Dark Mofo might've had to pull the plug on its 2020 event, but the Museum of Old and New Art (MONA)'s other big annual arts festival, Mona Foma, will definitely be hitting up the Tasmanian site when January 2021 rolls around. On the agenda at the big summer fest: art, performances, music, eclectic sights, engaging sounds, and plenty to see and do across two weekends — at 58 venues in two cities. Plus, of the more than 352 artists involved, 90 percent of them hail from Tasmania. Although Mona Foma was originally held in Hobart, where MONA is located, the event made the move to Launceston in 2019. In 2021, however, it is splitting its program between both Tasmanian places. Launceston is up first, from January 15–17, with Hobart getting the nod the next week from January 22–24. Whether you pick one or you're keen to head to both, there's plenty on the bill. First up, in Launceston, the city's Cataract Gorge will host the latest work by audio-visual artist Robin Fox. The site's landscape will be taken over by immersive world-premiere installation Aqua Luma — which'll run on a 20-minute cycle from 9.30am–11.30pm, is free to attend, and includes 12 metre-high water jets that erupt in time with subharmonic frequencies, plus lasers tracing geometrical patterns in the watery mist. Or, you can hop on the Gorge Scenic Chairlift and listen to Chairway to Heaven, a suspended symphony in the sky. Other Launceston highlights include Acoustic Life of Boatsheds, where you'll flit between boatsheds along the Tamar and Esk rivers and listen to live music; All Expenses Paid, a dance piece about fast fashion and consumerism; 'Til It's Gone, combining installations, sculptures and videos in an old car museum that'll be torn down after the festival; and three interactive spaces as part of Soma Lumia's Lacunae, all spread around the city. A number of events will hit up both Launceston and Hobart, such as an evening concert series called Mofo Sessions, sound work Zinc, opening performance Relay / Country Remembers Her Names, the fest's beloved Morning Meditations, and After Erika Eiffel — where you'll fire an arrow on a custom-made archery course and learn about Erika Eiffel, the archer who married the Eiffel Tower. [caption id="attachment_790934" align="aligncenter" width="1920"] K&D Warehouse, Hobart, Tasmania. Photo Credit: Mona/Jesse Hunniford. Image courtesy of the artist and Mona (Museum of Old and New Art), Hobart, Tasmania, Australia.[/caption] Taking place just in Hobart, Mona Foma is turning the site of former hardware store K&D Warehouse into a gallery — with exhibition No Place Like Home filling the entire place with video installations, art and sculptures all selected by Mona curator Emma Pike. You'll be able to wander through one of the city's best-known buildings, which dates back 118 years, and see works by artists such as Tony Albert, Zanny Begg, Andy Hutson, Rachel Maclean, Nell, Ryan Presley and Phebe Schmidt. Entry will cost $10 per person. And, of course, Hobart's program has more in store. There's also a musical version of Edgar Allen Poe's The Masque of the Red Death, blocks of ice hanging in the air as part of Lucy Bleach's Rueremus and a Forest Gin Walk. Or, you can check out Making Ground, an exhibition by First Nations and multicultural artists held on sites of colonial ruin; Let Me Dry Your Eyes, a sonic performance at Beaumaris Zoo; and World of Worlds, which is about fictional world-building, other dimensions and parallel realities. Top image: Aqua Luma, Robin Fox. Photo credit: Nick Roux. Image courtesy of the artist and and Mona (Museum of Old and New Art), Hobart, Tasmania, Australia.
When you think of the Big Apple, you can't help the image of a yellow taxi springing to mind. That's even if, like me, you've never been there. It's the brightest of American icons and it's about to get a Japanese makeover. Automaker Nissan has won the exclusive 10-year, US$1 billion contract to produce the city's fleet of 13,200 yellow taxis. Nissan's North American take on the NV200, a model already in use in Europe and Asia, won over finalist manufacturers Ford and Karsan, from Turkey. Previously, the taxis of New York City have been produced by Ford: Crown Victorias and hybrid Ford Escapes. These models will be phased out over a 3 to 5 year period to make way for Nissan's new model. [Via Jalopnik]
Specialty roasters Sample Coffee have opened a sweet new cafe in Chippendale called Old Gold. While you'll want to visit to try its coffee and croissants, you'll also want to check out its digs. It's located inside a converted MacRobertson's confectionery factory — the OG makers of Cherry Ripe, Freddo Frogs and, yes, Old Gold. All the coffee beans come from Sample's St Peters roastery, and are put to the test using the cafe's gold-wrapped La Marzocco KB90 espresso machine that sits smack bang in the middle of the industrial-style space. It's brewing a selection of single origin black brews and a house-blend dubbed 'Sweet Tooth' for all your flat whites. Keeping within the history of the building, the cafe has been filled with brass trimmings, dark timber and curved lines, matching with the pre-existing exposed brick walls and concrete floors. Fittings come from many of Sample's St Peters neighbours, like a ten-seat custom table from Jonathan West, plant pots from Inartisan, and dry flowers from florists The Wilds and Sweet Pea & Honey Bee. Local suppliers are keeping the kitchen well stocked, too, with fresh produce coming from The Vege Box, Leichhardt patisserie Penny Fours whipping up the croissants and bakers ThoroughBread supplying sourdough baguettes and bagels. The former owner of Camperdown's Little Lord cafe, Graeme Alexander, is responsible for the menu, which is heavy on plant-based dishes for breakfast and lunch. There are two types of bruschetta on the short list: one with shaved zucchini, lemon ricotta and fresh dill; and the other starring a spiced beetroot purée with caper ricotta and shaved, cured egg yolk. Other tempting treats include a a three-cheese toastie, sour cherry bagel, mortadella and bocconcini sandwich, broccolini salad and a gluten-free fig, orange and almond toast slathered with lemon-honey butter. For a drink without the caffeine, there are a few herbal teas from Lidcombe specialists Tea Craft, some specialty sodas (triple orange, ginger or passionfruit) and single origin hot chocolates from Aussie chocolate producers. Old Gold is now open 7am–3.30pm Monday–Friday at 1 Dangar Street, Chippendale. Images: Old Gold/Sample Coffee
From Sal Paradise and Dean Moriarty to Thelma and Louise, heroes of American fiction have seen the road as a conduit for freedom. However, when hopeful scientist Andy Brewster (Seth Rogen) leaves New York City with his overbearing mother, Joyce (Barbra Streisand), it's not long before he starts to view the endless miles ahead as a kind of absurd, comedic prison sentence. That's not to say that Andy doesn't hit the highway with the best of intentions. He's about to drive across America, spruiking his prize invention — an all-natural cleaning product so safe you can drink it — when Joyce suddenly and unexpectedly confesses that she still hankers after her first love. That is, the man she dated before marrying Andy's father, who died when Andy was just eight. Secretly locating this lost lover as an executive living in San Francisco, and harbouring a crazy plan for a romantic reunion, Andy invites his mother along on his business trip. The dramatic irony lies in Joyce's naive belief that her son simply wants to spend some time with her. Those accustomed to Rogen's stoner brand of comedy and hilarious depictions of rage might be surprised by his appearance as a socially awkward chemist in this feelgood family comedy directed by Anne Fletcher (The Proposal, 27 Dresses). While certainly innovative and industrious as a scientist, Andy Brewster is a clumsy, unimaginative, uninspiring salesman. Many of the film's funny moments depend on Rogen's controlled portrayal of Andy's ineptness, so at odds with the corporate world in which he is desperate to make an impression. Where Andy is self-absorbed and preoccupied with 'making it', Joyce is caring and interfering to the point of suffocation. The Guilt Trip's central concern is the development of their relationship. Rogen plays a suitably restrained, emasculated Andy to Streisand's eccentric, flapping, verbose Joyce. The contrast means that Streisand can occasionally come across as overstated. This is not helped by the tendency of Dan Fogelman's script to settle on the obvious rather than aspire to the subtle and the inclusion of a few rather formulaic and unconvincing turns in the storyline. That said, Rogen and Streisand share a natural, comfortable-feeling chemistry, which enables some genuinely sweet moments and keeps The Guilt Trip moving along at an engaging pace.
Kent Street is set to gain a new Japanese fine diner this September when Kuro opens its doors. Here, guests can enjoy a casual meal or book into a ten-person-only degustation that's served by a chef who's worked at Michelin-starred restaurants. The latter offering, dubbed Teramoto by Kuro, will be run by Executive Chef and Co-Owner Taka Teramoto, who has spent time in the kitchens at Michelin-starred restaurants in Paris and Tokyo — Restaurant Pages and Florilège, respectively. Each night, ten lucky diners will be seated at a kitchen-side counter for the degustation, so they can watch the action while they feast. Teramoto will personally serve each tasting menu alongside sommelier Wanaka Teramoto (116 Pages, Paris), the offering changing regularly, based on seasonality and availability. While menus are still in the works, you can expect the likes of wagyu tartare seared over binchotan (white charcoal), then crumbed in charcoal panko and sprinkled with Tasmanian pepper (pictured below); fresh stracciatella topped with warm peas and lovage oil; and one-week-aged squid sashimi in a broth of lemon myrtle, tomato dashi and sliced taro stem. [caption id="attachment_729358" align="alignnone" width="1920"] Megann Evans[/caption] For more casual fare, Kuro Bar & Dining will offer seasonal share plates in a 40-seat, à la carte setting. Here, the food will be created by Head Chef Nobu Maruyama of Surry Hills' now-closed Bar H. This menu is still under wraps at the moment. In this space, there'll also be a bar with a drinks list featuring cocktails using Japanese produce and flavours, plus heaps of Japanese spirits — including whisky, gin, shochu and sake — and draught beer. All of these can be enjoyed alongside bar snacks, too. And, if you come by in the morning, the espresso bar will offer coffees, teas and brekkie. Potts Point's Henderson & Co architects will be looking after the fit-out, which will transform the heritage-listing building into a space inspired by Japanese architecture and craftsmanship. A major element of the space will be the dynamic lighting, which will create an ever-changing ambiance throughout the day and into the night. Kuro will open in September at 364–368 Kent Street, Sydney. It'll be open six days per week for breakfast, lunch and dinner. Images: Megann Evans
Giant illuminated rabbits are lurking beside the Park Hyatt. Snakes have entwined themselves around the MCA. My colossal face sits proudly in Martin Place. Launched with an oversized novelty button on Friday night, Vivid Sydney has flicked on the lights for another year, infusing the CBD with New Year's Eve vibes and lightsaber-wielding kiddies for the next two weeks. Between eating up all the Vividery; having mad chats, merry chinwags and Freud-fuelled pow-wows with Vivid LIVE's best and brightest; and strapping on our sexy, sexy thinking caps; there's life rollin' on elsewhere in the somewhat less light-drenched parts of town. Australian drink-n-gamers received some squealworthy bar news and Scandinavian films got their own Aussie festival, while the shiniest light of all, Ryan Gosling, made a film that royally sucked at Cannes. Things are looking pretty glitter-glued around here of late. Shannon Connellan /// Deputy Editor If you do one thing: The Music of Moroder: The Heritage Orchestra Presented by those constant bringers of Internet-hyped gigs, Red Bull Music Academy, this is one tribute show that’s sure to end up on everyone’s Instagram feeds. Paying tribute to the legendary music of Giorgio Moroder with new arrangements and special guest vocalists, 40-piece British rulebreakers The Heritage Orchestra will revisit every last gem from the career of 'the godfather of EDM', from his disco-fuelled hootenannies with Donna Summer to his 1977 landmark album From Here To Eternity. More info here. The other seven days Tuesday: The Human Rights Arts and Film Festival Go to the movies and feel good doing it. Now in its seventh year, The Human Rights Arts & Film Festival will once again shine a light on contemporary human rights issues through a carefully curated lineup of socially conscious films. Rich Hill takes place in the titular Missouri mining town and follows three young men struggling with poverty, mental illness and the turmoil of adolescence. Praised for its empathetic touch, the film won the Documentary Jury Prize at Sundance earlier this year. Everyday Rebellion has a somewhat broader subject, highlighting nonviolent protests happening all around the world. From Occupy Wall Street to the Iranian democracy movement to topless activists in the Ukraine, it's a truly global story about people united by courage. More info here. Wednesday: Spice Temple's Some Like It Hot Dinner Behind the mysterious billowing silk that marks Spice Temple's iconic entrance is a shrine to the chilli to which every lover of the sweet burn must make pilgrimage, and there's never been a better time to do so than Wednesday, May 28. Masters of the chilli Neil Perry and Andy Evans are presenting a one-night-only Some Like It Hot dinner, showcasing the fiery fruit in dried, fresh, salted, pickled and fermented forms in a menu that's set to sizzle. From crispy chicken laced with heaven-facing chillis to red braised pork belly with dried chillis and quail eggs to whole fried chillis with lap yuk and Sichuan black beans, one thing's for sure: this dinner is not for the faint of heart. More info here. Thursday: Cain and Abel Some people are going to be very unhappy with Belvoir. After one recent play in which two women constantly murdering each other prompted loud revulsion (not from us), here is another female ensemble repeating the same act. For longer. More gruesomely. In all fairness, though, it's totally different. The two companies take distinctly separate approaches to the theme of violence in life and on stage. Cain and Abel, from The Rabble, is aesthetically rich, mercilessly cerebral, and earnest in that very Melburnian way. Recently, the interstate experimentalists have turned pornography into art (The Story of O) and staged The Portrait of Dorian Gray as a presentational maze (Room of Regret). They don't go easy. Full review here. Friday: I'm Not Racist But... Titled I’m Not Racist But..., it’ll be an interactive evening during which four speakers give top-speed ten-minute talks before host Tom Tilley opens up the floor for discussion. The special guests are comedian Ronny Chieng, Australian Human Rights Commissioner Tim Wilson, Co-Chair of the National Congress for Australia’s First Peoples Kirstie Parker and John Safran, who recently published his first book Murder in Mississippi. Presented by the NSW Reconciliation Council in conjunction with Sydney Ideas, the event hopes to inspire open, critical discussion concerning racism in Australia. More info here. Saturday: Electrolapse BYOB All that ideating of Vivid can really take it out of you. Fortunately, on its second weekend, the Vivid Ideas throws up this two-day event to engage us visually rather than intellectually. Get set to see the cavern of Pier 2/3 in a whole new way. BYOB (Bring Your Own Beamer, not booze) is an international event movement where artists congregate with their projectors in tow, filling every wall space with their latest digital imaginings. Feats of 3D projection mapping, interactive interfaces, animations, games — they all play out on the walls while you circulate the room square-eyed. This local iteration is being put on by the knowledgeable folks from Electrofringe, and they've even roped in original BYOBer Rafael Rozendaal — the New York-based founder and internet artist — for the lineup. More info here. Sunday: Elizabeth Street Gallery new exhibition Towards the end of 2012, a bunch of Fairfax photographers decided it was time to do something about one of the Sydney CBD’s most unappealing stretches. Without seeking official permission, the aesthetic vigilantes added more than 40 photos to a wall on Elizabeth Street (near the corner off Goulburn Street) and waited to see what would happen. As it turned out, the Lord Mayor was a supporter and the 'Elizabeth Street Gallery' has remained a fixture. Two years on, the photos have been tagged and dirtied to a point of near-obscurity. So last Thursday, the team — comprised of Nicholas Walker, Andrew Quilty and Dean Sewell — replaced them with a brand new series. This time, however, they received a $30,000 City of Sydney grant to make it happen. More info here. Monday: Under the Skin Director Jonathan Glazer (Sexy Beast, Birth) puts mankind under the microscope in his enigmatic sci-fi thriller Under the Skin. Unfolding like an arthouse version of Species, the film stars Scarlett Johansson as an extraterrestrial creature who travels around Scotland seducing human men. A cold, disturbing, impenetrable piece of filmmaking, it’s a movie that will understandably alienate mainstream audiences, even as it carves a place for itself as a modern-day cult classic. Reversing typical images of sexual predation, Glazer puts Johansson — a pale-skinned, dark-haired female — in the driver's seat of an anonymous white van. The bulk of the film takes place in the vehicle, as Johansson cruises the outskirts of Glasgow in search of her next victim. What happens to the men once they're ensnared is one of many pieces of information Glazer initially withholds, playing with our fears and assumptions and cultivating a sickening sense of dread. Full review here.
Boy & Bear, the lovechild of Triple J Unearthed and Australia’s indie folk scene, will be showcasing their debut album Moonfire on their Remembering The Mexican Tour this month. Full of the uplifting choral harmonies and lyrical ballad-style rock exemplified on popular singles ‘Rabbit Song’ and ‘The Feeding Line’, the tour will be rolling into Sydney's State Theatre on the 29th and 30th May. Their debut album is named after a $2 DVD they watched on the road touring: A 1970's trucking saga also titled Moonfire. Although their cinematic taste is questionable, Boy & Bear’s music ability scores high: The boys have secured five ARIA awards and have entered Triple J’s hottest 100 three times, with single ‘Feeding Line’ reaching the top five. These Sydney-born-and-bred boys now look forward to a mammoth 25-date tour, dropping into every corner of the country from Adelaide to Albury, Brisbane to Bunbury and Cairns to Canberra. They will be supported by Tin Sparrow (Matt Corby’s support act for his recent Sydney stint at Oxford Art Factory) and Jungle Giants.
With summer upon us and Christmas on the horizon, it's the perfect time to treat yourself and sort out your sleep. If you're tossing and turning at night it might not just be because of the state of the world, it could be your mattress and pillow as well. Luckily, premium homewares brand Ecosa wants to help you get a good night's sleep. All items on the Ecosa website are 25 percent off from Monday, November 9 to Wednesday, November 11. If you've been complaining about a crook neck, maybe head off to the physio and get yourself fancy new memory foam pillow. The ergonomic pillow boasts an adjustable height, a curved shape that suits side and back sleepers and a compressible foam that supports the natural shape of your head. Plus, two compression bags so you can pack it up and take it with you everywhere. Yep, it's one helluva pillow. If that's not enough, Ecosa also offers free shipping and returns Australia-wide, plus a 100-day free trial period. And, with everything on sale, get in early with some Christmas shopping. Ecosa is your one-stop sleep shop, with luxe bamboo sheets, silk pillowcases, wooden bed base, memory foam mattress and weighted blanket all available at the discounted price. So, you can treat yourself, your friends and your whole family to a better night's sleep. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
If there's one consistent complaint amongst both filmgoers and critics these days, it's that movies are far too long. The data, however, does not support the case and, if anything, the opposite may be true. At an average of 2 hours 10 minutes, today's big budget offerings are no longer in length than the movies of the 1960s, and it was only during the 80s and 90s that run-times actually dropped back some (and, even then, only by around ten minutes). Instead, what may be at play is that while film lengths haven't changed, the art of storytelling has, resulting in a succession of threadbare plots no longer capable of filling the space provided. But then comes along a film like The Dark Tower, clocking in at a far more appealing 95 minutes. Given it's also based on the famed eight-book series by Stephen King – and built around a world as richly detailed, expansive and diverse as only a series of that length can create – you'd expect the inverse to be true, in that there'd just be too much story to fit in. As it happens, you'd be wrong. Somehow the creative forces behind this hotly-anticipated film have managed to take a sprawling, steam-punk-western-sci-fi-fantasy-adventure and sap it of almost all semblance of story. It's the cinematic version of being jack of all trades, master of none, jumping so regularly between worlds and times and characters that none has the opportunity to take hold. Just think how the Harry Potter universe – similarly grounded in the tale of an ordinary yet extraordinary young boy thrust into an unseen war in an unknown world – might have collapsed upon itself had it received the same treatment. The young boy in this instance is 11-year-old Jake (Tom Taylor), a troubled, earth-dwelling soul whose constant nightmarish visions turn out to be inklings of a nascent psychic power called 'the shine' (remember, this is a Stephen King story). Jake's abilities make him a critical component to the storied warriors on both sides of a centuries-old conflict waged between the light and the dark. On one side stands Roland Deschain (Idris Elba), a mystical gunslinger with a heavy-handed cowboy aesthetic. Against him stands the dark sorcerer Walter (Matthew McConaughey), whose dapper black ensemble makes him seem less wizard and more court-side seats at a Wizards game. Like Obi-Wan to Luke Skywalker, Roland takes Jake under his wing and begins to teach him both the ways of his psychic abilities and how to wield the ancient and more elegant weapons of a bygone age. Actually, yes…it's really like Star Wars. Together they must confront the forces of evil to protect the all important tower, lest theirs and many other worlds fall into ruin. Performance wise, The Dark Tower relies entirely upon Elba and McConaughey to keep its head above water. Neither are given a great deal of material worthy of their talents, but find enough soul in Roland and playful villainy in Walter to keep audiences engaged. Interestingly, for a story about a young boy immersed in strange and distant worlds, the film's best moments arise when the opposite occurs and Roland finds himself on earth. Regrettably, though, The Dark Tower focuses too much on Jake – an entirely dull and annoying character whose presence induces that familiar dragging feeling despite the film's shorter run time. As a consequence, The Dark Tower represents a sad conclusion to the decade-long attempt to see it made; a bland and lifeless recreation of a world that was anything but. The series may yet have life in it, but it'll take a monumental effort to bring it back from where it currently sits. https://www.youtube.com/watch?v=GjwfqXTebIY
Maybe you've already been and can't wait to head back. Maybe it's sat on your must-attend list but you haven't yet made the trip. Whichever fits, add Parrtjima - A Festival In Light to your 2023 travel plans, with the luminous Alice Springs event — which might just be Australia's brightest festival — set to return for another year from Friday, April 7–Sunday, April 16. Parrtjima's 2023 fest will fashion its dazzling artworks and installations around the theme 'Listening with Heart', as inspired by the artwork surrounding the Statement from the Heart. That piece depicts Uluru-Ku Tjukurrpa, the Uluru story of connection, and was created by a group of artists from Multijulu as led by Maruku artist Rene Kulitja — and Kulitja will work with other of artists for Parrtjima to turn the Statement from the Heart artwork into a large-scale immersive light and sound installation. That means that Parrtjima attendees will find themselves plunged in the world of the Aṉangu people of the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands surrounding Uluru. The idea is to feature ancient songlines, plus Indigenous viewpoints on Country, as well as connecting to First Peoples' strong links with the land, water and sky. "There has been a growing realisation across the nation that Australia has something incredibly unique — its First Peoples. We are the oldest living, adapting culture," said Parrtjima Curator Rhoda Roberts AO, announcing the 2023 theme and key artwork. "The installation at the heart of Parrtjima 2023 will take guests on a journey through the lands surrounding Uluru, Australia's most iconic landmark. The installation will remind people of the eons of oral storytelling, and the story of Kuniya and Liru that shaped the landscape of Uluru through art." One thing that'll also be on the bill: the festival's regular annual attraction, aka a huge artwork that transforms a 2.5-kilometre stretch of the majestic, 300-million-year-old MacDonnell Ranges, showering it with light each night of the festival. While it's too early to unveil the rest of event's lineup just yet, visitors can once again expect a big — and free — ten-day public celebration of Indigenous arts, culture, music and storytelling, including an eye-catching array of light installations. That'll all take over Alice Springs CBD's Alice Springs Todd Mall, as well as tourism and conservation facility Alice Springs Desert Park Precinct just out of town, as 2022's festival did. Registrations for the 2023 event have just opened, if you'd like to nab an early spot in line for tickets when they go on sale. Of course, Parrtjima is just one of Northern Territory's two glowing attractions in 2023, with Australia's Red Centre lighting up in multiple ways. The festival is a nice supplement to Bruce Munro's Field of Light installation, which — after multiple extensions — is now on display indefinitely. Parrtjima – A Festival in Light will run from Friday, April 7–Sunday, April 16, 2023 around Alice Springs in the Northern Territory. For more information, visit the festival website.
Drake's first tour of Australia in eight years kicked off in mid-February. If you haven't caught him already, you won't be on this trip Down Under. Organisers have announced that the remainder of Canadian artist's Aussie shows, plus his New Zealand dates, have all been postponed. There's no details yet as to when they'll be popped back on the calendar. "Due to a scheduling conflict, four of Drake's 16 sold-out shows in Australia and New Zealand will be postponed. We are actively working on rescheduling these dates along with adding some additional shows," advises the statement. "We sincerely apologise for the inconvenience and appreciate your patience. Drake and the entire team have had an incredible time doing these shows and are excited to return soon. We look forward to sharing the rescheduled dates with you as soon as possible." The dates impacted: the five-time Grammy-winner's returns to Brisbane and Sydney, the former on Tuesday, March 4 and the latter on Friday, March 7. He's already played dates in both cities, unlike in Auckland, where his Spark Arena gigs on Saturday, March 15–Sunday, March 16 will no longer go ahead. Patrons can hold on to their tickets for the new dates, whenever they're revealed — or you can get a refund instead. Regarding the second option, the promoter offers a note: "as these shows are sold out, any refunded tickets may be released for sale at a later date". Drake's 2025 Anita Max Win tour was first announced in November 2024, and then kept being extended — not once but twice. The last dates added in Australia are the shows that've been scrapped for now. Before this year, the 'Hotline Bling', 'Too Good', 'Passionfruit', 'Nice for What', 'In My Feelings', 'One Dance' and 'Laugh Now Cry Later' performer last hit the stage in Australia in 2017 on his Boy Meets World tour. The Degrassi: The Next Generation star and platinum-selling singer is currently fresh off his 2023–24 It's All A Blur Tour, which saw him chalk up over 80 soldout shows in North America. Drake's 'Anita Max Win' Tour 2025 Postponed Dates Tuesday, March 4 — Brisbane Entertainment Centre, Brisbane Friday, March 7 — Qudos Bank Arena, Sydney Saturday, March 15–Sunday, March 16 — Spark Arena, Auckland Drake has postponed the rest of his Australian and New Zealand tour, scrapping dates in March 2025. Head to the tour website for more details, with tickets set to remain valid for yet-to-be-announced new dates or refunds available. Images: The Come Up Show via Flickr.
Open up your eager eyes, Sydney: The Killers are headed our way. The Las Vegas-born rockers will hit up a heap of arenas Down Under to cap off 2022, and destiny is calling you to Qudos Bank Arena on Monday, December 19. Given the band's lengthy back catalogue, Brandon Flowers and company won't just be playing 'Mr Brightside' on repeat, but will be making a hot fuss over plenty of their hits — including tracks from their 2020 album Imploding the Mirage. The tour is named after that record, even though they released another one, Pressure Machine, in 2021. That's what happens when live gigs get put on hold during a pandemic, clearly. [caption id="attachment_831494" align="alignnone" width="1920"] Raph_PH via Wikimedia Commons[/caption] Remember: somebody told you that you'll be dancing along to 'Somebody Told Me', 'Smile Like You Mean It', 'When You Were Young', 'Bones', 'Human' and 'The Man' as well. Fancy seeing The Killers in a winery instead? They're also playing A Day on the Green shows in the Barossa and Geelong, if an interstate trip is on your agenda.
Need a place to relax and maybe wet your whistle during the Vivid madness? Enter the team behind Newtown's The Midnight Special. The proprietors of one of our favourite haunts are setting up shop at the Opera House, transforming the northern foyer of the concert hall into a glamorous pop-up bar. Open every evening from May 25 until June 4, Goldie's Music Hall will cast its eye back to the golden era of funk, soul and R&B. Lounge around on luxurious furnishings while sipping custom-made cocktails by Aria Events, along with beers from Grifter Brewing Co. and Young Henry's. The music will be taken care of by a selection of local DJs, who'll be spinning timeless records long into the night.
Let's face it, anyone can take a swing at wine pairing and claim success — like drinking sangiovese at an Italian joint and pinot gris with your seafood feast. It may add a personal flair to dinner but it's not exactly rocket science. Pairing a frosty beer with your meal is, while considered less formal, arguably a braver and more interesting choice. And, if you don't actually like wine, it's also more enjoyable. Luckily, more and more restaurants around Sydney now allow you to bring beer along, so we've highlighted some of our favourites that do so. Read on to discover the eateries near you that permit you to crack open a cold one and savour it with your burger, curry or bowl of dumplings.
No prizes for guessing where Peter, Bjorn and John are travelling from. The Swedish trio's main claim to fame is the creation of the catchiest whistling tune ever created, 'Young Folks'. More recently, they took a little break, during which they built a studio, founded a record label and wrote a bunch more cracking pop songs. April 2015 marked their triumphant return, with the release of single 'High Up (Take Me To The Top)' and, in June 2016, the launch of seventh LP Breakin' Point. Rolling Stone's James Jennings called it "their glossiest, poppiest album yet," without an ounce of negativity, adding that "the group have crafted a consistently enjoyable album that casually tosses off killer choruses like it's no big thing." There's more Splendour sideshow action where this came from. Check out our list of sideshows with tickets still available.
Underground Cinema — Melbourne-born innovators of secret immersive film experiences — have announced their latest Sydney instalment: Patriot. These are the people who take cinema out of the cinema and into boatyards, beaches and after-hours schools, creating a world in sync with the evening's film though real-life actors, evocative food, intricate sets and costumes. It's all themed to set the scene and get guests guessing, because the film, of course, is a secret. So what do we know? We know that UGC Patriot will transport guests back to the 1950s for a cinema event that's more like walking onto a film set than anything else. Think Cold War, blacklists, espionage and presidential motorcades. Dress is "1950s city sleek", and you're mysteriously required to bring an A4 envelope, a notepad and pen. The dates confirmed for Sydney are Friday, March 27, and Saturday, March 28, at 7pm. Whatever the film is, viewers can expect immersion bordering on camp. In the past they've taken toga-clad cinema-goers to ancient Rome (for Life of Brian) and given out white jumpsuits, student cards and medical examinations before filing people into a snow-covered Swedish academy (Let the Right One In). As distinct from World Movies Secret Cinema, the focus is really on interactivity, immersion and theatricality, quite like the UK institution Secret Cinema. Sometimes the screening location takes a back seat (the Life of Brian space was in Moore Park; the screening, Hoyts). Tickets are on sale on Tuesday, February 24, at 1pm sharp. There's a cash bar and hot food on site, and all ticketholders will be sent details of the location via SMS on the day. Keep an eye on the UGC Facebook page for more details.
In Sydney, the water doesn't freeze over in winter — except in Bondi. The suburb's beachside ice skating rink will pop up again for three weeks this year, giving you the chance to glide over ice as you watch surfers ride waves in the ocean. The rink will be set up at Bondi Beach Pavilion from June 29 until July 22. Skate sessions will start on the hour each hour from 10am till 9pm. Each turn on the ice and skate hire will cost $22 for adults — and, if you've got kids in-tow, $12 for toddlers, $18 for kids and $69 for the whole fam. For those who need to brush-up on their skating skills, there will be classes Saturdays at 9am — they cost $29 and include entry into the following 10am session. Less of a skater and more of a watcher? There will be ice show performances on Saturdays at 5.45pm and ice hockey demonstrations on Sundays.
From June 1, life is going to be a little more normal for Sydneysiders. As well as being able to head on a regional holiday — as announced last night, Tuesday, May 19 — we'll be allowed to, once again, visit many of the city's cultural institutions. NSW Premier Gladys Berejiklian announced this morning that from the first of next month, art galleries, museums and libraries can reopen. Similarly to restaurants and cafes, they'll need to adhere to strict social distancing guidelines and will be allowed one visitor per four square metres. The Premier has also encouraged the institutions to have dedicated opening times for the city's most vulnerable, like supermarkets. "Many of our cultural institutions — our art galleries, museums, libraries — will be able to open their doors. But again, they'll have special qualifications," the Premier said this morning. "It may involve having a special time to allow the most vulnerable to use the facilities. It does mean booking ahead, but making sure you leave a record if you are visiting one of places, if something happens unexpectedly, if there's a case, we can follow up quickly." [caption id="attachment_770817" align="alignnone" width="2000"] White Rabbit 'And Now' by Kimberley Low[/caption] The reopening of these cultural institutions — and the restarting of regional travel — coincide with the Queen's Birthday Long Weekend. So, you can start planning exactly what you're going to do with your three days of (slightly more) freedom. To help you get started, we recommend checking out this exhibition of greatest hits at Chippendale's White Rabbit gallery and planning a trip to one of these ten NSW country towns. For more information about the status of COVID-19 in NSW, head to the NSW Health website. Top image: White Rabbit 'And Now' by Kimberley Low
Having recently returned from a spot of European travel-on-a-shoestring, I think I can hyperbolically decree that the Sleepbox may well be one of the greatest things I have ever seen. Sleepbox, designed by the Arch Group, does essentially what it says on the tin: it's a pod wide enough for a bed and a drop-down desk. This means that the days of sleeping on rows of metal chairs while clutching your belongings for dear life or sitting slumped over coffee-flavoured hot water in an airport food court may well be behind us. The first Sleepbox has recently been installed in Moscow's Sheremetyevo Airport, and can be rented out from half an hour to many hours. Kitted out with an LED reading light, WiFi and electrical outlets for you to charge your phone or get your ironing done or whatever it is you need to do, the pods also come with a mechanism which automatically changes the linen once each guest checks out. Which means there is less chance you will have to come into close contact with the bodily odours of others before you have to sit wedged beside them for fourteen hours in a flying tin can. Arch Group is proposing Sleepbox as a contemporary staple of urban life, with plans to set them up in other airports, railway stations. large shopping spaces, and even on the streets in warm climates. Genius. https://youtube.com/watch?v=3qxnqy37KPc [Via PSFK]
Doughnut chain Krispy Kreme has had sweet-toothed Aussies in its grip for years now, and it's showing no signs of relenting on our tastebuds. The chain doesn't just pump out its original glazed doughnuts, but also serves up various themed versions that've been getting everyone salivating. Who can forget trying to catch all of the Pokemon-themed doughnuts last year, or coveting those Caramilk doughnuts, too? Now, the doughnut chain has teamed up with fellow iconic US brand Hershey's, whipping up three brand-new American-inspired sweet treats that you might be tempted to travel to New York for. Don't worry — you actually only need to travel to your nearest Krispy Kreme or 7-Eleven stores. The first on the lineup of Hershey's Krispy Kreme deliciousness is the Choc Strawberry doughnut, which comes filled with a special Hershey's choc crème and dipped in strawberry truffle, before being topped with chocolate chips and icing. Or if you're a die-hard chocoholic, you'll probably go for the Ultimate Choc: again filled with the choc crème, this doughnut is then dipped in milk chocolate ganache, before it's finished off with chocolate chips and ganache drizzle. And, only at 7-Eleven stores, you can get S'Mores doughnuts. They take Krispy Kreme's usual ring of deliciousness, swirl it with whipped marshmallow filling, then cover it in chocolate dip — and adds Hershey's semi-sweet choc chips and biscuit crumb on top. Yeah, we'll take one of each, thanks. But, be quick: launching on Tuesday, February 22, these special edition doughnuts are only available for a limited time, so you'll want to hustle. And you won't want to tell your personal trainer. Krispy Kreme's Hershey's doughnuts launch in-store, online and at 7-Elevens on Tuesday, February 22 — and will be available for a limited time.
There's not a whole lot that will coax you off the couch on a frosty winter weeknight, though we have an inkling Efendy's new weekly dinner deal should do just that. Balmain's acclaimed Turkish restaurant is this week, July 4, kicking off a series of bottomless meze and wine nights, on offer from 5pm every Wednesday and Thursday. Yep — two nights a week, head in and cosy up to an authentic Turkish feast prepared by chef Somer Sivrioglu, with likes of warm lavash bread with zahter butter, smoked eggplant with pistachio and tahini, crisp pastry-wrapped prawns with walnut and capsicum dip and findik lahmacun (a Turkish-style pizza) topped with spiced lamb. To complete the meal, there'll also be plenty of Turkish sweets. As well as all that food, diners will also enjoy a bottomless two-hour drinks package, sipping their way through an endless range of Turkish whites, reds and rosés — with the whole thing (food included) coming in at just $60 per person. If that's not worth coming out of hibernation for, we don't know what is.
It doesn’t get much posher than opera. It also doesn’t get much odder. Erich Korngold’s Die Tote Stadt premiered in Sydney on Saturday June 30, nearly a century after its German premier in 1920. It was well received in Germany back then and it had Sydney’s black tie audience yelling bravo aplenty on Saturday. The opera was banned in Germany when the National Socialists came to power, because of Korngold’s Jewish heritage, not because it was subversive or ‘entartete Kunst’. It’s a straightforward story about grief-stricken Paul (Stefan Vinke) who seeks comfort from his wife’s death in a phantasmagoria of lust and betrayal with Mariette (Cheryl Barker) who resembles his dead wife. Sometimes when Australia takes a long time to premiere a work, people get up in arms about our parochialism and backwardness, as Alison Croggon did in regards to The Histrionic taking so long to come here. In the case of Die Tote Stadt, we should celebrate the fact that we have eschewed it for so long. For 92 years we resisted this opera's gaudy banality, but finally in 2012, for reasons that remain hermetically sealed in an office somewhere at Opera Australia, we have succumbed. Opera is not the subtlest of theatrical forms, and this one is no exception. The three-act story is told from start to finish with the kind of bombastic enthusiasm that may have you reaching for a few stiff drinks at both intervals. Korngold’s music itself is not known for its sensitivity, and its treatment by conductor Christian Badea and director Bruce Beresford in this production does nothing to counteract that. John Stoddart’s set design only inflames the situation by leading us into a dreamscape of airbrushed night sky accompanied by projections of falling roses and fuzzy dead people. It is the definition of kitsch: garishness without a shred of irony or self-awareness. This opera is truly an experience. Forget the Jet Boat in the harbor, leave the Spit to Manly walk behind - don your velvet gown, grab the opera glasses and get yourself to the closest thing Sydney has to Disneyland, Die Tote Stadt.
What's the difference between a minimalist sculpture and a skate ramp? Or are they one and the same thing? Internationally adored video artist Shaun Gladwell and freestyle skating champion Rodney Mullen teamed up to engage in some "creative misuse" and find out. While Gladwell filmed and the music of Phillip Glass played, Mullen got busy skating all over some of the world's most respected American minimal sculptures. We're talking works by the likes of Donald Judd, Carl Andre and Dan Flavin. You can rest assured that no damage was done, but the video does encourage you to reconsider the boundaries between art and sport, between beauty and function, and, naturally, between sculpture and skating. Blurred lines aren't always a bad thing (well, as long as Robin Thicke isn't handling them, that is).
Sweet news: beloved Sydney mainstay Chat Thai is celebrating its 16th successful year — and what's a sweeter way to celebrate than with a brand-new range of dedicated desserts? Chat Thai OG Thaitown and Tokyo Lamington have teamed up to create tasty Thai-inspired treats to toast the restaurant's sweet sixteen. The Haymarket staple has continually served up an enticing array of Thai cuisine to Sydneysiders at an affordable price point for years, spanning over six Sydney locales after growing a cult following. Chat Thai OG Thaitown has decided it is time to honour its achievements with an exclusive collaboration birthing an original and unconventional snack range. By partnering with the experimental lamington brand, the much-loved Thai restaurant hopes to recognise achieving its milestone by bringing the iconic flavours of Thailand to Australians in a new and inventive offering. "This collaboration is more than a fusion of flavours; it's a celebration of two culinary worlds coming together," said Pat Laoyont, owner of Chat Thai. From Wednesday, September 20, the limited-edition birthday range will be available across three Sydney locations and Tokyo Lamington's Melbourne flagship outpost. The dedicated range will feature lamingtons inspired by Thai flavours alongside a range of savoury dishes combining a fusion of Chat Thai favourites and Australian classics. "We are honoured to partner with Chat Thai, a name synonymous with authentic Thai cuisine, to create something truly special," said Adds Eddie Stewart, co-founder of Tokyo Lamington. Among the seven lamington flavours on offer, you'll find Thai milk tea, a Khanom buaing (candied egg yolk) option, mango black sticky rice and a take on popular deep-fried pandan-flavoured ice cream. On the other hand, the savoury selection will star Chat Thai's famed Mussamun beef curry in the form of a golden, flakey pie alongside a herbaceous and chilli-forward larpb gai sausage roll and a tom yum mushroom quiche. However, this collaborative effort is only available during September, so you'll want to get in quick to get your hands on one or more exclusive treats. To find the limited-time birthday menu, hit up Chat Thai's flagship location or Boon Cafe in Haymarket or Tokyo Lamington Newtown from Wednesday, September 20 — the exclusive range will launch in Tokyo Lamington's Melbourne location later this month.
Since forming back in 1981, the Beastie Boys have enjoyed quite the career. The New York hip hop outfit has sold more than 50 million records, caused a splash with its music videos and assumedly inspired plenty of folks to dance like robots in Tokyo train stations. In 2012, it also lost one of its three members — Adam "MCA" Yauch — to cancer, then officially disbanded in 2014. The above summary barely scratches the surface, of course; however Apple TV+'s new live documentary is here to fill in the gaps. Based on surviving Beasties Mike "Mike D" Diamond and Adam "Ad-Rock" Horovitz's bestselling Beastie Boys Book, it takes audiences through the group's ups and downs — as guided by Mike D and Ad-Rock themselves. If you're wondering exactly what Beastie Boys Story will focus on, the band's 'Paul Revere' sums it up nicely. Clearly, here's a little story that Apple TV+ has to tell about three bad brothers you know so well. And yes, it started way back in history with Ad Rock, MCA and Mike D. As directed by Being John Malkovich and Her filmmaker Spike Jonze — who also helmed the Beasties' iconic 'Sabotage' music video, as well as clips for 'Time for Livin', 'Ricky's Theme', 'Sure Shot', 'Root Down' and 'Don't Play No Game That I Can't Win' — Beastie Boys Story is drawn not only from MCA and Mike D's book, but from the live performances that followed after it hit shelves. After publication, the duo took to the stage to talk fans through their career, in a show directed by Jonze as well. So mixing the performance with archival clips and turning it into a documentary was the clear next step, really. Originally due to premiere at this year's now-cancelled SXSW, Beastie Boys Story will hit Apple TV+ globally on Friday, April 24. As the just-dropped first trailer shows, it's a wild ride — and its filled with killer tunes. Ch-check out the trailer below: https://www.youtube.com/watch?v=ZCyqR2RXoQU Beastie Boys Story hits Apple TV+ on Friday, April 24+.
It's little surprise New Year's Eve celebrations are set to look a little different for 2020, thanks to a certain global pandemic. But if you've got a thing for good food, you're sure to be pretty chuffed with the brand-new event helping Melburnians wrap up the year in style. Descending on popular dining precincts across the CBD and beyond on Thursday, December 31 and Friday, January 1, is the inaugural New Year Street Feasts. The event is a collaborative effort between the City of Melbourne, the Victorian Government and Melbourne Food & Wine Festival (MFWF), which was itself postponed and then cancelled this year due to COVID-19. Featuring offerings from dozens of local bars and restaurants, it promises to help you make up for lost time on the wining and dining front. And tickets are on sale now. [caption id="attachment_791281" align="alignnone" width="1920"] Jake Roden[/caption] Eleven outdoor dining precincts will be created for the festival, appearing in top culinary spots like Flinders Lane, Little Bourke Street and Domain Road. Nearby venues from each precinct will be on board, serving up a jam-packed program of special menus and feasting experiences. Pulling inspiration from the famed piazzas of Europe, the pop-up outdoor dining set-ups will see thousands more restaurant seats added to Melbourne's streets for the occasion. You might find yourself tucking into a six-course unauthentic Indian feast at Jessi Singh's Daughter in Law, a Spanish-inspired Bomba dinner complete with heirloom tomato gazpacho and buttermilk-braised lamb shoulder, or perhaps a Bar Margaux soiree featuring champagne cocktails and roast duck. Though, with a wide lineup of venues involved, including everyone from Pellegrini's to Chin Chin and Tipo 00 to Sunda, you might find it hard to pick just one feed. Better clear that calendar, stock up on stretchy pants and dive right in. New Year Street Feasts will run at various locations across the city from Thursday, December 31 to Friday, January 1. To check out the full program and make bookings, head to the MFWF website. Top image: Bar Margaux by Parker Blain
For those of you who find the idea of going on safari to see some artists in their natural habitat (as opposed to art gallery captivity), 107 Projects is putting on Open 107. To celebrate the opening of their new venue in Redfern, they're opening their doors to let the public have a stickybeak around. Once you're there, you'll see more cutting-edge art than you can poke a stick at. Just mind that you don't poke the artists (they don't like that kind of thing). You'll be free to wander around artists' open studios and get yourself covered in paint during workshops if you're so inclined. For others who prefer to just watch and listen while keeping their hands clean, there are poetry readings, a preview of Gareth Davies and Charlie Garber's show Masterclass, live music by Nick Casey and some BBQ action. On the day, you can also check out (yep, you guessed it) even more art with an exhibition curated by Michelle McCosker (also to be part of Art and About) that looks at modernism: Why White? Phew, so much art.
If you haven’t been to a famed Pecha Kucha Night yet — title from the Japanese for ‘chitchat’ — Saturday night is your night. Saturday we are Pecha Kucha-ing not just for the symbiotic development of ideas and love-in of aesthetic wonderment, but also for Haiti. You’ve heard it said time and again that what the earthquake-levelled country needs now is money. Even in the midst of uselessness, creepy child-grabbers, and post D–Day horror stories that rob you of naiveté, money still helps. Pecha Kucha’s goal is US$1 million to go to Architecture for Humanity and their efforts to rebuild schools, hospitals, public buildings, and homes. To raise awareness of the ongoing disaster, this adrenalised slide night (featuring presentations by various artists and thought-provokers of 20 images each lasting 20 seconds) is going global. For the first time, all participating cities will join in on the same day, and organisers plan for them to “be connected by a 24-hour PechaKucha presentation WAVE that will gradually move westward city by city, circumnavigating the globe.” Many presentations will directly address the themes of disaster relief; others will be more tangential. It should be Pecha Kucha’s finest night yet.
Put your laughing pants on Sydney, because the Sydney Comedy Festival is back and it's too much for non-laughing pants to handle (so don't say we didn't warn you). This year marks the festival's tenth birthday, and yet the festival is giving you all the gifts. There's gifts for those who want to rip through the paper and find a stand-up comic, and gifts for those who want to gently unwrap the surprise of an offbeat and hard-to-describe show. Gifts for all comedic persuasions. This year includes a spelling bee with dubious consequences for the English language, the funniest PowerPoint lecture around and a supremely entertaining Eastern-European (impersonator) improv team. Here are our top ten picks and remember: laughing pants.
The frogs need your help. At least 30 Australian and New Zealand species of frogs are currently considered endangered, a statistic that wasn't helped by the disastrous 2019/20 Australian bushfire season. In response to this dire frog situation, Cadbury has partnered with Taronga Zoo, Zoos Victoria and Conservation Volunteers Australia to raise awareness about at-risk frog species by replacing the iconic Freddo mascot with real amphibians on the front of each packet of Freddo Frogs. Cadbury isn't just raising awareness though, the chocolate brand has also pledged $600,000 across three years to support zoo and conservation experts in Australia and New Zealand and their efforts to save our smiley little friends. These funds are going towards research and breeding programs including a new breeding bunker at Healesville Sanctuary. Taronga is also introducing a new frog exhibit to its beloved Sydney site that centres around educating people on endangered frogs and conservation efforts. The Freddo packets, which are currently available in Australian supermarkets, feature two endangered species: the spotted tree frog and the northern corroboree frog. Both are among Australia's most endangered species. Zoos Victoria has been fighting save the former from extinction through its role in the Spotted Tree Frog Recovery Program, while Taronga Zoo has already released hundreds of corroboree frogs and thousands of eggs into Kosciuszko and Brindabella National Parks through its breeding programs. The Freddo packets are available in 12 packs or as individual Freddos at major Australian supermarkets and independent retailers. You can find out more about the campaign and donate to the conservation projects via Cadbury's website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Think there's just one Hottest 100 in January? Think again. The second important countdown of the month actually goes rather well with the music poll that just proclaimed The Wiggles' cover of Tame Impala's 'Elephant' as the nation's best track of 2021. In fact, while you were listening to the hottest songs of the past year, you might've been sipping some of these other winners. That'd be the great brews in the spotlight on the GABS Hottest 100 Aussie Craft Beers list, which does for yeasty tipples what Triple J's poll does for bangers. And, just like its music counterpart, a worthy victor has come out on top. That'd be Bentspoke Brewing Co, with the Canberra brewery taking out the top spot with its Crankshaft American IPA for the second year in a row. In doing so, it bested 2017 and 2018 winner Balter Brewing Company, which came in second with its Balter XPA; Your Mates Brewing Co, which took third spot with its Larry pale ale; and Stone & Wood's Pacific Ale, the winner of the 2011, 2015, 2016 and 2019 polls, and 2020's second-place getter, which nabbed fourth position this year. As it did in 2020, Bentspoke had five beers in the 2021 top 100 list in total, which is clearly something to toast to — also coming in 12th for its Barley Griffin Australian Pale Ale, 41st for its Sprocket American IPA, 45th for its Cluster 8 Imperial IPA and 91st for its Red Nut Red IPA. Run by GABS — or the annual festival also known as the 'Great Australian Beer SpecTAPular' — the countdown is a people's-choice poll decided by booze-lovers around the country. Now in its 14th year, it saw a huge 2238 beers nominated this time around, hailing from 281 breweries. Still playing the numbers game, 58 beermakers nabbed a spot on the 2021 list — and, states-wise, Queensland emerged victorious with 30 brews on the full rundown of 100 beers, followed by Victoria with 22, New South Wales with 20, the Australian Capital Territory with 12, and South Australia and Western Australia with eight apiece. 2021 was also a big year for new brews, with 37 beers making their GABS Hottest 100 debut. And, low- and no-alcohol tipples also made a splash, including Heaps Normal's Quiet XPA debuting at 20 and Sobah Beverages' zero-alcohol Pepperberry IPA taking 69th place. If you're thinking "less background, more beer", here's what you've been waiting for: the rundown of the best beverages from the past year that just keep tempting tastebuds. Black Hops, Better Beer, Capital (with two showings), Ballistic and Young Henrys round out the top ten, while Coopers, Bridge Road, Pirate Life, Gage Roads, Kaiju!, Heads of Noosa, Brick Lane, Moon Dog, 4 Pines, Philter, Stomping Ground, Grifter, Hawke's and Mountain Goat and are among the other brands featured. Working your way through the whole 100 isn't just a great way to show your appreciation for locally made brews, either — consider it research for the 2022 countdown. GABS HOTTEST 100 AUSSIE CRAFT BEERS OF 2021: BentSpoke Brewing Co — Crankshaft IPA Balter Brewing — Balter XPA Your Mates Brewing Co — Larry Stone & Wood Brewing Co — Pacific Ale Black Hops Brewery — G.O.A.T. Better Beer — Better Beer Zero Carb Capital Brewing Co — Capital XPA Ballistic Beer Co — Hawaiian Haze Capital Brewing Co — Coast Ale Young Henrys — Newtowner Coopers Brewery — Original Pale Ale BentSpoke Brewing Co — Barley Griffin Balter Brewing — Balter Hazy Bridge Road Brewers — Beechworth Pale Ale Beerfarm — Royal Haze Pirate Life Brewing — South Coast Pale Ale Gage Roads Brewing Co — Single Fin KAIJU! Beer — KRUSH! Tropical Pale Ale Black Hops Brewery — East Coast Haze Heaps Normal — Quiet XPA Heads Of Noosa Brewing Co — Japanese Lager Brick Lane Brewing Co — One Love Pale Ale Little Creatures — Little Creatures Pale Ale Moon Dog Craft Brewery — Old Mate Philter Brewing — Philter XPA Mountain Goat Beer — GOAT Very Enjoyable Beer Feral Brewing Co — Biggie Juice Brookvale Union — Ginger Beer 4 Pines Brewing Co — 4 Pines Pacific Ale Big Shed Brewing Concern — Boozy Fruit Hawke's Brewing — Hawke's Patio Pale Bright Brewery — Alpine Lager Grifter Brewing Co — Pale Blackflag Brewing — Rage Juicy Pale Green Beacon Brewing Co — Wayfarer Stomping Ground Brewing Co — Gipps St Pale Ale Akasha Brewing Co — Hopsmith IPA Dainton Beer — Blood Orange NEIPA Revel Brewing Co — Strawberries & Cream Sour Ale Coopers Brewery — Sparkling Ale BentSpoke Brewing Co — Sprocket Capital Brewing Co — Hang Loose Juice Blood Orange NEIPA Coopers Brewery — Coopers XPA Your Mates Brewing Co — Sally BentSpoke Brewing Co — Cluster 8 Black Hops Brewery — Neverland Balter Brewing — Eazy Hazy Ballistic Beer Co — Hawaiian Haze IPA Capital Brewing Co West Coast NEIPA — Mountain Culture Collab Coopers Brewery — Coopers Pacific Pale Ale Bodriggy Brewing Co — Speccy Juice Colonial Brewing Co — Colonial Pale Ale Grifter Brewing Co — Serpents Kiss Sunday Road Brewing — Cryotherapy Deeds Brewing — Juice Train 10 Toes Brewery — Pipeline Pale Burleigh Brewing Co — Bighead No-carb Lager Hop Nation Brewing Co — J-Juice Range Brewing Co — Lights + Music Black Hops Brewery — Hop Swap Black Hops Brewery — Black Hops Pale Ale Your Mates Brewing Co — Macca Balter Brewing — Captain Sensible Capital Brewing Co — Trail Pale Ale Hawke's Brewing — Hawke's Lager Burleigh Brewing Co — Twisted Palm One Drop Brewing Co — Double Vanilla Custard Pancake Imperial Nitro Thickshake IPA Cronulla Beer Co — Next Level XPA Sobah Beverages — Pepperberry IPA Jetty Road Brewery — Jetty Road Pale Ale Brouhaha Brewery — Strawberry Rhubarb Sour Stone & Wood Brewing Co — Cloud Catcher Blackman's Brewery — Juicy Banger 4 Pines Brewing Co — 4 Pines Pale Ale Brick Lane Brewing Co — Sidewinder Hazy Pale Hop Nation Brewing Co — Rattenhund Sunday Road Brewing — Enigma Ale Otherside Brewing Co — Anthem IPA Bad Shepherd Brewing Co — Peanut Butter Porter Ballistic Beer Co — Mexican Hot Chocolate Stout Black Hops Brewery — Hornet Little Creatures — Pacific Ale Your Mates Brewing Co — Eddie Dainton Beer — Jungle Juice Bodriggy Brewing Co — Utropia Pale Ale Young Henrys — The Unifier Hawkers Beer — West Coast IPA Mismatch Brewing Co — Mismatch Session Ale Gage Roads Brewing Co — Side Track All Day XPA Little Bang Brewing Co — Face Inverter BentSpoke Brewing Co — Red Nut Tumut River Brewing Co — Ginja Ninja Eumundi Brewery — Eumundi Alcoholic Ginger Beer Deeds Brewing — Once More Into the Fray Akasha Brewing Co — Mosaic IPA Ballistic Beer Co — Low Ha Capital Brewing Co — Rock Hopper IPA Wayward Brewing Co — Raspberry Berliner Weisse Willie The Boatman — Nectar Of The Hops Balter Brewing — CryoHaze For more information about the GABS Hottest 100 Aussie Craft Beers of 2021, head to the GABS website.
Since the first case was identified in the Bondi area on Wednesday, June 16, Sydney's latest COVID-19 cluster has just kept growing. Ten new locally acquired cases were identified in the 24 hours to 8pm yesterday, Tuesday, June 22, and another 13 have been reported so far today, Wednesday, June 23. As a result, the New South Wales Government is bringing back a number of restrictions in the Greater Sydney region. Come 4pm today, Sydneysiders will need to scale back their activities in a number of settings and wear masks in more places. Announced this morning by NSW Premier Gladys Berejiklian, the changes will apply to the Greater Sydney, the Central Coast, Blue Mountains, Wollongong and Shellharbour areas, and will be in effect for the next week — so at least until 4pm on Wednesday, June 30. These restrictions go further than the last set of rules that were introduced back in May, which was the last time that Sydney experienced an outbreak . Today, the Premier advised that "because this period of COVID is causing transmission and very fleeting exchanges, and given the number of people who have been in isolation or otherwise have contracted the disease, this means we need to take further action." https://twitter.com/NSWHealth/status/1407504776300953608 Within homes in Greater Sydney, only five people will be allowed, including children. Outside of the house, masks will be mandatory again in all indoor spaces — not just on public transport and in public indoor spaces, but in workplaces and all non-residential settings as well. And, face coverings will be compulsory at organised outdoor events also, such as sports matches and concerts. If you're having a beverage in a bar, you're being asked to sit down. So yes, vertical drinking at pubs, clubs, restaurants and the like has been scrapped again, too. You'll need to sit down to eat as well, and dancing and singing will be banned again everywhere except weddings — which will only be able to have 20 people on the dance floor at once. "We don't want mingling," said the Premier, with the one person per four-square-metre rule also coming back into effect in all indoor and outdoor settings. Major events such as sporting events and concerts will have a 50-percent capacity cap, gym classes will be limited to 20, and public transport is back to sitting and standing at the green dots. Also coming into effect: a limit on where folks who work or live in Sydney's seven identified Local Government Areas can travel. So, if you reside or work in City of Sydney, Waverley, Woollahra, Bayside, Canada Bay, Inner West and Randwick, you won't be able to leave Sydney for the next week. "Unless you are visiting a relatively in care or have to go to work so unless it is essential travel, you should not be going outside metropolitan Sydney for the next week," the Premier said. Premier Berejiklian also said that she couldn't rule out further restrictions from this point, depending on future case numbers. "We have always said we have considered all the options, but we have always said we will not burden our citizens unless we absolutely have to do," she explained. "We know basically where the super-spreading events have been, we know where the virus is circulating, and we don't want to take any further action than what we have now — but this relies on all of us reining in our behaviour, all of us following the health orders that are coming into place from 4pm." She continued: "I am not ruling out any further action, but I am also confident that if we adhere to the health orders today, we will have a good chance of getting on top of this outbreak. I am not going to rule out further action, I am not gonna rule out what happens beyond a week, because we don't know. We certainly didn't expect this situation a few days ago." Sydneysiders are also asked to continue to frequently check NSW Health's long list of locations and venues that positive coronavirus cases have visited over the past week — and, if you've been to anywhere listed on the specific dates and times, get tested immediately and self-isolate for 14 days after your visit. In terms of symptoms, you should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste — and getting tested at a clinic if you have any. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
Director Pablo Berger's retelling of the Grimm Brothers' Snow White story is generating a lot of buzz right now. A silent, black-and-white, Spanish reinterpretation of that well-known childhood tale, the film is wowing critics and charming the pants off judges at film festivals worldwide (particularly San Sebastian and Toronto). It well may snaffle the Best Foreign Film Oscar. Macarena García gives a much-applauded performance as Carmen, a young orphan girl who suffers under the tyranny of her wicked stepmother Encarna, played with evil relish by Maribel Verdú. Long story short, she changes her name to Blancanieves (Spanish for Snow White, obvs), teams up with a crew of wily dwarves and becomes a successful bullfighter. There's lots of flamenco music, some fabulous cinematography and a stellar Spanish cast. Peter Bradshaw of the Guardian enthuses, "All I can say is that there's a flash of pure inspiration, unfakeable and unmistakable, in this extraordinarily enjoyable film." If you struggled to sit through 2011's silent black-and-white hit The Artist you might already be ruling this out — but you should know that Blancanieves is a very different film, one that Berger had already been working on for eight years by the time Jean Dujardin's face was first lighting up the screen at Cannes. Blancanieves is in cinemas on October 24, and thanks to Rialto Distribution, 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
If you’re heading to Dan Deacon’s Sydney Festival show, don’t forget your smartphone, whatever you do. It's your key to becoming an actual, live part of his gig. Before rocking up, audience members are asked to download an app, which will enable them to play an active role in his spectacular, synchronised sound and light extravaganza. Deacon, who hails from Baltimore, will be in rare solo form and is set to deliver one of his wildest, most chaotic and most fun performances yet. Last time Deacon visited our fair city for SydFest, there were dance races through the Hyde Park Barracks and the entire audience had to run through each other's raised-arm tunnels, one pair after the other. Expect everything. Dan Deacon is one of our top ten picks of the Sydney Festival. Check out our other favourite events over here.
Winter is coming, as Game of Thrones has been telling us for years — but the show's final season is coming first. Before the weather turns cold again in the southern hemisphere, fans of the epic HBO series will be able to discover how the popular series wraps up, so mark your calendars accordingly. After leaving everyone hanging for the entirety of 2018, HBO has announced that Game of Thrones' eighth and final season will hit the small screen in April 2019, nearly two years after season seven premiered in July 2017. The US network hasn't announced an exact premiere date as yet, but even knowing which month to look forward to is good news. If you're eager to get your fix of the series' staples — that is, battles, bloodshed, betrayal, bare chests, family bickering, Jon Snow knowing nothing (including about his long-lost aunt) and plenty of dragons — then you can almost start counting down the days. HBO revealed the month in a fairly generic video on the Game of Thrones Facebook page, and you can probably expect a precise date and even a trailer to follow soon enough. If you're looking for clues from past seasons, seasons one to six all premiered between March 31 and April 24, so really any Sunday in April, US time — so Monday in Australia — is possible. Of course, we all know that this isn't really the end of the world created by author George RR Martin — and no, we're not talking about the now seven-year wait for his next book in the literary franchise, The Winds of Winter. A prequel TV series to Game of Thrones is in the works, set thousands of years before the events we've all be watching since 2011, with Naomi Watts set to star. Come next year, you'll also be able to tour original GoT filming locations in Northern Ireland. https://www.facebook.com/GameOfThrones/videos/734669123560089/ Game of Thrones season eight will arrive on HBO in April, 2019.
What better way to embrace the wintry weather than with some good old-fashioned outdoor moviegoing? This April and May, Sweethearts Rooftop is serving up the a cinematic experience with a new season of cult classic film screenings hosted up on its roof. The best part? It's free. Running every Tuesday and Wednesday from 7pm, the bar atop the Potts Point Hotel will be breaking out the projector to show a range of classics, including titles like Zoolander, Dumb and Dumber and Edward Scissorhands. There will be some newer hits in there too, like The Wolf of Wall Street and gut-wrencher Amy. The bar will be serving up slices from its newly installed pizza oven, and bags of popcorn and warm cocktails will also be available for purchase. If you're around early, happy hour runs from 4–6pm. The cinema will run every week until August 1, except on June 26 and 27. Image: James Ambrose.
Rockpool Dining Group is headed up to The Hills this month to open its ninth Sydney outpost of The Bavarian. The 350-seat German-style restaurant will open on Monday, May 14 at the Rouse Hill Town Centre and bring its oversized beers, food platters and sports-screening televisions along with it. The beer hall boasts 17 taps — think German mainstays like Löwenbräu, Stiegl and Hofbräu and local brews by Urban Craft Brewing — along with an outdoor beer garden. The fit-out will follow suit of the brand's existing venues and will include stone walls, alpine timber finishes, beer barrel tables and a stein chandelier, plus bar-side dining. Those massive, litre-sized beer steins that The Bavarian is known for serving are accompanied by hearty dishes like crispy pork knuckle with sauerkraut and creamy mash, or crackling pork belly with onion bier jus; plus a range of gourmet sausages, giant pretzels, share platters and loaded schnittys — from American, Mexican and Hawaiian to one that weighs an insanely hefty one-kilogram. Weekday deals include $15 lunch specials, all-you-can-eat meat platters on Mondays and two-for-one cocktails on Thursdays, along with a daily $5 drinks happy hour from 4–7pm. Apart from food and booze, The Bavarian is a go-to for watching sports, with several extra-large screens available throughout the space. Rockpool Dining Group — which was formed when Urban Purveyor Group acquired Neil Perry's Rockpool Group — has signed 15 new leases in the last 90 days, so we'll surely be hearing about more openings in the months to come. The Rouse Hill location not only marks the ninth across Sydney but is one of six additional Bavarians slated to open across the country in the next few months, including another in Castle Hill. So while it isn't necessarily new or breaking new ground, it is a significant opening for the suburb. The Bavarian Rouse Hill will open from 11am on Monday, May 14 at the Rouse Hill Town Centre, corner Windsor Road and White Hart Drive, Rouse Hill. For more info, visit thebavarians.com.
UPDATE: June 4, 2020: IT: Chapter Two is available to stream via Netflix, Google Play, YouTube and iTunes. It's possible to have too much of a good thing. An average thing as well. While Stephen King's horror maestro status is both undoubted and unparalleled, his books have frequently tested this idea, especially his 1138-page 1986 tome IT. A huge hit upon publication, the bestseller is the nerve-rattling cause of many clown phobias over the past three decades — but it's also as bloated as the bulging red balloons favoured by its flame-haired, make-up-clad antagonist. Bringing the novel's second timeline to the screen, IT: Chapter Two follows in its source material's meandering footsteps. Arriving hot on the heels of 2017's huge box office smash IT, yet proving painfully over-extended in its running time, this spooky sequel tasks audiences with pondering the same question as its characters: what if it never ends? Twenty-seven years after their first traumatic run-in with the malevolent evil that's known as IT, but usually takes the form of unhinged clown Pennywise (Bill Skarsgård), the Losers Club are all grown up and back home. Sparked into action by the obsessed Mike (Isaiah Mustafa), who hasn't left the small Maine town of Derry since the gang's scary childhood encounters, Bill (James McAvoy), Richie (Bill Hader), Beverley (Jessica Chastain), Eddie (James Ransone) and Ben (Jay Ryan) return to vanquish the otherworldly monster once and for all. Although their memories are initially foggy, and getting everyone on board takes some convincing, the group has ample motivation. If they fail, IT will wreak havoc yet again in 27 more years. Given that their own lives were forever changed by the spine-chilling figure — and given that IT is doing a great job of creeping out and killing new kids this time around — that's a fate that no one wants. When Mama director Andy Muschietti first brought IT back to the screen two years ago, he traded upon nostalgia, jumped on a trend and knew that, when all else fails, unsettling imagery works a charm. Popular culture's Stranger Things-inspired love of retro thrills hasn't subsided since, and nor has its fascination with King's oeuvre. If anything, they've both increased in the wake of the first flick's blockbuster success. Still, IT: Chapter Two feels like a case of stretching a concept to breaking point. It never escapes attention that Pennywise can evolve into a host of different shapes, each more unnerving than the last, however the film he's in doesn't dare contemplate anything similar. Instead, the movie is eager to prolong its formula for as long as possible. When that's not enough, it indulgently nods to everything from The Shining to The Thing, and even opts for the ultimate in fan service by giving King himself some screen-time. Muschietti and screenwriter Gary Dauberman (Annabelle Comes Home) may have a hefty amount of text to sort through, but there's not actually that much to IT: Chapter Two's story. The Losers Club heads home, trudges through difficult memories and confronts IT, as well as the impact it's had on their adult lives, working their way through a series of escalating funhouse-style set-pieces in the process. Indeed, the film's elongated mid-section encapsulates its troubles perfectly. Spending time with each of the gang as they scour Derry for tokens from their youth, the movie switches between the teen and current versions of every character, lets them each encounter Pennywise and sorts through their respective demons — and, while each vignette has more than a few standout moments, the cycle quickly becomes repetitive. The approach also sucks much of the tension out of the picture. Audiences have seen the first film, are aware that 1989's Bill (Jaeden Martell), Richie (Finn Wolfhard), Beverley (Sophia Lillis) and company survive until the events of this movie, and know that a big group showdown pitting the 2017 gang against their nemesis is inevitable. As a result, as visually effective as these blasts from the past prove, they're the narrative equivalent of treading water. IT circa 2017 was always at its strongest when it was inciting coulrophobia, as aided by Skarsgård's exceptionally demented performance, plus a clown car full of well-crafted special effects. For all the added star power that IT: Chapter Two boasts, the same remains true here. Individual images lodge themselves in the mind — Pennywise' deranged grin, fortune cookies morphing into attacking critters and a mirror maze altercation that's as disturbed as the one featured in Us earlier this year — more than anything else in the movie. Indeed, despite the big names joining the cast, this isn't an actor or character-driven picture. The Disappearance of Eleanor Rigby co-stars McAvoy and Chastain aren't given much room to unleash their talents, though they fare better than their last dismal pairing in X-Men: Dark Phoenix. In Ransome, Mustafa and Neighbours alumni Ryan's case, they're all tasked with sticking to a single type (neurotic, paranoid and, with the latter, sensitive and unexpectedly attractive). And while the ever-likeable Hader fares best, it's primarily because Richie is now a stand-up comic, so the actor is firmly in familiar territory. Even when IT: Chapter Two overtly attempts to address its struggles and pre-empt any criticism, it can't convincingly hit the mark. Being stuck reliving history sits at the very core of the movie, yet the notion is undermined by Muschietti's willingness to let his adult actors largely ape their teen counterparts, rather than add flesh to their shared protagonists. With Bill specifically, the character is now a King surrogate who has a problem with endings, which'd be a solid joke if the film didn't tussle with wrapping things up just like the prolific author does. That misstep also points to something rather terrifying: in today's sequel and franchise-friendly world, this horror saga probably won't end here, even though it has expended its source material. Nightmares recur, of course, but they're rarely as routine as IT: Chapter Two whenever its unbalanced boogeyman is out of sight. https://www.youtube.com/watch?v=bBO1dO1a4ro
Dario Argento's 1977 film Suspiria continues to delight and thrill horror film enthusiasts — even Call Me By Your Name Director Luca Guadagnino did a remake of the cult classic in 2018. So if you're a cinephile, you won't want to miss this uncensored Sydney Solstice's screening of the Italian original. Happening on Thursday, June 18, the screening comes complete with a live music element, too. So, make tracks to old-school Surry Hills cinema Golden Age to catch a string quartet featuring members of Sydney Symphony Orchestra's Fellowship program performing music inspired by the chilling film. Then, grab some popcorn and watch Suspiria splash all of its pink-and-red-hued glory across the big screen. You can prep for your supernatural adventure by grabbing a cocktail and snacks from the on-site bar, too. [caption id="attachment_779829" align="alignnone" width="1920"] Cassandra Hannagan[/caption] Top image: Suspiria, copyright Golden Age Cinema
Next time you fly domestically, you might notice something missing during your time in the air. Virgin Australia has announced an overhaul of its menus, effective immediately, with one big change bound to hit economy passengers' stomachs: the scrapping of free snacks. Those small bites to eat that helped stop your hunger pangs while zipping around the country have been axed, in favour of a new lineup of snacks to purchase. The airline says that it "has found that travellers would prefer to choose their own food and beverage in a buy onboard model on domestic flights, instead of receiving a predetermined snack." It also advises that the price of the snack has been taken out of the company's economy ticket prices, making them slightly cheaper. So, unless you stock up on food in the airport, you'll be forking out some cash while you're in the air — on cheese and crackers, muffins, chips, chocolate, lollies and two types of noodles. The drinks list includes soft drinks, hot chocolates, wine, beer, spirits and premixed gin and sodas, but you will still get complimentary tea, coffee and water. Virgin plans to expand its economy menu down the line, too, once the demand for flights gets back to near pre-pandemic levels. For those travelling in business class, the airline has dropped a bigger range of hot meals and salads, including smashed avocado on sourdough for breakfast, haloumi and quinoa salad for lunch, and lamb and rosemary pie for dinner, all of which is being served on crockery and glassware — and with proper cutlery as well. For more information about Virgin Australia's menu changes — which are in effect now — head to the airline's website.
Let's hear it for the girls. Beauty and lifestyle website Outergold is launching All Your Gold, a year-long art series showcasing new works by contemporary female artists. To mark the beginning of the series, Outergold is putting on an exhibition featuring the work of all 12 artists at the Tate Gallery. "When we launched Outergold, we really wanted the store to be a hub for customers that also share our passions for things we love beside beauty — music, travel and art," say co-founders Bridget Rusk and Carney Nir. The exhibition showcases the work of typographers, street artists, illustrators, textile artists, photographers and everything in between. Featured international artists include illustrator and Wes Anderson titles letterer Jessica Hische, Hannah Stouffer and Cara Stricker. Australian-based artists whose work will be included are Gemma O'Brien, Biddy Maroney of Webuyyourkids, Miso, Cat Rabbit, Syke, Takie, Greedy Hen, Furry Little Peach, and Jacqueline Bui. Look for a different artist to be highlighted each month over the next year on the Outergold website.
'Madchester' pioneers the Happy Mondays have just announced an Australian tour — the first time that the original lineup of one of the most influential bands of their generation have made it all the way Down Under. Alongside bands like New Order and the Stone Roses, Happy Mondays were key to the development of the Madchester sound that defined the early '90s and revitalised English music, rescuing it from the ignominy of Spandau Ballet and Duran Duran. Fusing traditional pop elements with funk, northern soul and acid house, Happy Mondays were the poster band for the explosion of rave culture in the UK and released two iconic albums — Bummed and Pills 'n' Thrills and Bellyaches — that remain essential listening today. Supporting them will be fellow Madchester icons 808 State for a special DJ set. Formed in Manchester in 1988 by Graham Massey, Martin Price and Gerald Simpson, 808 State's first album, Newbuild, is now regarded as a milestone in UK electronica. As the NME observed, "808 State revolutionised a whole genre of music in the late-'80s, inspiring Underworld, Orbital and the Chemical Brothers in the process."
With a certain mid-November leaders' summit coming up ever sooner, you'd be forgiven for succumbing to some of the niggling public confusion that's abounding in Brisbane. Common questions are "What even is the G20?" and, more importantly, "Do I get a public holiday?" While we can't answer those ones for you, we can tell you that reigning Brisbane burger empire Burger Urge is crafting a special, G20-exclusive burger that'll give meaning and purpose to those coming three days of inevitable road closures, military-level security, and jokes about presidents with a penchant for macho publicity stunts involving doing equestrian sports in the (semi) nude. It's called The Big Bad Vlad, it's billed as the "taste of G20," and it's only available when the G20's happening — November 14, 15 and 16. Burger Urge say they're not naming names, and that "The Big Bad Vlad in no way singles out any individual leader." But with the timely tagline "Shirtfront one today!", picking up one of these babies is basically the same as giving a big fat up yours to a certain oppressive leader of an unnamed ex-Soviet megastate, a la this. (The cringe level on that one is high, click at your own discretion.) The Big Bad Vlad comes from a long tradition of continually rotating Burger Urge specials. Recently they've cooked up Fat Elvis burgers with lashings of bacon and three types of sauce, made magic of a plain ol' bun with pork and fried noodles and called it The Genghis Khan, and gone all US of A with ranch sauce and cheddar for The Manhattan Project. Now, while world leaders and delegates are discussing Important Stuff like the future of world economies and labour mobility, you can do your bit for sticking it to the shirtless horse-riding man. So what, according to Burger Urge, does that undoubtedly highly satisfactory feeling taste like? Although the burger contains their much-loved thick-cut fries, the Vlad is far from being your regular old chip butty — this is a megalithic stack of two chicken breasts, two rashers of bacon, two slices of cheese, lettuce 'n' tomato, and a dollop of sweet chilli mayo that you'll be hard pressed not to slop all down your own shirtfront. Yeah. Shirtfront that one, Mr. President-Who-Shall-Not-Be-Named. Image by Ria Novosti.
Sydney Harbour's not the only one crankin' killer fireworks. Pack a picnic and find yourself a prime spot for the Parramatta New Year's Eve fireworks. There are two spots to pick from: Parramatta River Foreshore (between Lennox Bridge and Parramatta Wharf) and Parade Ground, Old Kings School, O'Connell Street and Marsden Street. It's free entry and the fireworks kick off at 9pm, so it's a good option if you're off to a big ol' party or two later on. There'll be family-friendly entertainment, amusement rides, showbags and food and drink stalls, alongside performances from hip hop pyro-circus act Dauntless Movement Crew and jet-ski pyrotechnics. Big tip: it's strictly alcohol and glass-free, so make this one a pre-event before your boozy escapades later. Image: Dollar Photo Club.
Streaming services overflow with TV series to watch, with new titles added daily, but the best of them achieve a particular feat. We all have our favourite television show that it feels like we live inside; however, that isn't a sensation that any old program can manage. From 2023's new TV offerings so far, only the best of the best can make that claim. If you've already started planning a move to Tasmania thanks to an Australian murder-mystery comedy, you understand this. If you feel in your bones like you know how you'd react to the apocalypse, or having Pedro Pascal as your surrogate dad, you do as well. And if you just want to hang out in a coffee cafe with Aussie comedians, you're definitely ticking that box. They're some of 2023's best new TV shows so far — the series that, no matter how little couch time you have or how easy it is to just revisit Parks and Recreation again, you need to see. After hours and hours of viewing, we've chosen 15 of them now that 2023 is halfway through. Play catchup and you won't be able to say that you don't have anything to watch before the year is through. DEADLOCH Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and one of the streaming highlights of the year. Deadloch streams via Prime Video. Read our full review. I'M A VIRGO No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, as Riley is, and he wants to ensure that his audience knows it. Indeed, I'm a Virgo is a show with something to say, and forcefully. Its creator is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. As Cootie wades through these experiences himself, there isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. I'm a Virgo streams via Prime Video. Read our full review. DEAD RINGERS Twin gynaecologists at the top of their game. Blood-red costuming and bodily fluids. The kind of perturbing mood that seeing flesh as a source of horror does and must bring. A stunning eye for stylish yet unsettling imagery. Utterly impeccable lead casting. When 1988's Dead Ringers hit cinemas, it was with this exact combination, all in the hands of David Cronenberg following Shivers, The Brood, Scanners, Videodrome and The Fly. He took inspiration from real-life siblings Stewart and Cyril Marcus, whose existence was fictionalised in 1977 novel Twins by Bari Wood and Jack Geasland, and turned it into something spectacularly haunting. Attempting to stitch together those parts again, this time without the Crimes of the Future filmmaker at the helm — and as a miniseries, too — on paper seems as wild a feat as some of modern medicine's biggest advancements. This time starring a phenomenal Rachel Weisz as both Beverly and Elliot Mantle, and birthed by Lady Macbeth and The Wonder screenwriter Alice Birch, Dead Ringers 2.0 is indeed an achievement. It's also another masterpiece. Playing the gender-swapped roles that Jeremy Irons (House of Gucci) inhabited so commandingly 35 years back, Weisz (Black Widow) is quiet, calm, dutiful, sensible and yearning as Beverly, then volatile, outspoken, blunt, reckless and rebellious as Elliot. Her performance as each is that distinct — that fleshed-out as well — that it leaves viewers thinking they're seeing double. Of course, technical trickery is also behind the duplicate portrayals, with directors Sean Durkin (The Nest), Karena Evans (Snowfall), Lauren Wolkstein (The Strange Ones) and Karyn Kusama's (Destroyer) behind the show's lens; however, Weisz is devastatingly convincing. Beverly is also the patient-facing doctor of the two, helping usher women into motherhood, while Elliot prefers tinkering in a state-of-the-art lab trying to push the boundaries of fertility. Still, the pair are forever together or, with unwitting patients and dates alike, swapping places and pretending to be each other. Most folks in their company don't know what hit them, which includes actor Genevieve (Britne Oldford, The Umbrella Academy), who segues from a patient to Beverly's girlfriend — and big-pharma billionaire Rebecca (Jennifer Ehle, She Said), who Dead Ringers' weird sisters court to fund their dream birthing centre. Dead Ringers streams via Prime Video. Read our full review. THE LAST OF US If the end of the world comes, or a parasitic fungus evolves via climate change, spreads globally, infests brains en masse and almost wipes out humanity, spectacular video game-to-TV adaptation The Last of Us will have you wanting Pedro Pascal in your corner. Already a standout in Game of Thrones, then Narcos, then The Mandalorian, he's perfectly cast in HBO's latest blockbuster series — a character-driven show that ruminates on what it means to not just survive but to want to live and thrive after the apocalypse. In this smart and gripping show (one that's thankfully already been renewed for season two, too), he plays Joel. Dad to teenager Sarah (Nico Parker, The Third Day), he's consumed by grief and loss after what starts as a normal day, and his birthday, changes everything for everyone. Twenty years later, he's a smuggler tasked with tapping into his paternal instincts to accompany a different young girl, the headstrong Ellie (Bella Ramsey, Catherine Called Birdy), on a perilous but potentially existence-saving trip across the US. Starting to watch The Last of Us, or even merely describing it, is an instant exercise in déjà vu. Whether or not you've played the hit game since it first arrived in 2013, or its 2014 expansion pack, 2020 sequel or 2022 remake, its nine-part TV iteration ventures where plenty of on-screen fare including The Road and The Walking Dead has previously trodden. The best example that springs to mind during The Last of Us is Station Eleven, however, which is the heartiest of compliments given how thoughtful, empathetic and textured that 2021–22 series proved. As everything about pandemics, contagions and diseases that upend the world order now does, The Last of Us feels steeped in stone-cold reality as well, as spearheaded by a co-creator, executive producer, writer and director who has already turned an IRL doomsday into stunning television with Chernobyl. That creative force is Craig Mazin, teaming up with Neil Druckmann from Naughty Dog, who also wrote and directed The Last of Us games. The Last of Us streams via Binge. Read our full review. THE MAKANAI: COOKING FOR THE MAIKO HOUSE At the beginning of The Makanai: Cooking for the Maiko House, 16-year-old best friends Kiyo (Nana Mori, Liar x Liar) and Sumire (Natsuki Deguchi, Silent Parade) leave home for the first time with smiles as wide as their hearts are open. Departing the rural Aomari for Kyoto in the thick of winter, they have internships as maiko lined up — apprentice geiko, as geishas are called in the Kyoto dialect. Their path to their dearest wishes isn't all sunshine and cherry blossoms from there, of course, but this is a series that lingers on the details, on slices of life, and on everyday events rather than big dramatic developments. Watch, for instance, how lovingly Kiyo and Sumire's last meal is lensed before they set out for their new future, and how devotedly the camera surveys the humble act of sitting down to share a dumpling soup, legs tucked beneath blankets under the table, while having an ordinary conversation. Soothing, tender, compassionate, bubbling with warmth: that's The Makanai: Cooking for the Maiko House from the outset. There's a key reason that this cosy and comforting new treasure overflows with such affection and understanding — for its characters, their lives and just the act of living. Prolific writer/director Hirokazu Kore-eda simply isn't capable of anything else. Yes, Netflix has been in the auteur game of late, and The Makanai: Cooking for the Maiko House is unmistakably the work of its rightly applauded creative force. One of the biggest names in Japanese cinema today, and the winner of the received Cannes Film Festival's Palme d'Or back in 2018 for the sublime Shoplifters, Kore-eda makes empathetic, rich and deeply emotional works. His movies, including the France-set The Truth and South Korea-set Broker, truly see the people within their frames. On the small screen, and hailing from manga, the nine-episode The Makanai is no different. It's also as calming as a show about friendships, chasing dreams and devouring ample dumplings can and should be. The Makanai: Cooking for the Maiko House streams via Netflix. RAIN DOGS In 2019's Skint Estate, Cash Carraway told all; A memoir of poverty, motherhood and survival completes the book's full title. Penned about working-class Britain from within working-class Britain, Carraway's written jaunt through her own life steps through the reality of being a single mum without a permanent place to live, of struggling to get by at every second, and of being around the system since she was a teenager. It examines alcoholism, loneliness, mental illness and domestic violence, too, plus refuges, working at peep shows, getting groceries from food banks and hopping between whatever temporary accommodation is available. Rain Dogs isn't a direct adaptation. It doesn't purport to bring Carraway's experiences to the screen exactly as they happened, or with slavish fidelity to the specific details. But this HBO and BBC eight-parter remains not only raw, rich, honest and authentic but lived in, as it tells the same story with candour, humour, warmth and poignancy. Slipping into Carraway's fictionalised shoes is Daisy May Cooper — and she's outstanding. Her on-screen resume includes Avenue 5 and Am I Being Unreasonable?, as well as being a team captain on the latest iteration of Britain's Spicks and Specks-inspiring Never Mind the Buzzcocks, but she's a force to be reckoned with as aspiring writer and mum (to Iris, played by debutant Fleur Tashjian) Costello Jones. When Rain Dogs begins, it's with an eviction. Cooper lives and breathes determination as Costello then scrambles to find somewhere for her and Iris to stay next. But this isn't just their tale, with the pair's lives intersecting with the privileged but self-destructive Selby (Jack Farthing, Spencer), who completes their unconventional and dysfunctional family but tussles with his mental health. Including Costello's best friend Gloria (Ronke Adekoluejo, Alex Rider), plus ailing artist Lenny (The Young Ones legend Adrian Edmondson), this is a clear-eyed look at chasing a place to belong — and it's stunning. Rain Dogs streams via Binge. Read our full review. SILO Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part series — which leaps to the screen from Hugh Howey's novels, and shares a few basic parts with Metropolis, Blade Runner and The Platform, as well as corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — she's soon playing detective. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. Silo streams via Apple TV+. Read our full review. AUNTY DONNA'S COFFEE CAFE If comedy is all about timing, then Aunty Donna have it — not just onstage. In 2020, Aunty Donna's Big Ol' House of Fun was the hysterical sketch-comedy series that the world needed, with the six-episode show satirising sharehouse living dropping at the ideal moment. While the Australian jokesters' Netflix hit wasn't just hilarious because it arrived when everyone had been spending more time than anyone dreamed at home thanks to the early days of the pandemic, the ridiculousness it found in domesticity was as inspired as it was sidesplittingly absurd. Three years later, heading out is well and truly back, as are Aunty Donna on-screen. Their target in Aunty Donna's Coffee Cafe: cafe culture, with Mark Samual Bonanno, Broden Kelly and Zachary Ruane returning to make fun of one of the simplest reasons to go out that there is. Grabbing a cuppa is such an ordinary and everyday task, so much so that it was taken for granted until it was no longer an easy part of our routines. Unsurprisingly, now that caffeine fixes are back and brewing, Aunty Donna finds much to parody. With fellow group members Sam Lingham (a co-writer here), Max Miller (the show's director) and Tom Zahariou (its composer), Aunty Donna's well-known trio of faces set their new six-parter in the most obvious place they can: a Melbourne cafe called 'Morning Brown'. The track itself doesn't get a spin, however, with the show's central piece of naming is its most expected move. As demonstrated in episodes that turn the cafe into a courtroom, ponder whether Broden might still be a child and riff on Australian Prime Minister Harold Holt's 1967 disappearance, nothing else about Aunty Donna's Coffee Cafe earns that description. Pinballing in any and every direction possible has always been one of the Aussie comedy troupe's biggest talents, with their latest series deeply steeped — riotously, eclectically and entertainingly, too — in that approach. Think: Richard Roxburgh (Elvis) playing Rake, even though that's not his Rake character's name; Looking for Alibrandi's Pia Miranda making tomato day jokes;. stanning Gardening Australia and skewering unreliable streaming services, complete with jokes at ABC iView's expense; and relentlessly giggling at the hospitality industry again and again. Aunty Donna's Coffee Cafe streams via ABC iView. Read our full review. BEEF As plenty does (see also: Rye Lane above), Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. Beef streams via Netflix. Read our full review. POKER FACE Cards on the table: thanks to Russian Doll and the Knives Out franchise, Natasha Lyonne and Rian Johnson are both on a helluva streak. In their most recent projects before now, each has enjoyed a hot run not once but twice. Lyonne made time trickery one of the best new shows of 2019, plus a returning standout in 2022 as well, while Johnson's first Benoit Blanc whodunnit and followup Glass Onion: A Knives Out Mystery were gems of the exact same years. The latter also saw the pair team up briefly — Lyonne and Johnson, that is, although getting a Russian Doll-meets-Knives Out crossover from the universe, or just the Netflix algorithm, would be a dream. Until that wish comes true, there's Poker Face. It's no one's stopgap or consolation prize, however. This new mystery-of-the-week series is an all-out must-see in its own right, and one of 2023's gleaming streaming aces already. Given its components and concept, turning out otherwise would've been the biggest head-scratcher. Beneath aviator shades, a trucker cap and her recognisable locks, Lyonne plays detective again, as she did in Russian Doll — because investigating why you're looping through the same day over and over, or jumping through time, is still investigating. Johnson gives the world another sleuth, too, after offering up his own spin on Agatha Christie-style gumshoes with the ongoing Knives Out saga. This time, he's dancing with 1968–2003 television series Columbo, right down to Poker Face's title font. Lyonne isn't one for playing conventional detectives, though. Here, she's Charlie Cale, who starts poking around in sudden deaths thanks to an unusual gift and a personal tragedy. As outlined in the show's ten-part first season, Charlie is a human lie detector. She can always tell if someone is being untruthful, a knack she first used in gambling before getting on the wrong side of the wrong people. Then, when a friend and colleague at the far-from-flashy Las Vegas casino where Charlie works winds up dead, that talent couldn't be handier. Poker Face streams via Stan. Read our full review. MRS DAVIS It was back in March 2022 that the world first learned of Mrs Davis, who would star in it and which creatives were behind it. Apart from its central faith-versus-technology battle, the show's concept was kept under wraps, but the series itself was announced to the world. The key involvement of three-time GLOW Emmy-nominee Betty Gilpin, Lost and The Leftovers creator Damon Lindelof, and The Big Bang Theory and Young Sheldon writer and executive producer Tara Hernandez was championed, plus the fact that Black Mirror: San Junipero director Owen Harris would helm multiple episodes. Accordingly, although no one knew exactly what it was about, Mrs Davis existed months before ChatGPT was released — but this puzzle-box drama, which is equally a sci-fi thriller, zany comedy and action-adventure odyssey, now follows the artificial intelligence-driven chatbot in reaching audiences. Indeed, don't even bother trying not to think about the similarities as you're viewing this delightfully wild and gleefully ridiculous series. There's also no point dismissing any musings that slip into your head about social media, ever-present tech, digital surveillance and the many ways that algorithms dictate our lives, either. Mrs Davis accepts that such innovations are a mere fact of life in 2023, then imagines what might happen if AI promised to solve the worlds ills and make everyone's existence better and happier. It explores how users could go a-flocking, eager to obey every instruction and even sacrifice themselves to the cause. In other words, it's about ChatGPT-like technology starting a religion in everything but name. To tell that tale, it's also about nun Simone (Gilpin, Gaslit), who was raised by magicians (Love & Death's Elizabeth Marvel and Scream's David Arquette), and enjoys sabbaticals from her convent to do whatever is necessary to bring down folks who practise her parents' vocation and the show's titular technology. She also enjoys quite the literal nuptials to Jesus Christ, is divinely bestowed names to chase in her quest and has an ex-boyfriend, Wiley (Jake McDorman, Dopesick), who's a former bullrider-turned-Fight Club-style resistance leader. And, she's tasked with a mission by the algorithm itself: hunting down the Holy Grail. Mrs Davis streams via Binge. Read our full review. SWARM Becky with the good hair gets a shoutout in Swarm. Facial bites do as well, complete with a Love & Basketball reference when the culprit flees. This seven-part series about a global pop sensation and her buzzing fans and stans also has its music icon unexpectedly drop a stunner of a visual album, ride a white horse, be married to a well-known rapper, become a mum to twins and see said husband fight with her sister in an elevator. Her sibling is also a singer, and plenty of folks contend she's the more interesting of the two. Still, Swarm's object of fascination — protagonist Dre's (Dominique Fishback, Judas and the Black Messiah) undying obsession — sells out tours, breaks Ticketmaster and headlines one of the biggest music festivals there is. And, while they call themselves the titular term rather than a hive, her devotees are zealous and then some, especially humming around on social media. Donald Glover and Janine Nabers, the show's creators and past colleagues on Glover's exceptional, now-finished Atlanta — Nabers also worked on Watchmen, too — couldn't be more upfront about who they're referring to. No one says Beyoncé's name, however, but Swarm's Houston-born music megastar is the former Destiny's Child singer in everything except moniker. In case anyone watching thinks that this series is trading in coincidences and déjà vu, or just failing to be subtle when it comes to Ni'Jah (Nirine S Brown, Ruthless), the Prime Video newcomer keeps making an overt opening declaration. "This is not a work of fiction. Any similarity to actual persons, living or dead, or events, is intentional," it announces before each episode. From there, it dives into Dre's journey as a twentysomething in 2016 who still adores her childhood idol with the same passion she did as a teen and, instalment by instalment, shows how far she's willing to go to prove it. Swarm streams via Prime Video. Read our full review. CUNK ON EARTH If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to hit Australia in 2023 so far. This series is a comedy masterclass, in fact, featuring everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. It's flat-out masterful, too, and tremendously funny. This sometimes Technotronic-soundtracked five-part show's beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has also brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. After you're done with the character's latest spin, you'll want to devour the rest ASAP. Cunk on Earth streams via Netflix. Read our full review. SHRINKING Viewers mightn't have realised they'd been lacking something crucial until now, but Shrinking serves it up anyway: a delightfully gruff Harrison Ford co-starring in a kind-hearted sitcom. Creating this therapist-focused series for Apple TV+, Bill Lawrence, Brett Goldstein and Jason Segel didn't miss this new gem's immediate potential. Lawrence and Goldstein add the show to their roster alongside Ted Lasso, which the former also co-created, and the latter stars in as the also wonderfully gruff Roy Kent to Emmy- and Golden Globe-winning effect. It too bathes in warmth amid chaos, all while understanding, exploring and accepting its characters as the flawed folks we all are. As for Segel, he's no stranger to playing the type of super-enthusiastic and super-earnest figure he inhabits again here, as seen in Freaks and Geeks and How I Met Your Mother. If Ted Lasso downplayed the soccer, instead emphasising the psychologist chats that were a pivotal part of season two, Shrinking would be the end result. Also, if Scrubs, another of Lawrence's sitcoms, followed doctors specialising in mental health rather than working in a hospital, Shrinking would also be the outcome. Round up those familiar elements and details brought over from elsewhere, and Shrinking turns them into a series that's supremely entertaining, well-cast and well-crafted — and an engaging and easy watch. The focus: Segel (Windfall) as Jimmy Laird, a shrink grieving for his wife Tia (Lilan Bowden, Murderville), making bad decisions and leaving parenting his teen daughter Alice (Lukita Maxwell, Generation) to his empty-nester neighbour Liz (Christa Miller, a Scrubs alum and also Lawrence's wife). When he decides to start checking back in, and to also give his patients like young war veteran Sean (Luke Tennie, CSI: Vegas) some tough love, it causes ripples, including for his boss Paul (Ford, The Call of the Wild) and colleague Gaby (Jessica Williams, Fantastic Beasts: The Secrets of Dumbledore). Shrinking streams via Apple TV+. Read our full review. PLATONIC Sometime in the near future, Rose Byrne, Seth Rogen and filmmaker Nicholas Stoller could easily join forces on a new rom-com. In fact, they should. Until then, buddy comedy Platonic makes a hilarious, engagingly written and directed, and perfectly cast addition to each's respective resumes. Reuniting the trio after 2014's Bad Neighbours and its 2016 sequel Bad Neighbours 2, this new series pairs Australia's comedy queen and America's go-to stoner as longterm pals who are never anything but mates — and haven't been in touch at all for years — but navigate a friendship that's as chaotic and complicated as any movie romance. That's an easy setup; however, watching the show's stars bicker, banter and face the fact that life doesn't always turn out as planned together proves as charming as it was always going to. Also, Platonic smartly doesn't try to be a romantic comedy, or to follow in When Harry Met Sally's footsteps. Instead, Platonic explores what happens when two former besties have gone their own ways, then come back together. The show knows that reconnecting with old pals is always tinged with nostalgia for the person you were when they were initially in your life. And, it's well-aware that reckoning with where you've ended up since is an immediate side effect. Enter Sylvia (Byrne, Seriously Red), who reaches out to Will (Rogen, The Super Mario Bros Movie) after hearing that he's no longer with the wife (Alisha Wainwright, Raising Dion) she didn't like. She's also a suburban-dwelling former lawyer who put work on hold to become a mother of three, and can't help feeling envious of her husband Charlie's (Luke Macfarlane, Bros) flourishing legal career. Her old BFF co-owns and runs an LA brewpub, is obsessive about his beer and hipster/slacker image, and hasn't been taking his breakup well. They couldn't be in more different places in their lives. When they meet up again, they couldn't appear more dissimilar, too. "You look like you live at Ann Taylor Loft," is Will's assessment. Sylvia calls him "a '90s grunge clown." Neither is wrong. Platonic streams via Apple TV+. Read our full review. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We also keep a running list of must-stream TV from across the year so far, complete with full reviews.
Sydney’s only maker of small scale, non-bombastic opera, Sydney Chamber Opera, is kicking off its Carriageworks residency with a compact adaptation of David Malouf’s 1999 novella Fly Away Peter, with music by Elliott Gyger and libretto by the company’s artistic associate, Pierce Wilcox. Imara Savage directs the action on Elizabeth Gadsby’s impressive set of four white tiers, which transforms the large space at Carriageworks into the two worlds of Australian bush and the World War I battlefields of Europe. Fly Away Peter follows the story of Jim Saddler, a young man from country Queensland with a deep affinity for the bush and a love of birds. He finds a kindred spirit in fellow bird-watcher Imogen, an older photographer who lives nearby. As the world ‘tilts towards Europe’, Jim is swept along in the naive enthusiasm for war. Mitchell Riley’s performance as Jim is compelling and really takes off when he steps out of reality and into a hellish phantasmagoria predicting an endless continuation of industrialised war, consuming not only young men but eventually also the old and women and children. He is well supported by Brenton Spiteri playing Jim’s friend Ashley Crowther and fellow soldiers, and Jessica Aszodi as Imogen. A central motif in Malouf’s novella is that of digging in earth; a farmer plants seed during wartime, graves are dug, and an endless field of fallen soldiers digs into the earth in the afterlife. Gadsby meets this design challenge by using white clay in numerous navy blue buckets, which the cast of three dig into and cover themselves with. It’s an effective device. Verity Hampson’s lighting design seems to get lost in the large space, and while she makes some interesting demarcations on the stark white set, they don’t seem to signify much in particular. The opera is impressively concise, but the transitions from pre-war Australian idyll to the horrors of the Western Front and back to Imogen in Australia are not given the time they warrant and at times Savage’s direction seems rushed. In particular, Imogen’s moment of reflection watching a surfer in the waves is the novella’s final moment of hope that life will continue despite war, and yet this scene in the opera arrives unheralded musically or theatrically. It appears as a small comment following the previous scene. Despite this, the opera is original and captivating. Opera can be a real pain — dramatic, lengthy and loud — but thankfully the Australian Chamber Opera continues to produce snappy, sophisticated works. Read our feature on Sydney Chamber Opera and find out why they're into writing all-new operas in 2015.
In a move that's all about nurturing new talent, Sydney Dance Company and Carriageworks have invited five emerging choreographers from around the country to create works with some of the top contemporary dancers from the Sydney Dance Company ensemble. The result is New Breed — and this is the first iteration of what will be a three-year initiative. The paintings of Australian artist Stephen Bush are reimagined in dance form in Lee Serle's White Elephant, while Juliette Barton's Scrutineer turns the audience into voyeurs, as the dancer morphs, dissects and reconfigures in front of them. And in Cass Mortimer Eipper's Dogs and Baristas, five dancers resolutely take all the affection they can get from the little interactions — like when the barista you can't ignore flashes you a smile with his pearly whites over the coffee machine and hopes you have a great day (like he really means it). New Breed is a compilation of works that are sometimes probing, sometimes comical and always bold — in the universal style of the new breed.
Sometimes, you just need to get away from it all. And what better way to do that, than escaping to your own private luxury villa, floating offshore from Sydney's famed Palm Beach? The newly launched Lilypad is a lavish, resort-style escape that's right at home on the northern beaches, and it's got a super exclusive booking system to match. The venue's available only to members, with only ten memberships up for grabs each year. Of course, it's much more than just a pretty face — the floating paradise has also been built with big respect for its natural environment, running entirely off solar power. And it's been cleverly engineered to remain stable, while still embracing the natural movements and rhythms of the water below. After all, a bout of seasickness doesn't exactly scream 'luxury'. This designer Lilypad can only sleep two, but can also be used to host events with friends and fam. It comes decked out with an on-board 40-bottle wine cellar — which you have unlimited access to — and comes stocked with a handy array of water equipment, including paddleboards, snorkel gear and a floating daybed. Guests can expect even more luxury, with their own private concierge and a self-drive luxury personal vessel for exploring the surrounds, along with gourmet meals and premium booze throughout their stay. Throw down some more money if you fancy adding on upscale extras like a private chef, seaplane transfers and on-board spa treatments. To enjoy your slice of floating luxury, you'll need some big cash to splash — membership packages clock in at $3600 per month on a 12-month contract ($43,200 year) which scores you 18 annual uses of the venue. So, if you use it all 18 times, it works out to $2400 a visit. The first ten members will be selected in early 2019. To apply, head to lilypadpalmbeach.com.au.
Port Macquarie's Festival of the Sun has been running for nearly two decades, and the boutique summer music festival is still bringing the goods. The lineup for May has just been released and it looks like it'll be another doozy. Hermitude, Skeggs, Middle Kids and San Cisco lead the three-day fest's bill, with Ruby Fields, A Swayze and The Ghosts, The Buoys, Caitlin Harnett and the Pony Boys, Concrete Surfers and First Beige lending their voices too. The list goes on, so get ready for a big couple of days of music. Running between Thursday, May 19—Saturday, May 21, the camping festival is also — excitingly — BYO, so you don't need to spend your hard-earned cash on overpriced UDLs. Alongside the lineup of live music, there will also be a heap of food trucks (serving everything from burgers to vegan fare), silent discos and silent comedy. Tickets go on sale at 10am on Thursday, April 15. FESTIVAL OF THE SUN 2022 LINEUP Hermitude Skeggs San Cisco Ruby Fields Middle Kids A Swayze and The Ghosts The Buoys Caitlin Harnett and the Pony Boys Concrete Surfers First Beige Hayley Mary Jelly Oshen Kim Churchill Lazywax Liyah Knight The Rions Romero Pink Matter The Oogars Saint Lane Radolescent Boycott Fungas Palomino Updated Tuesday, May 3.
We have a quick chat with the people behind new theatre company Arthur about their new play Dirtyland, and their novel approach to funding the project. If you want to score some tickets to the play, and support new Australian theatre in the future, head to their funding page, but be quick, there's only one day left! Tell us a little about yourselves? We are Arthur and we are a brand new independent theatre company in Sydney. Our motto — well one of them — is organised chaos. This means, amongst other things, that we're pretty interested in having fun in making our work — and in delivering a fair amount of heart and a wallop of surprise to our audience. To split Arthur into personalities, we are Paige Rattray (director), Elise Hearst (writer) and Belinda Kelly (producer). You can meet Paige and Elise here, as they spruik for Arthur's first production, Dirtyland on the Pozible crowdfunding website. The Arthur people have a common link with the mighty Griffin Theatre Co in Kings Cross. Paige, a recent NIDA directing graduate, is a current resident director there. Elise, who has had residencies further afield including at The Royal Court, was resident writer in 2009, and Belinda is the company's Artistic Associate. Tell us a little about your project? We will be bringing the world premiere of Dirtyland to Sydney audiences in April as part of the inaugural Spare Room season at the New Theatre. This eight-character play is set in an unspecified village following the massacre of one half of the residents by the other. Nice. However, it's not just your standard post-apocolyptic tale. What should audiences expect? A play that is rowdy, entertaining, and, for those who fear an interval, pretty short. With live sound, epic atmospheres and striking visuals, the show is also pretty funny and very involving as you desperately barrack for our anti-heroes; willing them on to escape their dirty, dystopian world. Phew, that sounds full on, but fun no? What's the inspiration behind Arthur? We are setting up a new company because we want to make work that wouldn't otherwise see the light of day. Paige our director first came across Elise's writing while reading a stack of plays for a playwriting award. This was the beginning of Arthur. We didn't know it at the time, but we realized that this was the kind of work we needed to see and the only way it was going to happen was if we made it ourselves. Dirtyland is a cracking play that has generated a fair bit of industry interest, but the commercial reality is that a new play by a new writer with a cast of eight is never going to be a likely project to back for the main stage in Australia. What are your ambitions for the company in the future? We would like to stage 2-3 plays per year, and work on the development of a further 2 plays for future production. Arthur is very much interested in new Australian work, but also in creating devised work and text/performance/musical fusions. We plan to stay true to the company's touchstones of serious fun and organised chaos. Why have you taken the crowd-funding route? Because we only had three weeks' notice that we had secured a spot in the Spare Room season until rehearsals kicked off — yikes! The short lead time meant that we did not have access to more established forms of funding, such as government and foundation grants, nor the time to source company sponsorship. We decided to think laterally. I think we were actually drinking some beers at the pub and thinking of different models and really very much talking about old subscription models for publishing of books and so forth. The next day a few friends sent some links to crowdfunding websites, and we were off. It feels very much of the zeitgeist. How is it going? So far, so good. But — argh! We are 80% funded with a day left. Our target is $8000, so we have $1600 to go. Our target is high considering the amount of time until our project cuts off. In this all-or-nothing model, if you don't reach the target, the project receives none of the pledged funds. You also can't change the target or time limit once the project is away — so very nerve racking and we are obsessed with checking twenty times a day (give or take) to see if any more pledges have come in. It's going down to the wire!
