of Australia, why does a bomb go off in his vicinity and why is he getting calls from a man trapped in an underground barrel? A diner waitress called Luci (Shalom Brune-Franklin, Line of Duty), the American-accented Billy (Ólafur Darri Ólafsson, Trapped), city-based Detective Inspector Lachlan Rogers (Damon Herriman, Mindhunter) and the determined Kostas (Alex Dimitriades, Total Control), who flies in from Greece and won't stop sipping from his water bottle: they all factor into The Man's fish-out-of-water, stranger-in-an unforgiving-land tale, too, and they all inspire plenty of questions as well. Why does that aforementioned bomb go off just as The Man and Luci step out of the diner? What does Billy want at the hospital? Why does Rogers take the case when he could easily leave it with junior officers? And what's motivating Kostas' trip to the outback? Written by brothers Harry and Jack Williams (Angela Black), and hailing from the Emmy-winning production company behind The Missing and Fleabag, The Tourist enjoys teasing out those queries — and diving headfirst into its slickly uneasy air. It expectedly draws tension from its setting, but also benefits from a visual palette that bleaches every image of its cooler hues, and from framing that repeatedly dwarfs The Man against his surroundings. They're smart touches in a show that has its protagonist take in his life with fresh eyes, hardly relish what he spots and understandably feel overwhelmed by all the chaos that keeps speeding his way. The Tourist rarely dwells on The Man's inner turmoil — it isn't a character study, and doesn't pretend to be — but it still savvily expresses his emotional state in every shot. Pushing 50 Shades of Grey and its sequels further into the past with every new role, Dornan slips into The Tourist like someone rediscovering their comfort zone — and he's in excellent company. Macdonald has been impressing on-screen since 2017's Patti Cake$, and ensures that The Tourist is as much Helen's story as it is The Man's. It's as much about the ambitious-but-constantly-underestimated rookie cop finding herself as her new pal is doing, too. Fresh from playing Charles Manson not once but twice thanks to Mindhunter and Once Upon a Time in Hollywood, Herriman also turns what might've been a stock-standard part into something far more complex. The Williams siblings deserve plenty of credit for baking many of their twists into their characters, but there's an almost-comic air to Herriman's determined detective that's all the Aussie talent's own. A well-greased concept, a confident approach, clever plotting, a fabulous cast: they're all on offer here, and they hit their marks. Add the script's smattering of memorable, nearly Coen brothers-esque lines and, whether it's hurtling in a straight line or zipping quickly around unexpected corners, The Tourist couldn't be more watchable — or bingeable. Check out the trailer for The Tourist below: The Tourist is available to stream via Stan in Australia and TVNZ On Demand in New Zealand.
Think that coffee and sleep don't really go hand-in-hand? Think again. While we're all accustomed to gulping down the former when we haven't had enough of the latter, a new Tokyo popup is combining the two for anyone eager for a restful slumber with their hot cuppa. Inspired by World Sleep Day on March 17, and taking over the Nescafe Harajuku until March 26, the bed-filled cafe doesn't just offer customers any old mattress. No, not at all. Those keen for a kip will bunker down on electronic reclining beds that sell for as much as $9,000. Each sleeping area also features adjustable lighting, and comes with a Sony Walkman filled with relaxing tunes. https://www.instagram.com/p/BRx7hGehdB4/?taken-by=_3.sta It'll be the fanciest snooze you've ever had; however anyone thinking about grabbing a fresh brew and some shut-eye will have to adhere to a few rules. Nap time comes in two-hour blocks, and is only available to folks who purchase a food item from the menu. Once you've ordered something to eat, you'll receive a cup of decaf to help you drift off and then a regular caffeinated coffee when you wake up. Of all of the quirky cafe trends Japan can't get enough of — cats, maids, owls, goats, mayonnaise, hedgehogs, Super Mario Bros, Pikachu, the list goes on — this is one worth dreaming about. Via Eater.
Hollywood's glitziest and most self-congratulatory night is just a few short sleeps away. While the rest of us are at work on Monday, the who's who of moviemaking will take their seats at the Dolby Theatre for the 89th Academy Awards. Leading the pack this year with a record-equaling 14 nominations is Damien Chazelle's musical throwback La La Land, which is either the greatest film ever made or completely overrated, depending on which person on the internet you ask. Still, despite the hype, the backlash and the backlash to the backlash, La La is no lock to take home the gold. Barry Jenkins' poignant Moonlight is hot on its heels, while the patriot in us can't help but root for the homegrown Lion. Speaking of which, it's nice to see some people of colour on the roster this year! Let's be honest, three straight years of #OscarsSoWhite would have been downright embarrassing. Below, you'll find our tips in the eight major categories, plus our personal faves and a few nods to the unlucky ones who missed out. Accept it: Zoolander 2 was robbed. BEST PICTURE THE NOMINEES Arrival, Fences, Hacksaw Ridge, Hell or High Water, Hidden Figures, La La Land, Lion, Manchester by the Sea, Moonlight. WHAT WILL WIN Look, we said La La Land wasn't a lock, and we stand by that. Still, there's no denying the LA-set musical is the favourite — movie people love movies about movies, and good grief Emma Stone and Ryan Gosling are attractive. The fact that it went seven for seven, including Best Musical or Comedy, at last month's Golden Globe, doesn't exactly bode well for the competition. WHAT SHOULD WIN If you're after a good time at the movies then La La Land delivers. Still, for its raw emotional power and timely social message Moonlight seems like an even worthier winner. This devastating tale about a young gay black man coming to terms with who he is stands out as one of the best motion pictures of the past several years, and win or lose you should do everything you can to see it. THE SNUBS Nocturnal Animals divided critics, but the star power attached suggested it was in with a shot. Ditto Pablo Larrain's handsome biopic Jackie. Historical drama Birth of a Nation garnered plenty of buzz early in the year, but the controversy surrounding director Nate Parker has seen it all but disappear from the conversation. And hey, what about a nod for Rogue One, or maybe even Captain America: Civil War? BEST DIRECTOR THE NOMINEES Damien Chazelle (La La Land), Mel Gibson (Hacksaw Ridge), Barry Jenkins (Moonlight), Kenneth Lonergan (Manchester by the Sea), Denis Villeneuve (Arrival). WHO WILL WIN In much the same way that La La Land leads the race for Best Picture, Damien Chazelle should be considered a favourite in this category for his flair behind the camera. And again, it'd be hard to call him undeserving should the chips fall that way on the night. Fun fact: if he does take home the gold, Chazelle will be the youngest Best Director winner in Oscar history. WHO SHOULD WIN Chazelle would be a worthy winner, but we've got to go with Moonlight's Barry Jenkins. Seriously, do yourself a favour and read our interview with him then go see the film. THE SNUBS Garth Davis for Lion (who we also interviewed here), David Mackenzie (Hell or High Water), Theodore Melfi (Hidden Figures) and Denzel Washington (Fences) could all be forgiven for feeling a little peeved about missing out given their films were nominated for Best Picture. Still, in our minds, the biggest omission is Martin Scorsese. Sure, Silence is a punishing watch, but seeing Mel Gibson nominated ahead of Marty just feels wrong. Also, would if kill them to nominate a woman? BEST ACTRESS THE NOMINEES Isabelle Huppert (Elle), Ruth Negga (Loving), Natalie Portman (Jackie), Emma Stone (La La Land), Meryl Streep (Florence Foster Jenkins). WHO WILL WIN While Natalie Portman led the pack early for her remarkable turn as former First Lady Jackie Kennedy, the conventional wisdom at this point is that this is Emma Stone's trophy to lose. Either woman would be a worthy winner, although neither is our number one choice. WHO SHOULD WIN A violent psychosexual thriller, Paul Verhoeven's French-language Elle isn't the easiest film to watch. But thanks to the fiery work of Isabelle Huppert, it's also impossible to look away. Given the content of the film, the fact that she's even nominated is fairly surprising. A win would be astounding, in the best possible way. THE SNUBS Amy Adams gave two of the year's best performances, in Arrival and Nocturnal Animals. It's possible she was punished by voters splitting their ballot, but whatever the reason it's safe to say she's unlucky to have missed out. BEST ACTOR THE NOMINEES Casey Affleck (Manchester by the Sea), Andrew Garfield (Hacksaw Ridge), Ryan Gosling (La La Land), Viggo Mortensen (Captain Fantastic) Denzel Washington (Fences). WHO WILL WIN This one is going to be close. Casey Affleck was the favourite for much of the race, but then Denzel went and snared himself a win at the Screen Actors Guild Awards. It's possible that the controversy around the younger Affleck is finally catching up with him. Our pick? Denzel by a nose...although maybe that's just wishful thinking. WHO SHOULD WIN Not Casey Affleck. It's a great performance, but that's just not the point. THE SNUBS Neither Sully nor The Founder left much of an impression, but Tom Hanks and Michael Keaton could easily have scored noms for their work as the real world figures at the centre of their respective films. And on a personal level, we'd have loved a nomination for Josh Brolin, for his delightfully deadpan work in the very underrated Hail, Caesar! BEST SUPPORTING ACTRESS THE NOMINEES Viola Davis (Fences), Naomie Harris (Moonlight), Nicole Kidman (Lion), Octavia Spencer (Hidden Figures), Michelle Williams (Manchester by the Sea). WHO WIN WILL If there's a lock this year, it's Viola Davis, who appears to have this one in the bag. WHO SHOULD WIN Hey, sometimes they get it right. Davis' turn in Fences as a dutiful wife and mother is the best performance in a film packed to the brim with great performances. You'll be able to knock us over with a feather if she goes home empty handed. THE SNUBS Bit of a long shot, but Rachel Weisz absolutely crushed it in The Lobster, as did unknown actress Lily Gladstone in Kelly Reichardt's Certain Women. Make sure to check out both if and when you can. BEST SUPPORTING ACTOR THE NOMINEES Mahershala Ali (Moonlight), Jeff Bridges (Hell or High Water), Lucas Hedges (Manchester by the Sea), Dev Patel (Lion), Michael Shannon (Nocturnal Animals). WHO WILL WIN Dev Patel might make a late push following his win at the BAFTAs, but right now the smart money is on Mahershala Ali. WHO SHOULD WIN Ali deserves to win on the strength of his performance alone, but we'd be lying if we said we weren't rooting for him at least in part because we're hoping he gives another speech similar to the one he gave at the SAG Awards. Good luck trying not to cry. THE SNUBS It's a bit of a surprise not to see Aaron Taylor-Johnson on this list, given that his dark and disturbing work in Nocturnal Animals won him a Golden Globe. We're also disappointed not to see Patrick Stewart get a nod; Green Room was presumably a bit too violent for Oscar voters, but Stewart's turn as a ruthless white supremacist was absolutely chilling. BEST ORIGINAL SCREENPLAY THE NOMINEES Hell or High Water, La La Land, The Lobster, Manchester by the Sea, 20th Century Women. WHAT WILL WIN If La La Land wins this one early, you can just about guarantee the film is in for a clean sweep. That said, the Vegas odds are on Kenneth's Lonergan's masterful screenplay for Manchester by the Sea. WHAT SHOULD WIN There's no chance in hell that it wins, but The Lobster had one of the darkest, funniest, most original and esoteric screenplays in a long, long time. This is one of those "it's an honour just to be nominated" situations. THE SNUBS Hail, Caesar! was largely ignored by both the Academy and general audiences, but, in our opinion, it's one of the cleverest films in the entire Coen Brothers' canon. German comedy Toni Erdmann also deserved a nod, as did Jim Jarmusch's gentle Paterson. BEST ADAPTED SCREENPLAY THE NOMINEES Arrival, Fences, Hidden Figures, Lion, Moonlight. WHAT WILL WIN While it's possible that the Academy will show a little love to either Lion or Arrival, it's hard to imagine that this one doesn't end up going to Moonlight. WHAT SHOULD WIN Moonlight, although we'd be stoked if they gave it to Lion. 'Straya! THE SNUBS Maybe the biggest snub of the entire ceremony: where in the sweet hell is Deadpool? It was popular with critics and made a bucket-load of cash, but we guess Academy voters don't like naughty words. Way to remind everyone how out of touch you are, guys. Great job. The winners of the 89th Academy Awards will be revealed on February 27. Tom Clift is one of Concrete Playground's senior film writers. You can read his reviews here, here and here.
If there’s one thing we’ve come to know about ourselves it’s that we love a good gimmick. Whether it’s a nautically-themed gastropub or an entire cafe built on Pantone colour palettes, we can’t get enough of the weird and the wonderful. And so it’s no surprise that we’re squee-ing in anticipation of the Brisbane Festival's bizarre food-meets-theatre offering Fear and Delight. Created by Strut & Fret, the theatrical culinary event has been making waves in the news for the last few days, mainly because of the inclusion of food artists Bompas and Parr's so-called G&T Cloud Experience, first opened in London last month. This, in layman’s terms, means 'a room filled with a cloud of humidified gin and tonic which is consumed through the skin and eyeballs'. Yep, breathable booze. As expected, some are delighted with the prospect and others are fearful, while some people are just downright ready to party. Health experts have been lining up around the block to offer their opinion on the phenomenon. Professor Jake Najman, of the University of Queensland’s Drug Research and Education Centre, told the Guardian that rapidly absorbing a carcinogenic chemical is a big no-no. To be fair to the Professor, downing six Jaeger bombs and a Big Mac every Saturday night could also be considered near to carcinogenic but that certainly doesn’t stop us. However Najman also admits that not too much is known about the effects of inhaling alcohol, so bottoms up! Or bottoms out or however it is you toast in this new landscape of possibility. Celebrated internationally for such foodie happenings as an anatomical whisky tasting, a DNA-matching cocktail bar and a huge pagan feast at this year's Dark Mofo, Bompas and Parr are no strangers to controversy. Parr told Bloomberg that humidified drinking is "a new way of experiencing drink, and it’s social because it’s an immersive shared environment. You all have the same flavour sensation. Alcohol tastes better, with more nuances. You can detect more subtle flavours when it is humidified". What a time to be alive! But don’t worry about overdoing it on the alcohol-infused vapour, as Fear and Delight director Scott Maidment says that patrons would have to stand in the cloud for 40 minutes to absorb the equivalent of a large gin and tonic. So even if you get naked and do laps of the room, you won’t end up too drunk to watch the show afterwards. It really adds a whole new layer of meaning to #vapelife. Brisbane Festival’s Fear and Delight runs 4-25 September at South Bank Culture Forecourt. Grab tickets here.
This post is sponsored by our partners, lastminute.com.au. People don't know much about Western Australia. For something that's the combined size of Texas, Ireland, New Zealand, Japan and the UK, we should really know more than the fact Little Creatures is brewed there, and sometimes they have sharks. But this could be a blessing in disguise. Now you have an entire new land to discover out west, and all for the small price of a domestic flight. Here's our guide of where to go once you touch down. Perth and surrounds The first place people can think of in WA, Perth is not only the sunniest capital city in the world, but also one of the top ten most liveable. It may be pretty isolated from the rest of the country, but that creates a kind of camaraderie among its citizens that Melburnians and Sydneysiders can only dream of. Oh, you're trapped in peak-hour traffic on Parramatta Road? Perth locals are taking a weekend jaunt to Rottnest Island via ferry. What's that? You're in a packed train carriage staring at the filthy brown Yarra? People in Perth are having picnics next to the beautiful, dolphin-dotted Swan River. While visiting, we recommend Cottesloe Beach for some surf, this small bar tour for some culture, and the Swan Valley for some local vino. Also, Fringe World Festival is happening at the moment! Why aren't you there already? Where to stay: Esplanade River Suites if you're on a budget, or Crown Metropol Perth or Best Western Premier The Terrace Hotel Perth if you're splashing out. South West South of Perth lie even more treasures, including the renowned wine region, Margaret River. While just a 50-minute flight from the capital, we recommend you hire a car and drive. It will take about three hours, but as WA has 12,000km of the most beautiful coastline in the world, we're sure you won't be disappointed. Once there, it's all about leisure. Spend all day eating and drinking, then cycling off a few meals around the Margaret River. Where to stay: Kalbarri Edge Resort if you're on a budget, or Smiths Beach Resort or Injidup Spa Retreat if you're splashing out. Broome and the Kimberley To venture even further into the unknown, take a trip up north to these great, sunburnt plains. Here, you can expect camel rides along the beach, cheeky and profitable trips to Broome's pearl farms, and endless hours spent on Cable Beach (with sunscreen, because oh lord, you're much closer to the equator up there). This one is a bit more of a hike from Perth, at either a 2-hour 30-minute flight or 24-hour drive, but it's probably worth it. Taking in the entire Coral Coast could be just the first of your exciting experiences. Where to stay: Cable Beach Club Resort & Spa or The Pearle of Cable Beach. Exmouth and Coral Coast This place is like a real-life Seaworld, but you'll need a few days to see it all. A two-hour flight out of Perth, Ningaloo Marine Park and Cape Range National Park will be your first stops on this trail of aquatic wonder — world-heritage listed prime sites for snorkelling, diving with whale sharks and swimming with dolphins. In fact, every morning at Monkey Mia, wild bottlenose dolphins freely come to the shallows for no more than a pat hello. It's surely some kind of magic. Where to stay: Novotel Ningaloo Resort. Golden Outback Of course, most of this big, sprawling state is desert — the wild outback that our country is known for around the world. If you get sick of being greeted by dolphins every morning and visiting wineries in the afternoon (as unlikely as it may be), the outback could serve as the perfect getaway. First stop: wave rock. This natural anomaly is roughly 2,700 million years old and a true wonder to behold. Alternatively, if you don't like the idea of nature looming over you, you can get on top of it. Hot air ballooning is really popular over the Avon Valley, or you can get an unhindered view of the red terrain with a 14,000-foot skydive. Why not get a little dangerous in our most wild state? Where to stay: Black Wattle Retreat or The Grandhouse York. For more information on flights and accommodation in Western Australia, check out lastminute.com.au.
Black Bottle is doing things differently. Look out for the neon-lit jellyfish on Darlinghurst Road, and enter the compact wine bar with bare brick walls, a pink ceiling, low lighting and high tables to find out why. It's not immediately apparent what's going on. By the window facing the street, there are two short blackboard drink menus on display and a small dispense bar, but if you miss the 'order food here' sign, it's unclear if this is table or counter service. We wait to be served for a while before realising we need to head up to the bar, which sits next to a glass display cabinet full of food and a couple of chefs working in a tiny open kitchen. Nonetheless, the wine list is tight: five whites, five reds, one sparkling and two rosès, all available by the glass, bottle and carafe. It's been put together by Nomad sommelier and wine writer Samantha Payne, and showcases some great producers at some really reasonable prices — a bottle of perfectly dry Les Charmes dry Provence rosé is an even $50. The food cabinet is not a novel idea in hospitality but it's what differentiates Black Bottle from other bars in Sydney. Head on up and choose from raw scallops sitting in their shell with a herb butter (not quite so cheap at $6.50 each), marinated octopus that will be heated and served with chorizo, or a pork chop that's then sent to the kitchen to be chargrilled with a chunky green olive salsa and some watercress. Oysters are just $1.50 every day from 5–7pm.. The cooking is good and the way they're presenting the food on display is key to making this whole thing work. Jars of sardines, tins of mussels, chilli and garlic-marinated white anchovies are all up for quick snacks, as are arancini and marinated banana chillies. Everything comes out quick, either handed over the counter or fried or grilled and brought out. The three house cocktails are all a bit sweet for our taste, so our pick is the Huntsman ($25), featuring a lomo-washed Hudson Manhattan Rye with bitters. While the house cocktails are all above the $20 mark, we'll be back for the $12 Aperol spritz. The team are young, enthusiastic and, although very much influenced by Europe, the concept feels authentic and very DIY. Which we think has a place in the Sydney food scene. A more relaxed, self-determining experience might not be for everyone — but those who are happy to get their own knife and fork should head to Black Bottle pronto. Images: Nikki To.
Anna Kendrick. Blake Lively. Paul Feig. A twisty thriller novel as source material. Combined, those four key ingredients helped make 2018's A Simple Favour a hit, a delight, and a deliciously engaging and entertaining mystery. It's no wonder that audiences have been keen on a sequel for years — and come May 2025, those dreams are becoming a straight-to-streaming reality. Kendrick (Woman of the Hour) is back as Stephanie Smothers. So is Lively (It Ends with Us) as Emily Nelson — and as the just-dropped first teaser trailer for Another Simple Favour shows, nothing is straightforward between the pair again. As the name of the movie also makes plain, Emily has something else to ask of Stephanie. Out of prison and about to get married to a wealthy businessman, the former crashes the latter's book reading to task her with being her maid of honour. But is this just a quest for revenge? Using the Italian island of Capri as a backdrop, Another Simple Favour boasts Feig (Jackpot!) back behind the lens, too — and also Andrew Rannells (Girls5eva), Bashir Salahuddin (How to Die Alone) and Henry Golding (The Ministry of Ungentlemanly Warfare) back among the cast. Equally part of this big return: more secrets, as little is ever as it seems with Stephanie's glamorous and mysterious friend. While the first film released in cinemas, this seven-years-later sequel is heading to Prime Video, hitting streaming queues on Thursday, May 1, 2025. It does have a date with the silver screen first, however – but only at this year's SXSW in Austin, where it's the opening-night movie at the event's Film and TV Festival. If you missed the initial picture — which was adapted from Darcey Bell's 2017 novel of the same name — it followed a widowed mum who is also a vlogger and becomes friends with a fashion executive. Then Emily asks Stephanie to do her a simple favour, changing everything. Screenwriter Jessica Sharzer (Nine Perfect Strangers), who wrote the first film, is also among Another Simple Favour's returnees — this time penning the follow-up's script with Laeta Kalogridis (Altered Carbon). Check out the first teaser trailer for Another Simple Favour below: Another Simple Favour will stream via Prime Video from Thursday, May 1, 2025.
The Australian Museum, a much-loved cultural institution, has introduced a one-hour tour that takes a deep dive into the diversity of Aboriginal and Torres Strait Islander cultures. Waranara Tours are led by a member of the museum's First Nations team and take place on Wednesdays, Saturdays and Sundays at 11.30am and 1pm. As you traverse through the permanent exhibitions that spotlight stone fish traps and possum skin coats, seasonal calendars and hunting spears, your host will enrich the experience with personal insights and knowledge. In the First Nations languages of the Sydney region, 'waranara' means 'to seek' — which seems fitting for use in the museum, a place of scientific research and wanderings. Get up close to shields, yidakis (didjeridus) and a traditional bark canoe in the Bayala Nura: Yarning Country exhibit, while the origins and significance of songlines are mapped out for you. Then, as you flow through Garrigarrang: Sea Country, the oceanside lives of the Salt Water People — those living along Australia's coast — will be brought forth, with everything from whale ceremonies and Torres Strait dance masks to the nuances of life lived by the water explored. You can even admire hand-woven baskets, nets and traps while you learn about the sustainable nature of First Nations fishing techniques. As you explore, your guide will talk you through the knowledge systems and practices that have been used by First Nations Peoples to ensure future generations have access to a sustainable way of living. So, if you're looking for a more immersive museum trip, a Waranara Tour is the tour for you (and a great way to discover more about the rich history and thriving cultures of our First Nations Peoples). Waranara Tours take place on Wednesdays, Saturdays and Sundays, at 11.30am and 1pm. Tickets are $28 for members and $35 for non-members, with concession and child prices available too. For more information and to book your exploration, head to the website. Images: Anna Kucera
What would you do if you came home from holiday to find the house-sitters you left in charge now claiming ownership? Director Sarah Giles explores this seemingly easily resolvable problem in the Sydney Theatre Company production of German writer Marius von Mayenburg's work, Perplex. The play quickly takes a turn to the absurd as it examines personal identity and reality. Perplex tells the story of a couple returning home after holidays to find their home in disarray, their electricity turned off, and their friends who were left in charge hiding a secret. What follows is a surrealist look at a constantly changing reality, creating quite a perplexing tale. Giles, who is a resident director at Sydney Theatre Company, previously staged The Ugly One — another von Mayenburg work, which won her the 2011 Sydney Theatre Award for Best Director of an Independent Production. Her other STC works, Mrs Warren's Profession and Mariage Blanc, were wonderfully interesting too. Image by Grant Sparkes-Carroll. Perplex runs from March 31 to May 3 at Wharf 1, and thanks to the Sydney Theatre Company, we have three double passes to the first preview to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email win.sydney@concreteplayground.com.au with your name and address.
Fancy yourself a heist film? Well, take a load of this one. Think Ocean's Eleven, but without the tuxedos and flashy casinos. Logan Lucky takes you down to the American south, the home of NASCAR in North Carolina. Steven Soderbergh, of the Ocean's movies and Magic Mike, pairs Channing Tatum and Adam Driver as two brothers eager to break a 90-year family curse in the soon-to-be-released heist-comedy. The film follows Jimmy Logan (Channing Tatum) and Clyde Logan (Adam Driver) as they plot to steal from NASCAR's Charlotte Motor Speedway. With help from their friends, the so-called 'Redneck Robbers', the Logan brothers set out to pinch themselves $14million from the race. The film has already garnered positive reviews from critics, especially with a stellar cast also including Riley Keough, Seth MacFarlane, Hilary Swank, Katie Holmes and Daniel Craig, taking on a very different role to his iconic James Bond as an escaped inmate. Logan Lucky releases on August 17, and we have double passes to giveaway in Sydney, Melbourne and Brisbane. [embed]https://www.youtube.com/watch?v=_eqC27nxHJ4[/embed] [competition]630960[/competition]
It has been more than three years since Australia said a resounding yes to same-sex marriage, with results from the country's postal vote survey on marriage equality announced in November 2017 and the corresponding legislation passed through parliament in December the same year. Now, to commemorate the historic event, the City of Sydney has unveiled a permanent reminder — courtesy of a rainbow footpath through Prince Alfred Park in Surry Hills. When announcing the construction of the path in November 2020, Lord Mayor Clover Moore said it was "a permanent tribute" — not only to the vote in favour of same-sex marriage, but "to the moment when more than 30,000 Sydneysiders gathered together to hear the results". The Lord Mayor also said "the path will represent both the progress we have made towards equality and the long way to go before our LGBTIQ communities are free of discrimination". Stretching across a 90-metre expanse and officially opened to the public today, Tuesday, February 16 (just in time for Mardi Gras), the path features six coloured bands painted over an existing footpath, to resemble a rainbow (obviously). It's curved just like the real thing, too, and is located in the area that was recently renamed Equality Green, with plenty of grass on either side. [caption id="attachment_800242" align="alignnone" width="1920"] Leigh Harris, Mike Galvin, Lord Mayor Clover Moore, Deputy Lord Mayor Jess Scully, Orlando Sydney and Alex Greenwich. Image: Jack Begbie for City of Sydney[/caption] If you're hoping to head along to snap a photo on the new rainbow path — you can. And you can take Fido along for a photoshoot, too.. Prince Alfred Park is dog friendly and most of it is off-leash. The revamped, brightly coloured footpath joins Sydney's rainbow crossing in Darlinghurst and the soon-to-appear rainbow walkway at Coogee Beach — so there are multiple spots around town where you can venture to the other side of the rainbow. The rainbow footpath is located at the bottom of Equality Green, Prince Alfred Park, Surry Hills. Top image: Chris Southwood for City of Sydney.
We all know that fast fashion is gross. And yet, with the hectic holiday season just passed, we're all familiar with the need to buy cute stocking stuffers in a time crunch — often overwhelming our need to not pollute the planet beyond repair. We really don't do well by Mother Earth here in Australia. According to the Australian Bureau of Statistics, every year 500,000 tonnes of fashion ends up in landfill and each Aussie consumes 27 kilograms of textiles. Rhianna Knight believes we can do better, so the 26-year-old started an apparel business that won't leave you feeling shamefaced. The result is Mister Timbuktu, and it's in the early stages of kicking ass. Mister Timbuktu's outdoor apparel is made from recycled plastics. The first round is being crowdfunded now through Indiegogo, reaching more than half of its target with 16 days left to go (at the time of writing). At the moment, the range is all about quality leggings, raincoats and sports bras, but they'll soon branch into all things outdoorsy, including tents, sleeping bags and puffer jackets. The designs are gorgeous and bright because outdoor activities don't have to be completed in drab natural colours (apologies, Kathmandu, you serve a purpose but there's a new queen on the block). According to Knight, eleven plastic bottles are recycled in each pair of leggings they create. How in the name of activewear is that possible? Well, recycled plastics are collected, shredded into chips, washed, melted into liquid form and then spun into thread that goes on to become your new favourite comfy pants. Science, bitches! The company has also pledged to put 20 percent of profits back into helping the planet in other ways: by partnering with both a mental health charity (Waves of Wellness) and the Foundation for National Parks and Wildlife. But wait, there's more. Okay, we probably shouldn't get so excited about this part because the rest of the initiative is so phenomenal, but check out the leggings: they have a pocket in the waistband which is the best and most practical thing ever. Thank you for listening to our secret wishes and delivering. For more information, visit Mister Timbuktu's campaign.
Wadjda (Waad Mohammed) resides within a system of oppression, yet refuses to accept her restrictions. On the cusp of adolescence, the ten-year-old rallies against her surroundings in Saudi Arabian capital Riyadh, be it the strictness of her schooling or the expectations of her gender — appropriate interests, friends and public behaviour included. She desires a green bicycle, but is told no. She wants to cycle in the street, but is strongly discouraged. She yearns to enjoy the same freedoms as her male counterparts, such as her neighbour, Abdullah (Abdullrahman Al Gohani). The feature's missive of female empowerment is evident in its protagonist, though its message is never bluntly handled. Of course, Wadjda's on-screen statement and subversion bears the weight of its revolutionary off-screen status, as the first feature shot entirely in Saudi Arabia, and the first full-length film made by a female Saudi director. Writer/director Haifaa Al-Mansour (who studied at the University of Sydney) remains subtle in her debut fictional effort. Lightness, rather than solemnity, is her pervasive tone. Read our full review of Wadjda here. Wadjda is in cinemas on Thursday, March 20, and thanks to eOne Films, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=v-4kosdSXR8
If you're familiar with the Chatimes, Gong Chas and ShareTeas of the world, chances are you've probably heard of HEYTEA, too — and if you haven't, you're about to be informed. This innovative tea brand is brewing its Chinese-style drinks in Sydney for the first time ever, following the success of its recently opened Melbourne site, as well as its international outposts in cities including Singapore, New York and London. HEYTEA Sydney will open on George Street from Friday, July 26. Neo Nie, the self-titled creator of cheese tea — a brew topped with cheese foam that's made with real dairy — is behind the beverage-centred brand that curates creative, high-quality bevs for the tea lovers of the world. To celebrate its launch, HEYTEA will be offering an array of deals at its new CBD spot. These include a buy one, get one free special from Friday, July 26 to Sunday, July 28 and a buy one, get 50% off deal from Monday, July 29 to Thursday, August 1. Unlike many other bubble tea brands, HEYTEA's ethos is centred around the utilisation of real, fresh ingredients, with no artificial ingredients or flavouring. You'll also find a vegan oat milk option, as well as free upgrades to zero-sugar sweeteners. At HEYTEA's sleek George Street store, you'll find the premium teas the brand is known for, including the coveted cheese tea, and refreshing fruit teas made with real fruit. Plus, the venue has in-store and al fresco seating for whether you want to slowly sip your drink inside, or enjoy some sunshine with your brew. As for future Aussie endeavours, there are more Sydney-based locales in the works, so keep your eyes peeled for a HEYTEA store near you. You'll find HEYTEA's Sydney store at 569 George Street, open from 11am–10pm daily.
Vegans tired of being excluded from affordable mainstream menus or, at best, treated as an after-thought, here's some cheerful news — for both you and the rest of the animal kingdom. Domino's Pizza has today — Monday, January 8 — added vegan cheese to its list of ingredients. Yep, your pizza eating habits no longer need be restricted to vego-only (or exxy sit down) joints — they can now extend to cheap on-the-way-home snacks and in-bed feasts. To celebrate, three vegan pizzas will be hitting the menu for a limited time. These are the vegan avocado veg, the vegan spicy trio and the vegan margherita. Most importantly, though, you'll be able to turn any pizza on the menu into an animal-free one by asking for vegan mozzarella and parting with an extra $2.95 (which is quite reasonable, really). Plus, all Domino's bases and sauces are plant-based. The decision to introduce vegan cheese came about as a result of a survey that Domino's conducted via its Facebook page in late 2017. "We were blown away by the response," said Nick Knight, CEO of Domino's Australia and New Zealand. "The popularity of, and demand for, vegan products has increased considerably over the years, so it's great we are now able to offer this high-quality, non-GMO, plant-based and preservative-free vegan cheese." Domino's created the cheese — which is also free of gluten, soy and cholesterol — in its LuvLab, aiming to mimic the taste, texture and melting power of dairy-based cheese. But we'll believe it when we try it. Obviously our fair city has plenty of pizza options that we'd recommend over Domino's, but, nonetheless, this can only be a sign that more readily-available vegan options will hit mainstream food outlets in the near future. To begin, the cheese will be available for a limited time, and, if it proves popular with customers, it'll be instated permanently.
This bar will be ours. Oh yes. It will be ours. Three Sydney bartenders are being total Babraham Lincolns and creating a Wayne's World-themed pop-up bar. SCHWING. Ben Blair, Reece Griffiths, and Lee Potter Cavanagh (all ex-Victoria Room) are taking cues from Mike Myers and Dana Carvey's immortal 1992 film for their temporary bar, Whisky Jerx — a project possible after winning 2014's nationwide Monkey Shoulder competition, according to Australian Bartender. The prize? Stock, marketing support and cashola to start your own pop-up. Zang. Whisky Jerx will find a temporary home from February 18 until April 22, over both floors of Oxford Circus — once the site of the Gay Bar and Ruby Rabbit. While the top level will remain the realm of the lads' top favourite whiskies and cocktails, the real deal is going to be the lower floor — set up like Wayne's righteous basement. There'll likely be much 'Bohemian Rhapsody' on the soundtrack, but no 'Stairway', denied. Fingers crossed for posters of total robobabe Cassandra, and a gun rack, let alone many guns that would necessitate an entire rack. (Jokes, obvs.) So why Wayne's World, why now? (Aside from being a totally excellent, dreamwoman idea for a bar.) "Essentially we’re taking inspiration from the soda jerks from back in the day, that's where the name comes from. It's a little bit tongue-in-cheek," Cavanagh told AB. "We all had similar interests growing up, you know, we all liked rock and roll, we were all in bands, so we wanted to reference that as well. The music is pretty much inspired by the Wayne’s World era and our youths, so rock and roll, some punk — not this country, Americana worship." Party time, excellent. Find Whisky Jerx from February 18 until April 22 at 231 Oxford St, Darlinghurst. Via Australian Bartender.
Still coming down from its 40th birthday extravaganza, the Opera House has just announced the full line-up for its summer 'playground', with Neil Finn and Architects of Air as the star attractions. Finn will hit the Concert Hall stage on March 22, with a full band and a repertoire of old and new tunes. His first solo album in ten years, Dizzy Heights, is due for release on February 7, 2014. Produced by David Fridmann (Tame Impala, The Flaming Lips), it takes Finn's songwriting into unexplored frontiers, with creative textures, striking string arrangements and soaring soundscapes. Between January 3-27, Architects of Air (who treated us to Mirazozo in 2011) will transform the forecourt into a multi-sensory experience, with their massive inflatable sculpture EXXOPOLIS. 53 metres long and nine metres high, it's an immersive luminarium, comprised of tunnels and domes, and filled with light and sound. Architectural inspiration includes Gothic cathedrals, Archimedean solids and Islamic stylings. There'll also be larger-than-life magic performances from The Illusionists 2.0; a return of cabaret-burlesque-circus company La Soiree; a fresh program of live music, from Grizzly Bear to Neko Case to The National; and live entertainment for children and families. Plus, between December and March, the Opera House and surrounding spaces will be transformed into the 'ultimate summer playground'. The Western Foyers will be turned into a pop-up paradise, with concept bars, restaurants and cafes, while the forecourt will host a revolving fleet of gourmet food trucks offering both sweet and savoury goodies. "It's been a huge year at the Sydney Opera House," said CEO Louise Herron AM. "Like the rest of Sydney, we are looking forward to getting into the summer spirit, kicking back and having some fun. The Opera House will be packed with entertainment, seven days a week for every member of the family, from 4 to 94. So come and join us."
After five years of serving farm-to-table food to Sydney's inner west, Acre Groups's original Camperdown location is closing its doors in May. Acre Camperdown opened in 2016, taking up residence at Camperdown Commons alongside Pocket City Farms, with their collaboration transforming the former site of the Camperdown Bowling Club into an urban farm and 350-seat eatery. Here, Sydneysiders have been able to tuck into seasonal dishes made from ingredient harvested on the property. Since its opening, Acre has expended, opening two new urban farm restaurants in Artarmon and atop the Burwood Brickworks in Melbourne. The Camperdown eatery will close its doors on Sunday, May 30. A statement posted to the restaurant's Facebook page said: "we have been fortunate to have served the Camperdown community and beyond for the past five years – serving up food that's fun, honest and delicious from our little patch of green." The restaurant will remain open throughout April and May for anyone looking to drop in for their first or final time. You can currently book dinner Wednesday–Sunday, lunch Friday–Sunday and breakfast on weekends, or drop in for takeaway daily. [caption id="attachment_805462" align="alignnone" width="1920"] Acre Eatery, Camperdown[/caption] While the inner west may be losing Acre Camperdown, it has already gained a new on-the-go version called Acrette. The new cafe and bakery has opened at 822 George Street, Chippendale and is serving what Acre is calling 'farm-food-fast', a more efficient and affordable version of its farm-grown menu. At the new Chippendale location, you'll find fresh-baked pies, paninis, ready-to-go salads and wellness pots, as well as a rang of sweets, gelato and pastries. Gypsy Coffee is also on hand to supply you with your morning caffeine fix. Acrette won't be the only new store to join the Acre family in 2021, with Acre confirming it would be announcing another new venue slated to open in November this year. Plans for a western Sydney venue are also in the works for 2022. And, at Acre's Camperdown site, Pocket City Farms will continue to operate the existing urban farm. Nothing is changing there, or with Camperdown Commons — with the two organisations' current onsite activities and community spaces remaining active. If you're eager to drop by for a bite after Acre departs, a new hospitality offering will be announced for the venue in the future. Acre Camperdown will remain open at 31A Mallett Street, Camperdown, until Sunday, May 30. Acrette is now open at 822 George Street, Chippendale, operating from 6.30am–7pm, Monday–Friday.
