There's never been a better time to head out on a road trip and explore everything Australia has to offer. Lockdowns are ending, borders are reopening, live music is taking over regional NSW, and country towns need visitors more than ever after a year void of tourism and the fallout from the devastating 2019/20 bushfires. If you are heading out on the road you may want to bring your pet, after all, what good is a holiday if your four-legged best friend can't come with you. It's also completely fair to have some nervousness about travelling with your pets. Nobody wants to deal with a car-sick pup, or get to their lavish coastal accommodation to find it's not pet-friendly. We talked to veterinarian and Snooza Pet Products ambassador Dr Katrina Warren to ask all the questions you may have before you're joined by your favourite furry buddy on a week away to a pet-friendly stay. To help, we've also rounded up some of our favourite dog-friendly hotels around Australia. What's the best way to find pet-friendly accommodation? "These days, most booking websites have an option to search for pet-friendly accommodation, but just because a property says it accepts pets doesn't mean that it's well set up for pets. It is important to check individual house rules, such as whether the property is fenced and if pets are allowed inside." How often do dogs get car sick and what should I do if my dog does get car sick? "It is quite common for puppies and young dogs to get car sick, but they usually grow out of this. This is because the ear structures that are used for balance are not fully developed yet. Make sure you don't feed them before you start driving and stop frequently for breaks. Like us humans, it can help to have a window open to circulate fresh air and keep the car cool. Some adult dogs can still get car sick, which is when it's best to consult your vet about an effective plan, as there are some medications that can help." How often should we stop for water and toilet breaks for my pet? "I recommend stopping every couple of hours. Always make sure you have your dog on a leash when you bring them out of the car as dogs can panic in new environments and may run. Pack a portable dog bowl and clean water so you always have easy access to cool water." Is there a way I can test if my pet is well suited to travelling before we leave? "Most people have an idea of their pet's personality. A pet that does not enjoy car travel or gets anxious when they go to a new environment would probably be happier to stay home with someone caring for them. Crate training your puppy or adult dog can be extremely helpful, ensuring they are more comfortable when confined to their crate no matter where they are." Are pets likely to be stressed about sleeping in a new environment? How can I help comfort them if they are? "It really depends on the individual pet, but some pets may be anxious when away from their home base. I recommend packing your pet's own bedding so they have something familiar to sleep on. Some beds are easier to travel with than others — I love the Snooza Futon because it's warm in winter and cool in summer. The cover is removable and easy to wash and it doesn't take up a lot of space in the car. Anxious dogs may enjoy snuggling into the Snooza Calming Cuddler Bed." Should I get any specific vaccinations or tick/flea treatments before we leave? "You should make sure your pet's vaccination, worming and flea treatments are all up to date before you travel. If you are travelling to coastal areas of Victoria, NSW or Queensland you should also use a paralysis tick preventative. If you're unsure if there are paralysis ticks in the area you are visiting, I suggest calling ahead to the local vet in the area to ask." Any tips on how to keep pets happy and calm in the car? "While it may be tempting to cuddle your dog on your lap during a car trip, dogs should be restrained when travelling in the car. Keeping them secured behind a grill, in a crate, wearing a harness or dog seat belt are great ways to keep your pets safe, all of which are easiest to teach from when they are a puppy. Using a crate for small dogs and puppies helps keep them safe and comfortable. The Snooza Road Tripper is a handy way to keep your pets secured if they're travelling in the backseat, looking after your dog and your car interior in case they get dirty during walks throughout your trip."
Who knew that a simple zoom out could be so heartbreaking? Iranian-Kurdish journalist and Manus Island detainee Behrouz Boochani, that's who. Secretly recording his indefinite detention in Papua New Guinea's controversial facility for asylum seekers, it's a filmmaking flourish he uses several times throughout Chauka, Please Tell Us the Time. Shooting his restrained surroundings on a mobile phone, his camera captures images both scenic and ordinary — a beach and a communal space, for example — only to then lurch backwards to reveal bars obscuring the view. The statement Boochani makes with this stylistic choice might be obvious, but it's important. For the incarcerated, freedom and normality is so close and yet so far. That applies not only to peering beyond their fenced-in confines, but trying to flee oppression in search of a better life. They're ostensibly right next door to their ideal destination, Australia, and yet the place they're forced to inhabit couldn't be further from their dreams. Indeed, as they struggle with their imprisonment, endure a climate of violence, and make calls to their families back home, their situation more closely resembles a nightmare. Of course, this has all been splashed across countless news headlines; in fact, when the documentary was released in June last year, the Australian government had just that week settled a $70 million lawsuit with Manus Island detainees. But as 2016's Chasing Asylum demonstrated, there's a difference between hearing about the harsh conditions Boochani and company suffer through, and seeing them first-hand; just as there's a difference between seeing asylum seekers as a faceless mass, and getting to know their individual stories. A collaboration with Iranian-Dutch filmmaker Arash Kamali Sarvestani, who produced, edited and composed the suitably emotive score, the movie is less an interview-filled expose, and more a moody portrait of the daily reality of life on Manus Island. Men share tales of bleak incidents within the facility, and try to speak to wives, children and mothers left behind. In between, the camera roams — sometimes over bunk beds no one would want their worst enemy to sleep in, sometimes finding a kitten fenced in behind the wire. Poetic in its depiction of the banality of detainment while offering an impassioned polemic on a punitive regime, Chauka, Please Tell Us the Time is a film of juxtapositions — its subjects yearn for beauty while experiencing abject horror. It's no wonder, then, that Boochani and Sarvestani have chosen to name their feature after a term with a significant double meaning. 'Chauka' refers to both a local bird known for emitting noises at specific times, and the solitary confinement facility within the camp. The film is showing on Sunday, April 22 at the MCA as part of the 21st Biennale of Sydney. Tickets are only $10. https://www.youtube.com/watch?v=EwaVMPYEzrA
We're all partial to indulging with a little treat at the end of a long, hard day. For some, it's dessert. For others, it's a nip of single malt scotch. So it was only a matter of time before someone brought those two things together to create one decadent treat. Yes, we talking about a dessert-inspired whisky. That's exactly what Glenmorangie's Director of Whisky Creation Dr Bill Lumsden has done with his newest release, A Tale of Cake. Unafraid to take on a challenge, Lumsden started experimenting years ago by using dessert wine casks, sourced from Hungarian's award-winning producer Royal Tokaji, in the whisky aging process. He was interested to see how the distinctive sweetness of the dessert wine could complement the whisky. He began with the usual process of making Glenmorangie's single malt: distilling it in the towering copper stills and aging in bourbon casks to give its signature citrus notes. The product was then transferred to the Royal Tokaji casks for further aging. The end result was A Tale of Cake, a complex drop that releases tropical fruit aromas (passionfruit, peach and mango) and sweet candy-like flavours — think honey, white chocolate and apricot — followed by a smooth aftertaste of honeycomb, chocolate and nuts. If that description has your mouth watering, you'll be very pleased to learn that we have a bottle of this limited-edition drop to give away. Just enter your details below to be in the running. Can't wait that long? A Tale of Cake is also available to purchase from Boozebud, Porters and other leading independent bottle shops. And keep an eye out for the activation at Barangaroo's Smoke Bar later this month, where you'll get to try the new whisky in an experimental cocktail alongside an expertly paired dessert (aka the Glenmorangie Caketail). [competition]788757[/competition] Image: Kimberley Low
With his Edward Scissorhands hair and big staring eyes enlarged with his wife's eyeliner, Tim Minchin has made a name for himself as Australia's most ridiculously talented comedian and musician. In what seems like a surprising, but genius, move, he's taking to the road again, but this time he's bringing a 55-piece orchestra with him. Tim Minchin's most well-known songs include the 'Peace Anthem For Palestine,' which implores "if you don't eat pigs and we don't eat pigs why not not eat pigs together," 'Inflatable You,' about a man's love for his inflatable, anatomically correct lady friend, and 'If You Really Loved Me,' which outlines the reasons why real love is letting someone videotape you while you pee. The Sydney Symphony, on the other hand, is generally associated with more civilized fare, and seen by most of us at the free events they put on in the Domain during the summer. So surely, the combination of the two has to be a glorious thing. The show will combine new material that Minchin has specifically written with his orchestra in mind, as well as his more familiar songs. Tickets have been selling fast, and while the Opera House has added some extra dates it's probably a good idea to get in while you can for what will surely be an awesomely funny show. https://youtube.com/watch?v=ZGzhutyOMSk
Woolloomoolo's The Old Growler has (sadly) closed its doors, and an 80s-themed dive bar has taken its place. Chachi's takes 1980s kitsch to a whole new level with a loud fit-out, neon cocktails and trite food menu names. Like the 80s, the bar is home to some seriously bold patterns and a bright colour palette. Think vibrant painted tables, a Grace Jones mural and old-school arcade games. Behind the bar, it's got nostalgic wares like Polaroid cameras, Legos and Rubik's cubes, too. Even the drinks will match the colour scheme, with a neon blue Socom sour and seriously orange Hemmingway daiquiri joining modern favourites like negronis, espresso martinis and manhattans on the menu. The pub grub is over-the-top in its own right, with burgers like the Kevin with Bacon (chicken with bacon and beetroot) and Molly Ringwald (beef with wasabi beetroot coleslaw on brioche), and the Balboa on White jaffle — that's canned spaghetti with cheese. Though we wouldn't pay $12 for it, it is definitely a throwback to our microwaved Heinz days. The cauliflower and mac 'n' cheese jaffles are accompanied by loaded fries and fried chicken plates, plus a baked potato with sour cream. While the venue does sound like a bit of a gimmick to us — and we were big fans of The Growler — the Kings Cross location is well suited to a loud and proud dive bar. And Sydney could definitely do with a few more of those. Chachi's is now open at 218 William Street, Woolloomooloo. It's open Wednesday through Saturday from 5.3opm to midnight. For more info, visit chachis.com.au.
This autumn, the sweet fiends behind Victoria's hot chocolate and ice cream festivals launched a virtual month-long sugar extravaganza dedicated to sweet, nutty, marshmallowy rocky road. In place of its usual Yarra Valley Rocky Road Festival, the Yarra Valley Chocolaterie and Ice Creamery hosted online tasting sessions and giant boxes filled with 31 different flavours of rocky road. As metropolitan Melbourne reenters lockdown this July, it has brought back the latter. Until the end of lockdown (expected to be August 20), you can get the mammoth Ultimate Rocky Road Box delivered to your door for $110. Flavours include Golden Gaytime, Tim Tam, salted caramel macadamia, salty pretzel, Sour Patch, rum and raisin and many, many more. You can check out all of them here. Elsewhere on the shop's delivery menu, you'll find one-kilogram slabs of rocky road, a chocolate breakfast box and high tea sets. The boxes can be delivered anywhere within Australia for a flat rate of $15.
Are Nick Offerman and Megan Mullally comedy's funniest couple? Both together and apart, their resumes make a strong case for it. Here's another way to make that call: catching them live onstage together in Australia in their first-ever shared in-conversation session. It's a one-night-only date for the Parks and Recreation co-stars, happening to close out Vivid Sydney 2025. If you're as obsessed with one of the best American sitcoms of the 21st century as everyone should be, you will have spotted a trend at Vivid in the past two years. At 2024's festival, Amy Poehler was on the lineup, also getting chatting. Fingers crossed for Adam Scott or Rob Lowe in 2026. Yes, you should get the bacon and whisky ready for Offerman and Mullally. You should also prepare your ears for some high-pitched laughter. Making your own canoe? If you can, that's an appropriate way to celebrate, too. Taking place on Saturday, June 14, 2025 at the International Convention Centre Sydney, Offerman and Mullally's exclusive Vivid show is called Unscripted & Unfiltered with Nick Offerman & Megan Mullally, and falls into the Harbour City event's Global Storyteller series — which is also bringing Martha Stewart to the New South Wales capital in 2025, was why Poehler was on 2024's lineup, and has also seen The White Lotus' Jennifer Coolidge and Mike White, filmmakers Baz Luhrmann (Elvis) and Spike Lee (Da 5 Bloods), and Australia singer Troye Sivan get talking in past years. Parks and Recreation's on-screen Ron and Tammy Swanson were meant to tour to Australia together in 2016, but Mullally had to drop out due to a scheduling conflict, so Offerman came solo. When they finally make the trip by each other's side, the husband-and-wife duo have everything from their multi-hyphenate individual careers to collaborating as creative and real-life partners to dig into, alongside their LGBTQIA+ and environmental activism. "Megan and I are powerfully chuffed to get back to town for Vivid Sydney, but also to reprise our lovemaking session atop the Sydney Harbour Bridge. Once we have recharged those particular batteries, we'll be thrilled to transfer our slatternly energies to the Vivid Sydney audience," said Offerman, announcing Unscripted & Unfiltered with Nick Offerman & Megan Mullally. "Come for the anecdotes and the burlesque lust in our every turn of phrase, then get stretched out before you get home, because there's gonna be some canoodlin'." "We couldn't let Vivid Sydney take place this year without treating visitors to a masterclass in comedy. Nick and Megan are one of the funniest couples alive, and this conversation is set to be equal parts unpredictable and hilarious. Bolstering Vivid Sydney 2025's lineup alongside lifestyle icon Martha Stewart and the formidable Nigella Lawson, there really is something for everyone," added Vivid Sydney Festival Director Gill Minervini. Offerman and Mullally have also appeared on Will & Grace, Childrens Hospital, Smashed, Somebody Up There Likes Me, The Kings of Summer, Bob's Burgers, The Great North and Party Down together, to name just a few of their shared credits. The Last of Us, Civil War and the upcoming Mission: Impossible — The Final Reckoning are some of Offerman's recent other projects, while Dicks: The Musical, The Righteous Gemstones and Reservation Dogs are among Mullally's. Unscripted & Unfiltered with Nick Offerman & Megan Mullally takes place on Saturday, June 14, 2025 at the International Convention Centre Sydney, with tickets on sale on sale at 9am on Friday, May 9 via the festival website — and presales from 9am on Thursday, May 8 for Stan subscribers Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information. Top image: Emily Schur.
Michael Hing returns to the Sydney Comedy Festival with arguably the greatest pun title of the season. His show itself promises to be filled with terrific content too, for he’s one of the best storytellers on the Australian scene. By the end of the evening, you’ll realise you not only laughed a lot but learned a lot too, and that is a rare gift. This is one of our top picks of the Sydney Comedy Festival. Check out our full top ten.
Fast forward to the end of December and we all know we're going to be committing to staying fit come 2021 for our New Year's resolution. We may not follow through, but a fresh sportswear outfit can be some good motivation. If you're looking to get in early, LSKD is lending a helping hand by taking up to 70 percent off its sportswear in its huge Black Friday sale. Formed in 2007, LSKD (pronounced loose kid) is an Australian-owned and operated clothing company specialising in sportswear, streetwear and accessories. The company produces high-quality, stylish clothes for both men and women ready for a trip to the beach, gym or a night out. From 6pm Tuesday, November 24 until Thursday, December 3, LSKD will be offering a heap of its threads wildly low prices, from women's tights, tanks and sports bras to men's tees, hoodies and shorts. This is the brand's only sale of the year so check out the store and maybe save a few bucks. 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.
We're always coming up with new excuses for a road trip, from spectacular waterfalls to craft breweries. But one of the best is also one of the oldest — food. Drive two hours or less in any direction from Sydney and you're sure to come across at least one restaurant serving up lip-smackingly good dishes. Plus, these venues are usually surrounded by some dreamy views. For rolling vineyards and mountainous backdrops, head northwest to the Hunter Valley, while in the southwestern Southern Highlands you'll find landscaped gardens and magical forests. If you're after invigorating oceanic panoramas, then head up along the Central Coast. To make your next foodie road trip planning easier, we've teamed up with Citi to give you some of the best restaurants well worth the drive. Even better? With the Citibank Dining Program, if you pay with your Citi card at participating restaurants, you'll also receive a free bottle of wine. So, next time you need a break from the big smoke, jump behind the wheel and make a beeline for one of these beauties. The current bushfire season is particularly dangerous. Before you head on an out-of-town adventure, check the RFS NSW and NSW National Parks websites and heed any alerts and warnings. [caption id="attachment_679291" align="alignnone" width="1920"] Destination NSW.[/caption] BIOTA DINING, BOWRAL Biota Dining takes native ingredients seriously, bringing them to the forefront of most dishes. For head chef and owner James Vile, local produce isn't just a buzzword, but an ethos. In fact, even the word 'biota' refers to the animal and plant life of a particular region. Take a seat in the light-filled dining room and prepare for a genuine taste of the Southern Highlands. Working with the seasons, Vile's menus are ever-changing, with autumn dishes including a kangaroo bolognese jaffle as well as mud crab and creamed eggs with fushimi pepper. Choose between five or seven courses, with or without matching wines. Or, select from a complimentary bottle of Hunter Valley shiraz fiano or semillon thanks to the Citibank Dining Program. Biota Dining is a 90-minute drive southwest of the Sydney CBD or two to three hours by train from Central to Bowral. [caption id="attachment_556709" align="alignnone" width="1280"] Bells at Killcare[/caption] BELLS AT KILLCARE, CENTRAL COAST At the southern end of the Bouddi Peninsula, Bells at Killcare Boutique Hotel, Restaurant and Spa sits on a magnificent acreage of landscaped gardens that look like they could be the set of Downton Abbey. Book a table on the indoor terrace, at the bar or in the dining room and enjoy a free bottle of Barwang Tumbarumba pinot gris thanks to Citi. The menu is dedicated to authentic fare using seasonal produce from the estate's vegetable garden. Tuck into rigatoni with cuttlefish, nduja and pangrattato or the chicken ballotine stuffed with luganica sausage, farro, mushroom purée and pancetta. Bells at Killcare is a 90-minute drive northeast of the Sydney CBD. RESTAURANT BOTANICA, HUNTER VALLEY For vineyard views, Spicers Retreat's Restaurant Botanica is hard to beat, so we recommend you reserve a table by the window (if you can). Head chef Shayne Mansfield (ex-E'cco Bistro in Brisbane and City Social in London) whips up hearty, nourishing dishes with ingredients sourced from local Hunter Valley farmers and growers. The Hunter gets cold in winter so get started with a shiraz from nearby winery Mount Pleasant, which is on the house if you're a Citi cardholder. Or if you're more of a white drinker, there's also the winery's cellar-aged Elizabeth semillon available thanks to Citi. Foodwise, there's wagyu beef tartare with coal-roasted beetroot, onion buttermilk and sorrel oil and a pork dish with burnt butter roasted pumpkin, smoked pecans, orange and clove, among many other delights. You have a choice of two courses ($69) and three ($79). Plus, there's an extensive plant-based menu available, too. Restaurant Botanica is a two-hour drive north of the Sydney CBD. MUSE RESTAURANT, HUNTER VALLEY Found in the middle of Hungerford Hill Wine Estate inside a former industrial building, Muse Restaurant makes for a cosy escape from the city with a roaring fireplace and floor-to-ceiling windows. And, wherever you sit, you can watch the double-hatted open kitchen in action. For a long, lazy weekend lunch, the lunch tasting menu ($125) changes seasonally and is the way to go. This season, dishes include poached Hiramasa kingfish with Jerusalem artichoke, Lovedale finger lime, wakame and coastal succulents as well as a slow-cooked lamb breast with black garlic glaze, salt baked beetroot, plum and garlic chive. Being in the Hunter, Muse pours a bevy of local wines, including Mount Pleasant shiraz and chardonnay, both of which are free thanks to Citi. Let your free bottle of vino be the aperitif to what's to come — go the whole nine yards and opt for wine pairings with the tasting menu ($65 or $100 for premium wine pairings). You are dining at a vineyard, after all. Muse is a two-hour drive northwest of the Sydney CBD. CAVEAU, WOLLONGONG Caveau is found inside a cosy, low-lit space in downtown Wollongong. Since opening the restaurant back in 2005, head chef Peter Sheppard has scored a Good Food Chef's Hat every single year — so you know the meal that awaits you is well worth the trip. His ever-changing creations are works of visual and culinary art, where native ingredients are the heroes. Think crocodile ham with green ants, smoked black lip abalone with spanner crab and tomato, and magpie goose with onions, quandong and sea parsley. To complement these true blue Aussie treats, grab a bottle of the Yarra Valley Coombe Farm pinot noir for free thanks to Citi. Otherwise, Citi's offering the Framingham Marlborough sauvignon blanc if white's more your thing. And, assuming you're not the one driving, the seven-course degustation with wines to match is the encouraged way to go. Better yet, save the petrol, save the planet and take the train so all can enjoy those matching wines. Caveau is a 90-minute drive south of the Sydney CBD or just under two hours by train from Central to Wollongong. To get a free bottle of wine at your next meal, book at any one of Citi's participating restaurants, mention the offer at the time of booking and pay your bill with your Citi card. Top image: Biota Dining.
If seeing a flick at an Alamo Drafthouse cinema across the US, or at Nitehawk Cinema in Brooklyn, has always been on your film-watching to-do list, you'll soon be able to enjoy a similar experience without the overseas trip. Australia is set to welcome the homegrown FoMo Cinemas, which takes its cues from those two cult-favourite American names in the movie theatre business, has a December opening locked in and will set up shop at East Brunswick Village in Melbourne. When the Angelika Film Centre launched in Brisbane earlier in 2023, it brought a New York-born American arthouse cinema chain to Australia. Now, when FoMo Cinemas starts welcoming in patrons, it'll take its cues from US picture palaces, too. The concept: seeing films, of course, but making in-theatre eats as much as a drawcard. So, you'll watch blockbusters and retro titles, and you'll have a meal from a specialty menu brought to you. Barry Peak and Natalie Miller AO are behind FoMo Cinemas, with both boasting Carlton's Cinema Nova on their resumes. With this new independent venture, combining film and food is firmly the focus — and not just via popcorn and choc tops. Think of it as dinner and a movie all in one place, as the flick plays, in a cinema that's devoted to the concept. A chef will design the menu, with dishes made onsite and able to be ordered on-demand to be brought directly to your seat. Also a highlight: a 20-minute pre-show presentation. Alamo Drafthouse is particularly known for the latter, as specifically curated to suit its movies — and featuring clips sourced far and wide. Exactly what bites and sips will be available hasn't been revealed, and neither has the exact opening date or the on-screen lineup, but the latter will show latest releases, classics and curated picks. Cost-wise, movie tickets will be standard prices, the venue's website advises. When it starts its projectors whirring in East Brunswick Village, which is also newly opened itself, FoMo Cinemas is aiming to be a cinema experience rather than just another place to see a film. Melburnians, you'll have a new movie-worshipping spot to head to. Tourists from elsewhere, you'll have another entry on your next Melbourne itinerary. The Victorian capital will gain not one but two new cinemas in December, with Palace's latest Melbourne cinema in Moonee Ponds also launching the same month. View this post on Instagram A post shared by FoMo Cinemas (@fomocinemas) Find FoMo Cinemas at East Brunswick Village, 133 Nicholson Street, East Brunswick from December 2023 — we'll update you with an exact opening date when one is announced.
"He is the most accomplished man in Europe in riding, running, shooting, fencing, dancing, music." Writing in his diary in 1779 about Joseph Bologne, Chevalier de Saint-Georges, American Founding Father and future second US President John Adams didn't hold back with his praise. But the world has barely taken his cue in the nearly two-and-a-half centuries since, letting the tale of this gifted French Creole violinist, conductor and composer slip from wider attention. Within a sumptuous period drama that's charmingly, confidently and commandingly led by Kelvin Harrison Jr — with the Waves, The High Note, The Trial of the Chicago 7 and Cyrano star full of mesmerising swagger, and also endlessly compelling as a talent forced to struggle as a person of colour in a white aristocratic world — Chevalier endeavours to redress this failing of history. Veteran television director Stephen Williams (Watchmen, Westworld, Lost) and screenwriter Stefani Robinson (Atlanta, What We Do in the Shadows) begin their Bologne biopic boldly, playfully and with a front-on confrontation of the "Black Mozart" label that's surrounded their subject when he has been remembered — even if they also commence Chevalier with likely fiction. In pre-revolution Paris in the late 18th century, Wolfgang Amadeus Mozart (Joseph Prowen, Father Brown) has an enraptured crowd in his thrall as he both plays and conducts. He pauses, then prompts his audience for requests. The response comes as a surprise: Bologne striding down the aisle, asking if he too can pick up a violin, then getting duelling with the musical instrument against the acclaimed maestro. Williams and Robinson start their film with a statement, announcing that they're celebrating a life that's been left not only ignored and erased — especially in a realm that's so often considered old, stuffy and definitely not culturally diverse — but also been stuck lingering in someone else's shadow. Chevalier's opening scene is well-staged, instantly rousing and a clever kickoff that speaks volumes — also cheer-worthy, as its on-screen viewers heartily deem it — and, most crucially, it sets the tone for Bologne's continual battle. He won't go mano a mano with Mozart again, but he'll never stop fighting in various fashions. Being underestimated, undervalued and worse due to his race is sadly his life story, which Chevalier places front and centre. As 2013's Belle did in focusing on Dido Elizabeth Belle, the film makes plain the prejudices and politics of the era in a genre that too rarely genuinely interrogates either. The world of Bridgerton may now peer backwards with romantic fantasy and colourblind casting, but that isn't the same as stepping through the experiences of someone who should be far better known, and undoubtedly would be if not for the reaction to their heritage. When he's still a boy (debutant Reuben Anderson) being installed in the only boarding school that will take him, far away from the French colony of Guadeloupe that has always been his home, Joseph is told by his father (Jim High, Foundation) that he must always be excellent in order to be accepted. From that exchange onwards, Bologne chases greatness in all matters — with a foil in his hand, and both performing and writing music, most notably. But even as he impresses Marie Antoinette (Lucy Boynton, Barbie) as an adult, is bestowed the knightly chevalier title and gets a chance to compete to lead the Paris Opera, French society remains quick to drip scorn whenever he exceeds the parts that they'll let him play. Whatever heights he's allowed to reach, he's still viewed as the illegitimate son of white plantation owner and an enslaved Senegalese teen. Williams and Robinson unpack the complexities of Bologne's friendship with the queen, whose progressive ideals are pushed to the fore purely when she's confident in her popularity, and his, among the court. Over both of their futures, the French Revolution looms inescapably — although Chevalier stops before depicting Bologne's time leading an all-Black regiment. Instead, it hones in on two interconnected plot points: that attempt to obtain France's top music post and a romance. For the coveted job, he vies for glory against the snooty and dismissive Christoph Gluck (Henry Lloyd-Hughes, Marriage). In affairs of the heart, he falls for Marie-Joséphine de Comarieu (Samara Weaving, Scream VI), wife of the stern military figure Marquise de Montalembert (Marton Csokas, The Last Duel), after convincing her to sing in the opera that's meant to secure his dream gig. Chevalier repeatedly anchors Bologne's journey in a blatant truth, albeit one that he doesn't see: that the more entrenched he thinks he is within France's upper echelons, the more he's immersed in a discriminatory system that'll never truly welcome him. When his mother Nanon (Ronke Adékoluẹjo, Rain Dogs) re-enters his life, finally free after his father's death, she instantly spots what her son can't — "you are a tourist in their world," she advises — and he isn't thrilled. Whether Joseph is contentedly believing that he's close to carving out his niche or eventually angry at the grim reality, he's feverishly working or dashingly courting, or he's demonstrating his prowess with a rapier or a bow, Harrison Jr is consistently exceptional. He's excellent at conveying Bologne's certainty in his skills and worth, too, including when diva Marie-Madeleine Guimard (Minnie Driver, Starstruck) thinks that he'll bed her because she demands it, and at working through the fiery heartbreak when his society dream is broken. This biopic is an act of rectification. It's a dive into the forgotten past, sometimes taking liberties as it depicts its subject's pursuit of liberté, égalité, fraternité, with a clear purpose and point. The film benefits immensely from enlisting Harrison Jr as its lead. It also boasts fine performances by Adékoluẹjo, Boynton and Weaving, with the former playing plucky and proud, and the latter two each exploring the difficulties of your heart and mind being at odds with the role that you inhabit. Chevalier is gleefully happy to relish its genre's aesthetic and conventions as well, be it at lavish champagne-filled parties or behind opera's scenes, complete with sniping among the well-to-do. While it's the tale, reclamation and portrayals that shine brightest — even if detailing significant parts of Bologne's later story in the text-on-screen post-script is a curious move — reaching ample high notes comes easily.
As the silly season approaches, the days and nights are growing longer. Many businesses are opening doors to visitors with new and exciting offerings for anyone hoping for a good reason to stay out late in Sydney. You'll find the most celebrations collected in YCK Laneways, the city blocks comprised of York, Clarence and Kent streets just south of Wynyard. Sydney's Northwestern CBD corridor is kicking off a new offering with The Night is Young, four weeks of over 50 free, late-night cultural events across 15 venues, all within walking distance from each other — an underrated foundation of an ideal night out. The series is supported by City of Sydney, and runs from Wednesday, October 25, to Thursday, November 16, on Wednesdays and Thursdays, with each event starting after 8.30pm. Now, in terms of what to expect, King Street's underground haunt Tiva is hosting a series of themed nostalgia nights, decking the venue and playlists up to suit the 80s, 90s and 00s. You can find other live music, like country star Blake Dantier, who will be performing gigs at York Street whisky-and-western bar Jolene's. Underground jazz bar The Swinging Cat is levelling up its weekly music offering with the resident band The Sazeracs, and voodoo-vibey bar Papa Gede's is bringing on the all-vinyl DJ Bexy J for late-night beats. You can also find local artists Lotte Smith and Styna working on 'SILY Spray Ups', two murals painted over four weeks soundtracked by live music in the Kent Street courtyard bar Since I Left You. You could also catch burlesque sideshow specialist Porcelain Alice performing at York Street's Stitch Bar. Or see what the future holds with US-based MYSTIX hosting tarot readings at Esteban on Temperance Lane. These are just the tip of a deep and vibrant iceberg of events. You can plan your route through the precinct using the interactive YCK Laneways map and even earn free cocktails from Bacardi by using Laneway Loyalty, a perfect way to explore the precinct while trying what every venue has to offer and racking up great rewards. So what are you waiting for? It's time to explore a night of possibilities. The Night is Young runs from Wednesday, October 25, to Thursday, November 16. For more information and to plan your night out, visit the YCK Laneways map.
As if IKEA wasn't already self sufficient enough — what with infinite clothing storage, affordable kitchenware and ready-to-eat meatballs — they've decided they don't just want you to enjoy your home like sleek, contemporary Swedish royalty, they want you to grow your own garden in it too. So they've added a new item to their expansive inventory: hydroponic indoor gardens. Hydroponics is a plant growing method that lets you grown your own greens without soil. It isn't exactly a new thing — the method has been used for years to grow plants in basically any conditions — but IKEA's introduction of their Krydda/Växer indoor gardening kits looks set to bring hydroponics out of the niche and into the mainstream. And, going by the number of people who own those Billy bookcases, it will probably do just that. The kits, which will launch in the UK later this year, are designed to sit on your benchtop so you can grow herbs and lettuce right in the middle of the kitchen, pick them, and pop them straight into your salad bowl like some fancy chef. It comes all ready to use, but you'll have to plant the seeds in absorbent plugs to get them going. Then, when the seedlings have sprouted, you'll need to replant them into tiny adorable planters with pumice stones, give them water, turn on the light (which acts as the sun) and watch them grow. Once they're big enough, you can go right ahead and pick them to eat. Like so: The indoor gardening range will go on sale in the UK in May, with the US set to follow next year. No word on an Australian launch yet, but we'll cross all our not-so green thumbs it won't be far behind. Via Fast Company.
Poor Will Smith. The former Fresh Prince of Bel Air star jumped from television to rap to film superstardom decades ago, but he just can't kick his habit of maudlin motion pictures. In The Pursuit of Happyness and Seven Pounds, he played sad and struggling. In I Am Legend and Hancock, he was lonely and misunderstood. In Winter's Tale, he made a brief appearance as part of the film's romantic fantasy about angels and fate. But combine all of that together, and it still won't prepare you for the nauseating disaster that is Collateral Beauty. Here, Smith plays advertising executive Howard Inlet, who falls into a deep depression in the wake of a personal tragedy. But with a takeover deal in the works, his colleagues Claire (Kate Winslet), Whit (Edward Norton) and Simon (Michael Peña) are worried that he'll jeopardise their big payday. So, they hatch a plan to capture his erratic behaviour on video. Enter three theatre actors (played by Keira Knightley, Helen Mirren and Jacob Latimore), who his friends pay to interact with Howard while pretending that they're the physical embodiments of love, death and time. Naturally. In a nutshell, the main thrust of Collateral Beauty involves gaslighting a bereaved man so that his work pals can cash in. Winslet, Norton and Peña's characters each have their own sob stories to justify their actions, but there's no escaping the underlying nastiness driving this supposedly upbeat tale, which is also set at Christmas to add even more cheer. Elsewhere, Naomie Harris plays a grief counsellor who helps flesh out the main backstory, but just ends up being saddled with terrible lines that attempt to explain the movie's title. Don't assume that director David Frankel or writer Allan Loeb haven't thought twice about the narrative, though. The filmmaker behind Marley and Me and the scribe responsible for the Kevin James vehicle Here Comes the Boom know exactly what they're trying to do. Bathed in warm shades, Collateral Beauty is happily packaged as comfortable, contemplative, festive fluff that will make audiences feel rather than think. Alas, it's pretty hard to be overcome with emotion when you're groaning at each calculated, predictable and downright unpleasant turn. A modern-day A Christmas Carol this most certainly is not, as much as the film tries to convince you otherwise. And if you're wondering if the onscreen talent can salvage the film, we'll save you the trouble: they can't. Almost all of the starry players, including sombre-looking Big Willie himself, sleepwalk through an effort that really doesn't demand much else of them. In fact, The Maze Runner's Latimore is the only actor who seems invested in what he's doing, and he offers Collateral Beauty's best performance as a result. Not that you can blame his co-stars for checking out. Viewers will almost certainly do the same.
When it comes to short-lived pop-up outlets, they're aren't really any official rules. Yet it seems that Poepke must be breaking a few with their Archives pop-up this May. Firstly, the Paddington boutique plans to host the temporary vendor within the four walls of their existing store. "Does that even count as a pop-up?" I hear you cry. "Isn't it just like having the same store, but with a different name?" Well, not quite, since part of the deal is that they'll be selling your stuff for you. That's right, you can submit items for consideration before Sunday, May 12 (dry cleaned, of course), from labels Peopke has carried or is currently carrying. Then they'll sell them on a consignment basis, and you'll pocket the cash. It's like a giant community garage sale, but instead of scoffing neighbours pretending they're from Antiques Roadshow, they'll just be other Poepke fans hungry for that silk shawl you snapped up last winter. It's part op-shop, part stocktake sale, part elusive event. Whatever it actually is, you'll be able to turn up and nab both unworn and pre-loved clothes, shoes and accessories. The pop-up opens on Thursday, May 16, and will continue running over the coming months.
Poirot goes horror in A Haunting in Venice. As unsettling as it was in its pointlessness and indulgence, Death on the Nile's moustache origin story doesn't quite count as doing the same. With Kenneth Branagh (Belfast) back directing, producing and starring as the hirsute Belgian sleuth for the third time — 2017's Murder on the Orient Express came first — Agatha Christie's famous detective now gets steeped in gothic touches and also scores the best outing yet under his guidance. The source material: the acclaimed mystery writer's 1969 novel Hallowe'en Party. Returning screenwriter Michael Green (Jungle Cruise) has given the book more than a few twists, the canal-lined Italian setting being one. Venice makes an atmospheric locale, especially on October 31, in the post-World War II era and amid a dark storm. But perhaps the most important move that A Haunting in Venice makes is Branagh reining in the showboating that became so grating in his first two Poirot movies. Even if you've never read Christie's work or seen Poirot on the screen before, three details have become as widely known as the figure's existence: he's a detective, he's eccentric and, to the benefit of solving cases upon cases, he's obsessive. Thankfully, three also seems to be the magic number in letting the investigator's quirks feel lived in during his current cinema run, rather than constantly overemphasising every idiosyncrasy. Both A Haunting in Venice and Branagh's performance are all the better for that choice. When not just puzzling but also spooking is on offer, such a shift is essential, allowing bumps, jumps and eeriness to set the mood and style over an overdone central portrayal. Branagh is helming a haunted-house story this time around, after all — and while ghost tales need people to torment, overblown identities shouldn't be the most disquieting thing about them. He's also made a picture about grief and trauma, two experiences that change personalities. In relocating to the sinking island city and withdrawing from the whodunnit game, his new status quo when the film begins, A Haunting in Venice's Poirot has already done his own toning down. It's 1947, a decade after the events seen in A Death on the Nile, and bodyguard Vitale Portfoglio (Riccardo Scamarcio, The Translators) helps keep life quiet by sending away everyone who seeks the sleuth's help. The exception: Ariadne Oliver (Tina Fey, Only Murders in the Building), a Christie surrogate who is not only also a celebrated author, but writes crime fiction based on Poirot (with Fey slipping into her shoes, she's a playful source of humour, too). When the scribe comes a-knocking, it's with an invite to a séance, where she's hoping that her pal will help her to discredit the medium, Joyce Reynolds (Michelle Yeoh, Everything Everywhere All At Once), who has the town talking. The supernatural isn't Poirot's thing, unsurprisingly. Usually, that applies to the stories that he's in and his perspective. But Ariadne herself is starting to be convinced that Joyce might be the real deal, as she explains while persuading her friend into assisting. In A Haunting in Venice, belief isn't much Poirot's thing either — although unnerving visions do begin lingering in his view. As much as Branagh, cinematographer Haris Zambarloukos (another veteran of the first two pictures), composer Hildur Guðnadóttir (an Oscar-winner for Joker) and editor Lucy Donaldson (The Midnight Club) have fun diving into horror, and they do, embracing the occult was never going to be on the cards for movie's main character. Instead, getting his mystery-solving mojo back is part of the predictable plot; more than in Branagh's past two Poirot flicks, A Haunting in Venice feels comfortable rather than inert in its formula. From that setup, the film unfurls over one night and in a sole spot: a grand yet crumbling palazzo. The building was previously an orphanage where many kids met their death and has seen other folks follow them since, with local legend chalking up the abode's misfortunes to "the children's vendetta". Ex-opera singer Rowena Drake (Kelly Reilly, Yellowstone) now owns the structure — and it's her daughter Alicia's (feature debutant Rowan Robinson) passing that's inspired her to enlist Reynolds' services. Count her among the suspects when a body shows up, alongside Leslie Ferrier (Jamie Dornan, The Tourist), Drake's family doctor; Leopold (Jude Hill, Branagh's Belfast breakout), his precocious son; Olga Seminoff (Camille Cottin, Call My Agent!), the mansion's housemaid; Desdemona and Nicholas Holland (The Crowded Room's Emma Laird and Everyone Else Burns' Ali Khan), brother-and-sister war refugees; and Maxime Gerard (Kyle Allen, West Side Story), Alicia's American former fiancé. The expected Poirot template still dictates A Haunting in Venice's basics; few deductive skills are needed to see why Hallowe'en Party's name and city were changed to fit the franchise's mould, for instance. So, murders occur, fingers are pointed, everyone has a motive and the movie's main man gives his brain a workout. Also, getting the pool of accused jostling — and the actors playing them, of course — remains as baked into the feature as in its predecessors. This rogues' gallery makes a finer job of it than the past talents in the same position with Branagh. They're more cohesive as a group, and even as well. Fey sparkles with acerbic wit, Yeoh is confidently serene, Cottin frays nervily, Laird is a picture of unease, and having Dornan and Hill play father and son again after Belfast is a nice touch. With Branagh bringing more nuance to his role than ever, his co-stars never feel like they're being thrust into the shadows by their director and lead. There's zero subtlety in the filmmaking, though, nor should there be in a gleeful gothic-horror spin on Poirot. Cue a wealth of visual flourishes that convey a murder-mystery with purposefully disorientating excess — and shine. Thanks to Venice, the horror genre's fans will already be thinking about 70s great Don't Look Now, which arrived in cinemas before that decade's Murder on the Orient Express and Death on the Nile. Spotting odes to Italian giallo master Dario Argento are easy to find, too. Close ups, tilted angles, wide-angle shots, leaping from high to low perspectives, tight focus, making the utmost of the Venetian architecture: they all add to the macabre-and-loving-it air. They also boost a much-needed point of difference in these whodunnit-heavy times. Branagh's flicks have been outshone comically by everything from Knives Out and its sequel to the small screen's Only Murders in the Building and The Afterparty, so getting creepy proves a successful way of fending off their spirits; fittingly, it's a canny trick and enough of a treat.
As demonstrated by various creative ventures around the world — like Chicago's recent Saved by the Bell-themed pop-up diner and New York's summer museum dedicated to ice cream — people love niche. The internet loves niche. We all die over niche. The latest art show to pop up in London was also pretty niche — so niche that it couldn't even physically be enjoyed by humans. It's an interactive exhibition for dogs. Running for two days last week in London, Play More was the world's first interactive exhibition purely for canines — and, needless to say, the ultimate puppy porn situation. Designed by British artist and inventor Dominic Wilcox, the show was a collection of contemporary paintings, multimedia pieces and installations with which the dogs could interact. There was a massive dog bowl-shaped ball pit (filled with brown balls that resemble dog bikkies), a digital frisbee game and — our favourite — an open car window simulator that recreates the feeling of riding with the window down while a fan wafts happy dog smells like raw meat and old shoes into their adorable windswept faces. Some of Wilcox's own work was on display, along with other artists' creations. Was this made purely for the internet? Well, yes. The exhibition is actually an activation for UK insurance company More Than, who commissioned Wilcox to create a collection of works that would encourage their owner to spend more time with their pups. Either way, we're sad to have missed this glorious doggo day out. Via Dezeen.
For nearly two centuries, everyone has known the Artful Dodger's story. Charles Dickens wrote the character, aka Jack Dawkins, to life in 1838's Oliver Twist — and readers have thumbed through the pickpocket's part of the famous tale ever since. But what happened once the book's narrative ended? What if Fagin's light-fingered apprentice is on the straight and narrow 15 years later, living in 1850s Australia? What if he is a navy-trained surgeon now plying his trade while living on the other side of the world from London, and great at it? What if Fagin is still alive despite Dickens' words on the page, too? In fact, what if the thieving ringleader is the latest convict arrival to the penal colony, crossing paths with his old pal with a plan that cares little about Dodge's new upstanding reputation? If you're wondering how the Aussie-set The Artful Dodger can exist, that's how: by sinking into the above scenario. Australian-made as well, with Jeffrey Walker (The Clearing), Corrie Chen (Bad Behaviour) and Gracie Otto (Seriously Red) directing, the Disney+ series that arrived on Wednesday, November 29 is not an origin story — it's an after story. Getting caught with a silver snuff box might've wrapped up Jack's exploits for the author who created him, but the latest iteration of the figure lives on from there for The Artful Dodger creators James McNamara (also one of the show's writers), David Maher (The Commons) and David Taylor (Bloom). Their take also turns its antics in the fictional Port Victory into a riff on The Knick, plus a romance. Two decades on from Love Actually, Thomas Brodie-Sangster (The Queen's Gambit) plays the show's namesake, joining a long line of actors who've done the same — many musicians, including Davy Jones from The Monkees onstage in the 60s, earning a Tony Award nomination; Phil Collins, also in the theatre in the same era; and Rita Ora in 2021's worth-avoiding crime-drama movie Twist. As in his big Christmas-movie break, Brodie-Sangster is again concerned with affairs of the heart, with The Artful Dodger's lead casting benefiting from bringing its star's best-known role to mind. In the festive rom-com, he was a kid cutely grappling with adult emotions. Here, he spiritedly steps into the shoes of an all-grown-up figure who acted wiser than his years when he was a child, too-large attire to match. Although no one saw Brodie-Sangster as the Oliver Twist version of Dodge, imagining it is easy because remembering him as a 13-year-old is that instantaneous. Also similar from Love Actually: Brodie-Sangster's character having an older guiding hand by his side, albeit with mischief and scheming this time. David Thewlis (Landscapers) gets wily — one of his finest on-screen traits — as Jack's former mentor, who isn't willing to let their links fade away. The Artful Dodger isn't a two-hander, but its biggest international names make a lively and engaging pair. Thewlis' Fagin isn't the villain, either, with both the script and the Fargo, Macbeth and I'm Thinking of Ending Things talent's performance expanding the part beyond the scoundrel — even if much of the criminal mastermind's focus is on convincing Dodge that his illicit know-how shouldn't be retired. This eight-part series also enlists a hefty lineup of Aussies, from Damon Herriman (The Portable Door), Miranda Tapsell (Aunty Donna's Coffee Cafe), Susie Porter (Mercy Road) and Tim Minchin (Upright) to Damien Garvey (Troppo), Jessica De Gouw (C*A*U*G*H*T) and Kym Gyngell (Black Snow). Chief among the homegrown cohort is Maia Mitchell (Good Trouble) as Lady Belle Fox, daughter of the Governor (Garvey) and an aspiring doctor herself — not that a female surgeon is approved of in the show's period. Familiar Australian faces aren't the only constant reminder that this is a local production. Beginning with Wolfmother's 'Joker and the Thief', the anachronistic soundtrack spins on average one Aussie track per episode, including from Spiderbait, Jet, INXS and The Living End. Playfulness abounds, then, in a series that's a caper as well. Narrative-wise, Dodge endeavours to keep on the up and up, despite a shady gambling debt to pay to crooked harbourmaster Darius Cracksworth (Minchin) on penalty of losing a hand. Given that he needs his two mitts to continue his line of work, his devotion to staying legit is quickly tested. Fagin is officially his servant, but is really the devilish force whispering in his ear — in-between ample gloating about how his pilfering instructions all that time back helped his protégé earn his new calling, teaching him the dexterity required as a cutpurse. Complicating the already chaotic situation is the ever-present Captain Gaines (Herriman), who loves nothing more than sending whoever he can to the noose. Once he becomes certain that Jack and Fagin have more than a few reasons to take the drop, he's relentless. Jack is the colony's best doctor, repeatedly besting the drunken professor (Gyngell) in charge of the hospital and his chosen successor Rainsford Sneed (Nicholas Burton, Safe Home). Accordingly, it's only in Belle that he meets his professional match. She's deeply uninterested in just finding a husband no matter what's expected of her. She's also an avid subscriber to and reader of medical journals. So springs an arrangement where her booksmarts help Jack with his patients — the very concept of germs and their role in causing infections isn't on anyone's radar until she mentions it — and he lets her put her self-taught skills to practical use. So flies sparks, too, amid an evident class clash, bloody surgeries with a live audience, Jack and Fagin trying to avoid the hangman, and a pilfering bushranger (Tapsell) drawing attention their way. As its fondness for Aussie rock makes plain, The Artful Dodger is energetically told, and also anything but an old-school period piece. Walker, Chen and Otto take the same cues visually and in the show's fast pacing, making for rollicking and always entertaining viewing. Wanting more comes swiftly, primarily thanks to Brodie-Sangster, Thewlis and Mitchell, however. While everything about the series knows that this is a lark, its key trio not only sell it but give it depth — no bait-and-switch required. Check out the trailer for The Artful Dodger below: The Artful Dodger streams via Disney+.
It might be the season for shopping and trying to find unique gifts; however sourcing design-focused fashion is a year-round affair. With that in mind, add Barangaroo's latest addition to your next outfit-buying trip. Run by the folks who gave Surry Hills the retail haven that is Somedays, The Waiting Room is a Sydney-based offshoot of the stylish Melbourne store of the same name. Curation is key at the fresh space on the corner of Shipwright Walk and Scotch Row on Barangaroo Avenue, with The Waiting Room as selective about what they sell as you should be about what you wear. Expect a careful balance of clothing and accessories from Scandinavian, European, American and local designers, including Aussie labels such as Backstage, Chloe Gard Pottery and Salty Beach Life, New Zealand favourite Kowtow, and the global likes of Céline, Samsøe & Samsøe, Eton and Royal Republiq. If that sounds like a hefty list to navigate — and there's plenty more where they came from, too — The Waiting Room's staff are on hand to give you an old-school shopping experience, boasting their own passion for design and helping the store hark back to a seemingly bygone era where being served by someone who had an artisan knowledge of their product was the norm. And as far as matching the products and vibe to the surroundings is concerned, architects Burley Katon Halliday have decked out the space with a marble mosaic floor, timber, brass and leather aplenty, and even a custom ottoman upholstered in Tibetan goats' wool. Find The Waiting Room on the corner of Shipwright Walk and Scotch Row, 200 Barangaroo Avenue, Barangaroo. Visit their website for more information.
The Sydney Theatre Company has announced its 2013 season, the final one from Sydney's favourite theatre couple, Cate Blanchett and Andrew Upton, as co-artistic directors. It's a season of weighty productions, but one stands out for sheer fun, and that's Tom Stoppard's Rosencrantz and Guildenstern Are Dead with Tim Minchin and Toby Schmitz in the title roles. Minchin's been away for ages selling out stadiums and racking up successes like Matilda, and we're too charmed by Schmitz to give him leave from Sydney stages at all, so this is an exciting pairing of wits. That other absurd duo, Vladimir and Estragon of Samuel Beckett's Waiting for Godot, will be played in 2013 by Hugo Weaving and Richard Roxburgh, whom it was decided were destined for the parts during their turn in 2011's Uncle Vanya. They'll be joined by that play's director, Tamas Ascher, having together earned a whole year's worth of acclaim for the internationally touring production. Cate and Andrew, meanwhile, will team up for Jean Genet's The Maids, in a new translation by Upton and director Benedict Andrews. They're embracing the Frenchness of the play, apparently, as they'll be welcoming French actor Isabelle Huppert to the stage to be a murderous sister alongside Blanchett. Otherwise, the season is characterised by its engagement with the greats of Australian writing, featuring new plays by John Doyle and Joanna Murray-Smith as well as adaptations of Colin Thiele by Tom Holloway and of Kate Grenville by Andrew Bovell. Cult-statured Melbourne collective Sisters Grimm will inject some anarchy into proceedings with their Little Mercy (not their only show in Sydney in 2013), while the National Theatre of Great Britain's One Man, Two Guvnors, which had seven Tony nominations and one win in 2011-12, fills this year's (always must-see) international slot. It's an elegant and ambitious 2013 on the cards at STC, a fitting mark to be left by the departing Blanchett. Upton will continue on solo for the next three-year term, so we'll see a continuity of their long-term goals for the company. Full details of the 2013 season can be seen at the STC's website. Tickets are on sale from Friday, September 7, at 9am. Image: Richard Roxburgh and Hugo Weaving for Waiting for Godot. Photo by Ingvar Kenne.
Missed out on tickets to the hugely popular Day of the Dead 3.1 warehouse project, announced last month? You're in luck. An immersive El Dia de los Muertos-inspired experience curated by a group of Mexican visionaries and artists, the Day of the Dead announced plans to visit Sydney on October 24, then Melbourne on October 31 before ending in Brisbane on November 7. While all three cities sold out within hours, and the organisers were inevitably inundated with hundreds of emails requesting tickets, so the Day of the Dead team twisted some arms and managed to increase the event capacity. There'll be a new and final ticket release happening on Saturday, September 26 at 12.30pm, with tickets at $95. Tickets will sell out within hours, so be ready. Get tickets here. Currently sold-out, the Day of the Dead warehouse project takes cues from some of the world's most celebrated immersive spectacles, everything from Burning Man to Sleep No More. The one-off event will immerse ticketholders in a temporary world of interactive art installations, light projections, extravagant costumes, murals created by renowned street artists and an exclusive lineup of local and international DJs and musicians. Pop-ups by a handpicked bunch of Sydney, Melbourne and Brisbane's go-to local Mexican eateries, like Playa Takeria, have been selected to create special Dia de los Muertos menus. Plus, there'll be Mexican cervezas and tequila/mezcal cocktails from the newly announced principal sponsor Tequila Herradura and major sponsor Tequila Jimador to provide you with enough sustenance to dance the night away. With instructions being sent to ticketholders just one week before the event, and locations revealed just one day before the party, this is secret warehouse party business at its best. Honour the dead, celebrate the living. Be ready on Saturday. The Day of the Dead 3.1's new and final ticket release is happening on Saturday, September 26 at 12.30pm. Tickets are $95 and are expected to sell out within hours. Get tickets here. By Kimberley Mai and Shannon Connellan.
If you love film — enough to want to spend as much of your waking life watching as many movies as you can, that is — then you probably want to be Nashen Moodley. Since 2012, the Sydney Film Festival director has had the envy-inducing task of selecting the features, documentaries and shorts the city's cinephiles will devour each and every June. Yes, it's a year-round endeavour. Yes, it involves more than just sitting in a cinema. In fact, curating a film festival is a much more difficult job than it might seem. You don't just get a film about a rodeo cowboy who wants to work in fashion, a documentary about competitive endurance tickling and a funny, female-centric take on Frankenstein all in the same lineup by sheer luck, of course — or put together retrospectives on Martin Scorsese and modern independent Korean cinema, either. Programming SFF is a balancing act on many levels, particularly in trying to appeal to as broad an audience as possible. And, it's also a hunt to find the most interesting, diverse and exciting titles (and to lock them in before anyone else does). So with all that in mind, just how did Moodley put SFF's killer 2016 program together? We chatted with the man behind the feast of movies every Sydneysider should flock to. CHOOSE LOCAL FROM THE GET-GO (BY KICKING OFF THE FESTIVAL WITH IVAN SEN'S GOLDSTONE) "It certainly wasn't an obvious choice to open with Goldstone, but when we saw the film, it was very clear to me that when looking at a film that's made by one of Australia's greatest talents in filmmaking — a really multi-talented filmmaker who does it all himself, from directing to writing to editing to composing to the cinematography. He's truly a talent we should treasure in every way, and the opening film spot is right for him. I think that's a very important thing to do. There's no pressure to do so at all, but I think it is the right thing to do if we can do it. If we don't have the right film, then we certainly wouldn't do it." FIND BOLD, INNOVATIVE AND PROVOCATIVE FILMS FOR THE FESTIVAL'S OFFICIAL COMPETITION "We have criteria for the competition, and the films should be courageous, audacious and cutting-edge. We're looking for innovative films — sometimes they're quite provocative or controversial — and I think we certainly have that in a range of ways through the selection. These are very different films. Some are incredibly stylistically bold and are aggressively bold, in fact. Some are far more subtle. But I think they're all very effective films that are engaging with big issues in many cases, and in very clever ways. There's some filmmakers there who are quite established, and some filmmakers who are at the start of their careers. And I'm convinced these are filmmakers who will have very long, very productive careers, and we will be talking about them as masters in the years to come." BALANCE WELL-KNOWN AND OBSCURE PICKS "It's starting from the position that we know what we want to do with the festival. Of course we do want to acknowledge great directors who are making great films. We want to also acknowledge film stars — actors who are well known are often well known because they're good actors. At the same time, we want to introduce people to new forms. It's about taking people on a journey and really presenting them with the best films we possibly can, and before they get there, trying to explain why it is important that they see these films. So, that balance is very important, and we do think about that very much when we're making the program." MAKE ROOM FOR RETROSPECTIVE PROGRAMMING "It does many things in a way. I think partly we're hoping that we're going to get many people who saw these films on the big screen years ago and want to relive that experience — they love these films and they want to see them again. But at the same time, I think what we've done in recent years is, really, we've drawn a new audience to the retrospectives, and a young audience in particular. You know, it's quite easy to say, well "Martin Scorsese, everyone's seen every Scorsese film." But that's not quite true. Certainly, people who are in their early twenties and love cinema now would've had very little opportunity to see Scorsese films on the big screen, except for the most recent ones. And almost certainly not on 35mm, and that's what we've done with this program. Then when you look at our smaller retrospective on Korean independent cinema that's really taking an incisive look at Korean society, then that's introducing people to something that's very specific. We've certainly tried in the last few years to introduce an audience — or introduce to a new audience, or for an audience more familiar with the work, reintroduce it to them — a great master of cinema. But alongside that, we also do something very specific and quite niche in a way. With Korea on the Verge curated by Tony Rayns, it's looking at fairly recent Korean cinema but all with a particular bent and a particular type of critique of Korean society." BE READY TO BATTLE AUSTRALIA'S GROWING FILM FESTIVAL LANDSCAPE "It sometimes makes things more difficult in terms of competition over particular films. So I guess that way it can influence what's ultimately in the festival — that the more festivals there are and the more festivals that are looking for premieres, it makes it more competitive for particular titles. In the broad sense, we want there for to be a great cinema culture in Australia, and some festivals contribute to that, and we want for that to happen. And it can sometimes create difficulties for us, but that's the game. That's how it works, and it happens in different contexts and different ways, but all festivals around the world are fighting for particular films and face obstacles. Sometimes those obstacles are other festivals, so it's not something I'm unaccustomed to." The 2016 Sydney Film Festival runs from June 8 to 19. To check out the complete program and book tickets, visit the festival website. To check out our top ten picks for the festival, head this way. Image of Nashen Moodley: via Belinda Rolland
So, that 'New Year, New You' resolve has started to fade and the end of summer's left you a little lacking in the motivation department. Well, online fashion retailer The Iconic reckons it has exactly what it takes to inspire us all to jump back into the fitness game — a sweet $135,000 worth of vouchers. The vouchers are up for grabs as part of The Iconic's 2019 Sport Challenge, which kicks off today, Tuesday, February 26. Now in its third year, the eight-week digital fitness competition sees Aussie and New Zealand participants of all skill levels winning vouchers for workout threads, shoes and accessories, by simply exercising and completing fitness challenges. It's free to enter, though you'll need to connect your go-to fitness tracking app or device (there are 13 different compatible apps, including Nike Run Club and Polar Flow) to access the 17 different challenges, divided into easy, medium and hard. Expect things like the beginner-friendly Champion Challenge — where you'll need to tick off three 20-minute workouts for the chance to score a $50 Champion voucher — through to the slightly sweatier Skins Challenge, offering a shot at claiming $50 worth of Skins gear, whenever you clock a non-stop 15km run. Rack up 2km of activity in one go and there could be a $100 Fitbit voucher with your name on it. The vouchers are redeemable online at The Iconic for a bunch of big-name sportswear brands, including Mizuno, Reebok, Nike, Adidas and Running Bare. Participants have eight weeks to smash as many challenges as they can, before the competition wraps up at midnight on Tuesday, April 23. The more times you conquer one, the more chances you'll have to score a prize. Sign up over at The Iconic Sport Challenge website and start moving.
There'd better be room for another social network in your life, because today Twitter has launched new iPhone app Vine. Looking for more than filters and still images? Long to be the star of your own gifs? It's with you in mind that Vine is made, as it allows for the filming and sharing of videos up to six seconds long, complete with sound. The Twitter ethos of 'short is better' could be just the quality that makes this something we want to play with. First impressions show it to be a nice-looking app, with easy-to-use editing and options that allow you to explore the videos of others as well as integrate yours with existing social networks. Of course, that integration varies depending on which network you're talking. In Twitter, the videos embed seamlessly in your feed, even playing automatically as you scroll past them. Thoughtfully, sound is included if you're browsing on your mobile but not on your computer, so there won't be any of that frantic flicking through tabs trying to find where unsolicited noise is coming from. In Facebook, however, you won't have any sound, because you won't have video — just a still and a link you have to click to be taken through to the video. (You can embed the videos in other sites, too, but there are a few steps to the process.) It seems childish, but at least Twitter can say Facebook started it, when it first pulled the option for you to find Twitter contacts on Facebook-owned Instagram and then stopped Instagram shares embedding in Twitter feeds, so that somewhere along the line, we users have to click more links and do more waiting for stuff to load. And while Twitter may have tried to extend the hand of friendship (or appear as if doing so) by allowing you to search for and add your Facebook contacts, as of writing, that function isn't working. We got an enigmatic error message, but investigation by the Verge suggests that it's Facebook doing the blocking. So while Vine looks like a promising new diversion, it's also another irritating chapter in the Facebook versus Twitter wars, with users as collateral damage. Vine is currently available for free in the iTunes store. Right now it's iOS only, but we've got to assume an Android version at least is on the way.
Time to update your MySpace status and rock out to that mix CD your friend made, The Kooks and Julian Casablancas have just announced they're both coming to Australia. While we're currently quietly chuffed by the news — they're both still indie greats — our 2006 self is absolutely losing their shit. We're going to elbow our way to the front row and finally make that eye contact we've been pining for since first hearing 'Someday' on our Discman. Though there are no current plans for solo shows, Casablancas has been added to the lineup for Falls Festival and Southbound with his side project The Voidz. Trading in the polished guitar riffs of The Strokes for a more raw punk sound, Casablancas and The Voidz have released their new album Tyranny just this week which will no doubt make up the majority of his festival sets. It's not all that often that Casablancas makes the trip down under, so we've secretly got our fingers crossed for some of his older work to hit the stage. In an ideal world we'd get treated to the stripped back demo version of 'I'll Try Anything Once', but we'd also settle for some solo stuff from Phrazes For the Young. The new collaboration is fine and all, but post-punk is admittedly hard to swoon over. Alternatively, The Kooks are just as boppy and Brit-poppy as you remember them on your car radio on the way to high school roll call. Their most recent album Listen has seen a little electro added to the mix, but the tunes are as upbeat as ever. Plus it's still super fun to sing along while emulating Luke Pritchard's accent. Though they visited just last year for Groovin' The Moo, The Kooks will be embarking on a full national tour in January 2015. Supported by The Griswolds and Catfish & the Bottlemen, they'll be hitting up Perth, Sydney, Brisbane, and Melbourne with enormous (mostly) all ages shows. Sure, it's been close to a decade since you added 'Naive' or 'Seaside' to your MySpace playlist. Yes, Julian Casablancas has lost a little of that babyface rockstar charm. That shouldn't stop you doing a favour for your 2006 self and buying a ticket. You won't even need to pull a double shift at Maccas to raise the cash this time! Julian Casablancas December 28 - January 1 — Falls Festival Lorne (SOLD OUT) December 29 - January 1 — Falls Festival Marion Bay December 30 - January 3 — Falls Festival Byron Bay (SOLD OUT) January 3 - 4, 2015 — Southbound Festival The Kooks January 17, 2015 — Belvoir Amphitheatre, Perth. January 20, 2015 — Hordern Pavilion, Sydney. January 23, 2015 — Riverstage, Brisbane. January 24, Sidney Myer Music Bowl, Melbourne. All tickets on sale 9am Friday, October 3 via Ticketmaster.
If you've ever wanted to party with a great white or a jellyfish, now is the time. Darling Harbour's Sea Life Aquarium is throwing a series of late-night dance parties this June, running from Thursday, June 10 until Saturday, June 19. Sea Life Glow will see the aquarium transformed from 6pm each night with DJs, a bar and a whole heap of glow-in-the-dark decorations to compliment the aquarium's luminescent sea creatures who shine the best after dark. Attendees will be given a drink on arrival and experience all the wonders of the aquarium without the crowds, before heading to the pop-up barbecue station for a gourmet sausage sizzle. Once you've explored the aquarium's attractions, make your way in front of the DJ for a boogie with the sea creatures. The dance floor will be surrounded by floor-to-ceiling glass allowing partygoers to experience a full view of all the underwater critters. The aquarium takeover is all part of Sydney Solstice, the new winter arts festival taking over Sydney this June. Arrival times will run at 6pm, 6.30pm and 7pm each night to allow for social distancing. [caption id="attachment_805839" align="alignnone" width="1920"] Sea Life Silent Sounds[/caption]
Launched during VAMFF last week in Melbourne, Bared Footwear's collaboration with artist Carla McRae is one to slip your tootsies into immediately. The limited edition sneaker collaboration is a first for Victorian footwear label, kicking off the first of many, or so we're told. Suffice to say, these are some sneaks to freak over. Capturing the carefree spirit of McRae's playful illustrations and street murals, the Pintail shoe brings to life McRae's iconic female character, who appears in many of her works. We're keen to take a walk in these chunky soled shoes with swirling embroidery and metallic details — also apparently imbued with extreme comfort factor. After all, Bared was founded by Victorian podiatrist Anna Baird with the design ethos of creating modern, wearable shoes, so you know these shoes will treat your feet well. For the collaboration launch, Carla McRae painted one of her cheery, colour-blocked murals out the back of the Bared store in Armadale — the perfect backdrop for these sweet, minimal kicks that come in white with rose gold, and black with silver. The Carla McCrae x Bared Footwear Pintail shoe is available now for $229 from the Bared website.
You don't need to like taking walks in the rain to be a fan of piña coladas, although given Sydney's persistent La Niña downpours, a penchant for precipitation might not be such a bad thing right now. Regardless of the weather, Australia is set to celebrate a national day dedicated to the world's favourite rum-spiked tropical cocktail on Wednesday, July 10, and the team at The Lansdowne Hotel is marking the occasion with one of the biggest drink giveaways Sydney's ever seen. In partnership with Master of Mixes, The Lansdowne's in-house taco shack, The Happy Mexican, will be giving away a whopping 10,000 free piña coladas. For three days, between Wednesday, July 10–Friday, July 12, free cocktail vouchers will be handed out at Broadway Shopping Centre — which you can redeem just across the street at The Lansdowne — from midday–6pm. There will also be free one-litre bottles of Master of Mixes' piña colada mixer up for grabs. This can be transformed into the ultra-creamy coconut and pineapple tipple by simply adding it to a blender, along with some rum and ice. Clearly, the Happy Mexican crew feel three days is simply not long enough to honour such a legendary beverage. So until the end of July, they'll be slinging $10 piña coladas and $5 pastor tacos, filled with juicy marinated pork, a sweet-and-sour salsa and grilled pineapple — the ultimate side snack for your cocktail, come rain or shine.
When The Kid LAROI was named as SXSW Sydney 2024's music keynote speaker, simply chatting about his career was never going to be his only contribution to the festival. Upon dropping that news, it was also revealed that the globally famous star would develop professional development workshops and performance opportunities for Waterloo and Redfern's First Nations communities as part of this year's event. Here's something related on the list: presenting and introducing a showcase of First Nations talent in Tumbalong Park's free program. With SXSW Sydney's 2024 dates fast approaching — this year's fest runs from Monday, October 14–Sunday, October 20 — the event's team is still expanding the music lineup. The First Nations show will take place on Saturday, October 19 after The Kid LAROI's conference chat. Triple J Unearthed and Blak Out are behind the gig as well. Music lovers can also now look forward to catching the UK's ENNY, O. and The Lottery Winners; South Africa's Moonchild Sanelly; Buffalo Hunt and Walker Lukens from the US; homegrown talents Ngaiire, Anieszka, Devaura, Dyan Tai, Ella Ion, Jude York, Keelan Mak, Sex Mask and Wet Kiss. They've all been added to a roster of acts that'll take over 25 stages over seven days, and that's been announcing names for months now. Similarly new to the bill: that KRSNA, KAVYA, Yung Raja and Mali from India, plus Manara from the UK, will get behind the mic at +91 Calling, also in Tumbalong Park. The gig focuses on tunes from talents out of India and from the Indian diaspora. [caption id="attachment_974070" align="alignnone" width="1920"] ChantelleKP[/caption] If you're keen to attend the opening party for the SXSW Sydney Music Festival, it's locked in for Tuesday, October 15 with Voice of Baceprot and 2Touch at The Underground. And if you're eager for parties and showcases presented by Laneway Presents, Astral People, fbi.radio and more, they're now on the lineup, too. SXSW Sydney 2024 started revealing its program details back in May, and has kept growing it since. A further announcement arrived in June, then not one, not two, but three more in July — and also another, focusing on the free hub at Tumbalong Park, at the beginning of August. Since then, more music acts, more speakers, The Kid LAROI's involvement, and two rounds of Screen Festival titles have also been added. Accordingly, no one can say that they don't have anything to see when SXSW Sydney makes its eagerly awaited comeback. SXSW Sydney 2024 will run from Monday, October 14–Sunday, October 20 at various Sydney venues. Head to the SXSW Sydney website for further details. SXSW Sydney images: Peter McMillan, Jordan Kirk, Jess Gleeson and Ian Laidlaw.
Melbourne comes alive in summer. Outdoor bars and restaurants fill up with people taking advantage of longer days, parks and gardens are gloriously green and the city's arts and culture venues host a huge range of events. Yes, you can certainly run away to beaches for spectacular nature-filled getaways. But summer is as good a time as any for a city break — and we've curated the ultimate way to do it in Melbourne, whether you're a first-time visitor or you know the Hoddle Grid like the back of your hand. [caption id="attachment_658995" align="alignnone" width="1920"] Stano Murrin[/caption] FRIDAY Begin your Melbourne city break with a sundowner at Bar Triana. Located within the AC Hotel Melbourne Southbank, this sophisticated bar offers up views over the city alongside a truly impressive selection of gin. Melbourne is known for its world-class arts and culture institutions, but we recommend you dive a little deeper into the city's lesser-known haunts like The Butterfly Club. This cosy theatre, bar and welcoming space is hidden down a CBD laneway. Once you find the entrance, head inside for a smorgasbord of weird and wonderful theatre. Get tickets to whatever is on and go along for the ride — you won't regret it. For something a bit more orthodox (but just as intimate), head to Bird's Basement for an evening of live jazz. Like The Butterfly Club, you shouldn't worry yourself with what specific artist is performing — just book a table and let the music sweep over you with a cocktail in hand. SATURDAY If you're one of those mysterious morning people we've heard so much about, we suggest taking a stroll to The Shrine of Remembrance for spectacular sunrise views. Take your time wandering around this incredible space and look out over the city, watching it wake up and come alive. From here, head to the shops and grab your picnic essentials before nabbing what is arguably one of the best barbecue spots in all of Melbourne. On the edge of the Royal Botanic Gardens and right on the Yarra River, you'll find a host of free-to-use barbecues overlooking Melbourne's skyline, and is an ideal spot to soak up some sun. If you're looking escape the sun, you won't need to go far. This spot is conveniently located right by Melbourne's celebrated arts precinct where you'll find all kinds of brilliant things to do. See an exhibition at the National Gallery of Victoria or catch a matinee at the Arts Centre, Melbourne Theatre Company or Melbourne Recital Centre. For a pre-dinner drink, make a beeline to The Westin Melbourne's Lobby Lounge. Settle in to a plush club chair in this grand Collins Street space as you indulge in an aperitivo — and maybe a dozen oysters — before dinner. On the menu? Clever and creative Modern Australian at Lollo, a welcoming culinary space with a menu overseen by celebrated chef Adam D'Sylva. Lollo draws inspiration from Melbourne's multicultural heritage to serve up globally inspired dishes that showcase local and seasonal produce. [caption id="attachment_711646" align="aligncenter" width="1920"] Josie Withers for Visit Victoria[/caption] SUNDAY Start your Sunday off by catching the tram to the South Melbourne Market. Grab a coffee from Pieno di Grazia and a freshly baked croissant from Agathé Pâtisserie before browsing the aisles featuring wares from local makers and producers who have made this bustling market a unique destination that highlights the city's diversity. Once you've eaten and shopped your way around the market, hire a bike from the AC Hotel to have one last Melbourne jaunt. Take to The Capital City Trail for a cycling journey that winds past Melbourne's most iconic landmarks. You can attempt the full 30 kilometres or just do a portion of the trail — whether that's Southbank to Burnley Gardens, Moonee Ponds Creek to the Melbourne Exhibition Centre or Abbotsford to Parkville. Whichever you choose, it's the perfect way to end your Melbourne city break. Looking to make the most of your next city break? Find your home away from home with Marriott Bonvoy. Book your stay not at the website. Top image: Dmitry Osipenko (Unsplash)
It's been 14 years since Danny Rogers and Jerome Borazio decided to fill a Melbourne alleyway with tunes in 2005. Thankfully, Laneway Festival has just confirmed it will be heading back to its collection of unconventional venues for another year, revealing its jam-packed 2019 lineup. Returning to Sydney next February, Laneway will raise a plastic cup to the middle of summer with one heck of a lineup. This year's eclectic program is headlined by two huge Aussie names: indie rock group Gang of Youths and acclaimed singer-songwriter Courtney Barnett. A few big artists are heading Down Under for the first time, too, including English R&B superstar Jorja Smith, neo-soul singer Rex Orange County and American rapper Denzel Curry. You'll also be able to get down to Camp Cope, Middle Kids and Mitski and sway along to Mansionair, What So Not and Skeggs. If you want to catch Jorja Smith and NYC rapper A Boogie Wit Da Hoodie, you'll have to head along to Laneway — they'll both be playing exclusively at the festival, with no sideshows. But, enough chit-chat — here's the full 2019 lineup. LANEWAY 2019 LINEUP Gang of Youths Courtney Barnett A Boogie Wit Da Hoodie (exclusive) Baker Boy Camp Cope Charlie Collins* Clairo Cosmo's Midnight Crooked Colours* Denzel Curry* DJDS G Flip Jon Hopkins Jorja Smith (exclusive) KIAN Mansionair Masego Methyl Ethel Middle Kids Mitski* Parquet Courts Ravyn Lenae Rex Orange County Ruby Fields Skeggs Smino What So Not Yellow Days *East Coast only Laneway Image: Anthony Smith.
A true Sydney stalwart, Marrickville Pork Roll has long been considered one of the best bánh mì shops in the city. And now you can enjoy the same quality Vietnamese sandwiches in the CBD, with the opening of the Darling Square outpost along Steam Mill Lane. The Darling Square location is decidedly snazzier than its Marrickville namesake, with neon lighting aplenty and timber courtyard seating. But you can expect to find the same delicious rolls at an equally appealing price point. Open weekdays from 7.30am (and weekends from 9am), the shop bakes its baguettes fresh every morning. That fluffy-yet-crunchy baguette is schmeared with pâté and mayo, then loaded with your choice of meat, fresh herbs, pickled veg, salad and chilli. While the traditional pork is the go-to, we rate the barbecue pork and crackling pork belly. Meatball, chicken, salad and veg varieties are also up for grabs — and all for just a few dollarydoos ($6–8). It's hard to say exactly what makes these Vietnamese sandwiches better than all the rest, but that classic combination of pork roll goodness is difficult to beat.
There are a lot of gadgets, bits and bobs you can purchase to pretty-up your bicycle. From detachable bike speakers to personalised frames and toilet seats, there are a plethora of things you can attach to your bike to give it character. But the Feats Per Minute prototype bike, created by a team of Dutch designers, is in a league of its own. Unveiled at the Dezeen Space Platform exhibition in London, this bike's designers have reconstructed an old German Alpina Bike they bought for $80 to create a cycling/music machine that plays vinyl records as you ride at a consistent speed. According to its creators, the biggest challenge in creating the vinyl-playing bike was to "make sure that the needles would stick to the record and follow the grooves, without skipping too much." No kidding. It's still a work in progress and only at prototype stage, but as their video report of the Dezeen Space Platform exhibition suggests, once perfected, it is sure to make many people's filmic fantasies come true. https://youtube.com/watch?v=TCxyIKYJ-xo
Because nobody should have to deny themselves their favourite foods, Nourished have created healthy versions of comfort staples like nachos, burgers and breakfast burritos. Proving that they're looking out for our best interests, they've even helped out with the justification by giving an explanation of why their meals are good for you. Their spicy bean and corn nachos are packed with fibre, protein and iron, which helps cut cholesterol and provides sustainable energy. Take that, diet. The menu is sizeable, and given that it's within walking distance to the beach, it's great that such a big chunk is also offered as takeaway. They've got an ever-changing selection of juices and smoothies and the Campos coffee they serve is one of their biggest drawcards.
It isn't every year that the Cannes Film Festival awards its coveted top prize to a movie about having sex with — yes, with — a car. That year was 2021, and that winner was French thriller Titane. Topping such a pick might seem difficult but, when it came time to hand out the 2022 Palme d'Or, the prestigious fest gave the gong to a brutal social satire with a queasy, hilarious, cringe-inducing and utterly impossible-to-look-away-from 15-minute-long projectile vomiting scene. Bodies don't just expel substances from their mouths in Triangle of Sadness' unforgettable and easily most talked-about sequence. Seasickness strikes, what's inside has to come out however it must (and ASAP) and, because that's a situation that strips away all class and power dynamics, there's no longer any hierarchy on the film's ultra-luxurious yacht setting. The scene just might be Swedish filmmaker Ruben Östlund's most awkward and stunning of his career — and that's saying something for a writer/director who actually topped himself by nabbing the Palme d'Or for Triangle of Sadness, given that he also won the same accolade for his art world-skewering previous film The Square. Getting the one-percent heaving up their dinner for a quarter-hour is only one part of Östlund's smart, scathing and supremely entertaining latest feature. Following two models and influencers, couple Carl (Harris Dickinson, See How They Run) and Yaya (Charlbi Dean, Black Lightning), Triangle of Sadness explores the world of fashion, the lavishness of extreme wealth and being stranded on a deserted island. In the process, it ponders beauty as a form of currency and actively tears down the rich — but it's equally savage towards everyone, bank balance be damned. Östlund is fascinated by human behaviour, after all, and the social contracts by which we all live. Indeed, his current sail through such loaded, complicated and comically ripe terrain not only follows 2018's The Square but 2014's exceptional marriage-in-crisis black comedy Force Majeure. [caption id="attachment_884231" align="alignnone" width="1920"] Olivier Vigerie[/caption] Östlund loves scratching away at how people react in heightened situations, and examining what that says about everyday life. He adores unpacking societal expectations, too. Indeed, for his next movie, he's heading to a long-haul 17-hour-plus flight, then taking away the passengers' main source of entertainment. The in-the-works flick is called The Entertainment System Is Down, in fact, and Östlund describes it as "once again a behaviouristic study, comical and tragic, about being a human being — and about contemporary times when we have become so addicted to these screens, and taking that away from us". Talking with Concrete Playground via Zoom, he's visibly excited about putting a new batch of characters through the wringer. That glee is palpable in Triangle of Sadness as well — including when everyone is vomiting. With the film now in Australian cinemas, Östlund also chatted through his fascination with alluring worlds, pop culture's present obsession with eating the rich, all that blowing chunks and shooting for a history-making third Palme d'Or. ON TEARING INTO SOCIETAL CONVENTIONS WITHIN ALLURING WORLDS "I think if I go back to my upbringing, my mother was a primary school teacher and she was talking a lot about sociology with me when I was a kid. And sociology is, if you are looking at what it actually is, it's very often with human beings trying to deal with social contracts that are broken in some way — or there's an expectation on you as an individual to fit into the herd or things like that, but there's always a broken social contract. For Triangle of Sadness, the reason that I got interested in the topic was I met my wife eight years ago and she worked as a fashion photographer. And I got very interested in the fashion industry and her profession, and I got interested in beauty as a currency and beauty as a possibility to climb higher in society. So, that was the starting point of the idea. Then I came up with looking at these hierarchies first in the fashion world, then in the luxury world, but then also on a deserted island — when you take away the old hierarchies, looking at our behaviour in that context. One thing that I decided when I made Force Majeure was that I wanted to let my films play out in an environment that we like to look upon. So I thought when I made Force Majeure: 'yeah I can spend one-and-a-half hours at a ski resort'. With The Square, I thought: 'yeah, I can watch and make a movie that takes place in the art world'. With Triangle of Sadness, then, it was one plus one plus one: 'yeah, I definitely wanted to watch a movie that takes in the fashion world, on a luxury yacht and on a deserted island." ON GIVING AUDIENCES A DILEMMA — AND DRAWING FROM EXPERIENCE "I always look for a dilemma, so I have a situation that the character is dealing with that has two or more options, but none of them are easy and all of them have consequences — that is basically what a dilemma is. And if you have a dilemma, it's very often easy for the audience to identify with the situation rather than with the character, so they put themselves in the situation. To go back to sociology, we have classical dilemmas that have been used in sociology, for example the Milgram experiment where they had a test person giving electrical shocks to another test person. We can identify with the dilemma, so we also get an understanding of what failure there means morally and ethically. I always look for that. I very often also look for things that I have been dealing with in my own life, because I think that these everyday life dilemmas — where you're maybe not risking anything physically, but were it comes down to the social contract — they tell us so much about ourselves. When it came to Triangle of Sadness, I was trying to find something that I have experienced that I felt was dealing with beauty as a currency, men, women, gender expectations and so on. Then I was reminded of this horrible fight that I had in the beginning of my relationship with my wife, where I could feel it was a minefield — you can step on a landmine any second — and I thought 'I have to include this, this is very, very painful, it has to be in the film'." ON EATING THE RICH — AND POP CULTURE'S FASCINATION WITH THE TOPIC "I have always been a socialist, so I think all of a sudden I'm trendy again — and that's fantastic! But I didn't have a plan of attacking that more now. When I was doing my first feature films, I was more of an arthouse director, I was a little subtle with my concepts, and I was not going straight for what I wanted to tell. But the more free I have become as a director, I have also dared to be more direct. And the setup in Triangle of Sadness lets me do that. But I think that one thing it is important for me to point out is that I have nothing against rich people. Rich people are nice — they just don't like to pay taxes! When I hear 'eat the rich', I see it as meaning attacking the rich. I don't consider myself attacking the rich. I wanted to make a very sympathetic image of rich people — or at least as sympathetic of the rich as everyone else. I want to be equally harsh on all of the different class groups." ON ALL THAT VOMIT — AND GIVING HIS CREW MOTION SICKNESS "I wanted to do a scene where we had a drunk Marxist captain reading from The Communist Manifesto to passengers on a luxury yacht that was dealing with seasickness. I was just fond of the idea — that they are playing around with the microphone system and through the speakers in the cabins, the guests are trying to deal with the vomiting but at the same time they have to listen to this political message. The scene actually started with that idea. When I was shooting it, I also decided that I wanted it to go ten steps further than the audience could expect. I wanted it to get to a point where they felt 'please save them, they have had enough!'. But you know, because I'm so interested in broken social contracts, I thought it was interesting if the captain's dinner on a luxury yacht where everyone knows how to behave, and the etiquette of how they should behave, was in conflict with the seasickness that becomes stronger and stronger. I just love setups like that. It took a long time to edit it. I was editing it for half a year almost before we found the right structure. When we shot it, we shot it in fragments — it was not 100-percent decided when I shot it which place the fragments should have in the whole scene, so that was something that I had to find out when I was editing, and that took a long time. The shooting took place on a gimbal that we could rock, so we could rock the set 20 degrees, which made it very chaotic to shoot. I'm used to being in full control and being able to shoot without having the slightest little sound or anything — being very concentrated — so for me that was a challenge. And actually also, parts of the crew got seasick from the shooting. They had seasickness pills because we were spending 13 days, eight hours every day, on this rocking set. As you can imagine, it was chaos." [caption id="attachment_884238" align="alignnone" width="1920"] Cannes, France. 28th May, 2022. CANNES, FRANCE. May 17, 2022: Ruben Ostlund at the photocall for Palme d'Or Awards at the 75th Festival de Cannes. Picture Credit: Paul Smith/Alamy Live News[/caption] ON WINNING TWO PALME D'ORS — AND DREAMING OF A THIRD "I was definitely not thinking about [winning a second Palme d'Or] when we made the film. I felt pressure because I knew that everybody that put in money into the film expected the film to be in competition in Cannes. When we were accepted in competition in Cannes, I said 'okay, mission accomplished, I have given them what I have promised', so to speak. Then we had a fantastic screening in Cannes. And what happens then is you slowly start to hope for a prize. And when you're invited to the awards ceremony, and the prizes go to other films, and you realise 'wow there's only one prize left'. And then you realise we're going to win the Golden Palm again. The great thing with the second Golden Palm is that it takes away pressure from your shoulders, because then you have shown that the first Golden Palm was actually the right decision from that jury. And what happens after you win two Golden Palms is that slowly a dream is starting — maybe we can win a third one! — because then you would be the only one in the world. I'm sorry, this is what happens. I'm trying to be humble but this is what happens! So the first one, I never dreamt about the second one. When I received the second one, I started to dream about the third." Triangle of Sadness is now screening in Australian cinemas. Read our full review. Triangle of Sadness images: Fredrik Wenzel. © Plattform Produktion.
Darlinghurst neighbourhood bar Bitter Phew is teaming up with Italian amaro distiller Fernet Branca to bring you a week-long festival of aromatic cocktails. Think signature drinks, plus creative burgers and at least a couple of big parties. Not all that familiar with Fernet Branca? It's an aromatic spirit whose story begins way back in 1845 — with a family recipe and a team of expert distillers at Fratelli Branca Distillery in Milan. More than 40 herbs, spices and blossom go into the digestivo, including saffron, myrrh, rhubarb, aloe and camomile. Even better, rumour has it that it can prevent hangovers. Kicking off on Monday, December 2, Bitter Phew's celebrations will involve a five-strong cocktail list, from the straight-forward Fernet Branca with Coke or Campari to the Hanky Panky, featuring ginger beer and lime, and the Toronto, containing gin and sweet vermouth. Alternatively, you can have it in a boilermaker or straight from the tap, either neat or on ice. Plus, BL Burgers will be chipping in with food, serving up a Fernet-inspired burger. If you're looking to celebrate with more than just a drink, swing by on Friday, December 6, for the Fernet Branca x Bitter Phew House Party, and on Sunday, December 8, for the Hospo Party.
Four decades back, concert film history was made. In December 1983, David Byrne walked out onto a Hollywood stage with a tape deck, pressed play and, while standing there solo, began to sing 'Psycho Killer'. Then-future The Silence of the Lambs Oscar-winner Jonathan Demme directed cameras towards the legendary Talking Heads' frontman, recording the results for Stop Making Sense. The best way to celebrate the 40th anniversary of the event behind the greatest concert film ever made arrived in 2024, and in cinemas. That'd be watching it on the big screen, of course, with cult-favourite independent film and TV company A24 — and Madman Down Under — releasing a complete restoration of Stop Making Sense. What's the second-best way to celebrate the occasion and the movie? Catching that new 4K version at home now that it's on Madman's documentary streaming service DocPlay from Thursday, June 13. Wearing big suits is optional. Now able to burn down your house — not literally, naturally — the 4K restoration premiered at last year's Toronto International Film Festival, and also had a date with SXSW Sydney's Screen Festival in 2023. So, no it isn't the same as it ever was: Stop Making Sense is now even better. The film isn't just iconic for how it starts, which definitely isn't how concerts usually kick off. From there, as captured at Hollywood's Pantages Theatre in December 1983, David Byrne, Tina Weymouth, Chris Frantz and Jerry Harrison put on one helluva show in support of their previous year's album Speaking in Tongues. Expect a lineup of hits, a playful approach, Byrne's famous oversized attire and even heftier stage presence, and the feeling that you're virtually in the room. Indeed, everything about this energetic and precisely executed documentary, which records the set from start to finish, couldn't be further from the standard concert flick. As 'Once in a Lifetime', 'Heaven', 'Burning Down the House', Life During Wartime', 'This Must Be the Place (Naive Melody)', 'Genius of Love' and more get a whirl, each element of the movie is that fine-tuned, and every aspect of the band's performance, too. And if it feels like Byrne was on-screen not that long ago, that's because his Spike Lee (Da 5 Bloods)-directed solo concert flick American Utopia did the rounds of Aussie cinemas back in 2020 — and proved one of that year's absolute best films. Check out the trailer for Stop Making Sense's 4K restoration below: Stop Making Sense is available to stream via DocPlay from Thursday, June 13, 2024. Images: Jordan Cronenweth, Courtesy of A24.
Easter is creeping closer and the creative treats are flowing in hard and fast. This year, we've already seen the release of a hot cross bun-inspired rum, decadent gelato-filled eggs and Lune's beloved hot cross cruffins. And next up is one for your booze cabinet — limited-edition drop, The Dispensary Cacao Husk Liqueur. A grown-up Easter offering with a sustainable edge, it's a joint effort from a couple of Melbourne-based favourites — Brunswick distillery The Gospel and artisan chocolate label Mork, the same crew behind that cult campfire hot chocolate. The innovative liqueur is crafted using Mork's leftover single-origin cacao husks, which would normally be thrown out. Here, instead, they're macerated in a blend of the distillery's Straight Rye and Solera Rye Whiskeys to create a complex sip filled with an array of rich fruit notes. This forward-thinking duo has effectively turned trash into treasure. Despite the cacao element, the drink isn't overly sweet; rather, the husks carry a savoury profile that complements the whisky's aromatics, leaving a blend of flavours that includes roast hazelnut, dried orange and cranberry. Mork roasts its cacao in small batches before the nib is separated and used to make products from its legendary chocolate range. Now, those discarded husks are getting their chance to shine, too. The Cacao Husk Liqueur marks the latest addition to The Gospel's Dispensary series. The crew recommends sipping it on the rocks, or stirred down with dry vermouth, Luxardo Maraschino and The Gospel's Solera Rye in a cocktail. There'll only be a limited number of bottles of the liqueur on offer — you can grab yours from The Gospel's website from 8.30am AEST on Wednesday, March 29. The Dispensary Cacao Husk Liqueur will be available to buy online from March 29.
Whenever a beloved sitcom comes to an end — as Brooklyn Nine-Nine will when it finishes up this year — it leaves a hole in your viewing schedule, and in your TV-loving heart. You can keep binging your favourites all over again, of course, and as many times as you like. But, although one-off specials, starry reunions and movie spinoffs keep happening more and more, you'll always be sad that you can't just look forward to a big batch of new episodes. The one silver lining: when the likes of Parks and Recreation and 30 Rock finished up their runs, the creatives behind them stayed in the sitcom game. Indeed, that's why B99 exists, and how The Good Place and Unbreakable Kimmy Schmidt came to our screens, too. And, over the past month or so, new shows from the key folks behind all of these series have just reached Stan. When it comes to Girls5eva, a word of warning: the hit song that brought titular fictional late 90s/early 00s girl group to fame is such an earworm, you'll be singing it to yourself for weeks after you binge through the sitcom that bears their name. That's to be expected given that Jeff Richmond, the composer behind 30 Rock and Unbreakable Kimmy Schmidt's equally catchy and comedic tunes, is one of the talents behind it. Tina Fey and Robert Carlock produce the series, too, so you what type of humour you're in for. Starring Sara Bareilles (Broadway's Waitress), Busy Philipps (I Feel Pretty), Renée Elise Goldsberry (Hamilton) and the great Paula Pell (AP Bio), Girls5eva follows four of the band's members two decades after their heyday. Their initial success didn't last, and life has left the now-fortysomething women at different junctures. Then a rapper samples their hit, they're asked to reunite for a one-night backing spot on The Tonight Show — and they then contemplate getting back together to give music another shot. As well as being exceptionally well-cast and immensely funny, the series is also bitingly perceptive about stardom, the entertainment industry and the way that women beyond their twenties are treated. Also, when Fey inevitably pops up, she does so as a dream version of Dolly Parton — and it's as glorious as it sounds. Check out the Girls5eva trailer below: Also now streaming its first season in full on Stan: Rutherford Falls. Michael Schur co-wrote and produced The Office, then did the same on Parks and Recreation and Brooklyn Nine-Nine, both of which he co-created as well. And, he gave the world The Good Place — which makes him one of the best in the business when it comes to kind-hearted, smart and savvy small-screen laughs. His new show continues the streak. Co-created with star Ed Helms and showrunner Sierra Teller Ornelas (Superstore), it boasts his usual charm and intelligence, too. And, as with every program he's had a hand in, it also boasts a top-notch lineup of on-screen talent. Plus, Rutherford Falls is immensely easy to binge in just one sitting, because each one of its ten first-season episodes leave you wanting more. The setup: in the place that gives the sitcom its name, Nathan Rutherford (Helms, Aunty Donna's Big Ol' House of Fun) runs the local history museum. One of his descendants founded the town, and he couldn't be more proud of that fact. He's also very protective of the towering statue of said ancestor, even though it sits in the middle of a road and causes accidents. So, when the mayor (Dana L.Wilson, Perry Mason) decides to move the traffic hazard, Nathan and his overzealous intern Bobbie (Jesse Leigh, Heathers) spring into action. Nathan's best friend Reagan Wells (Jana Schmieding, Blast) helps; however, the Minishonka Nation woman begins to realise just how her pal's family have shaped the fate of her Native American community. Also featuring a scene-stealing Michael Greyeyes (I Know This Much Is True) as the enterprising head of the Minishonka Nation casino, Rutherford Falls pairs witty laughs with warmth and sincerity, especially when it comes to exploring the treatment of First Nations peoples in America today. Check out the Rutherford Falls trailer below: The first seasons of Girls5eva and Rutherford Falls are available to stream via Stan.
Bringing Shakespeare to the big screen is no longer just about doing the material justice, or even about letting a new batch of the medium's standout talents give their best to the Bard's immortal words. For anyone and everyone attempting the feat (a list that just keeps growing), it's also about gifting the playwright's material with the finest touches that cinema allows. It's never enough to simply film Macbeth like a theatre production, for instance, even if all that dialogue first penned four centuries ago still ripples with power — while riffing about power — without any extra adornments. No Shakespeare adaptation really needs to explain or legitimise its existence more than any other feature, but the great ones bubble not only with toil and trouble, but with all the reasons why this tale needed to be captured on camera and projected large anew. Joel Coen knows all of the above. Indeed, his take on the Scottish play — which he's called The Tragedy of Macbeth, taking Shakespeare's full original title — justifies its existence as a movie in every single frame. His is a film of exacting intimacy, with every shot peering far closer at its main figures than anyone could ever see on a stage, and conveying more insight into their emotions, machinations and motivations in the process. The Bard might've posited that all the world's a stage in As You Like It, but The Tragedy of Macbeth's lone Coen brother doesn't quite agree. Men and women are still merely players in this revived quest for supremacy through bloodshed, but their entrances, exits and many parts would mean nothing if we couldn't see as far into their hearts and minds as cinema — and as cinematographer Bruno Delbonnel's (The Woman in the Window) stripped-down, black-and-white, square-framed imagery — can possibly allow. In a year for filmmakers going it alone beyond the creative sibling relationships that've defined their careers — see also: The Matrix Resurrections — Joel Coen makes a phenomenal solo debut with this up-close approach. His choice of cast, with Denzel Washington (The Little Things) as powerful as he's ever been on-screen and Frances McDormand (The French Dispatch) showing why she has three Best Actress Oscars, also helps considerably. The former plays the eponymous Scottish general, the latter his wife, and both find new reserves and depths in the pair's fateful lust for glory. That's another key element to any new silver-screen iteration of Shakespeare's most famous works: making its characters feel anew. Washington and McDormand — and Coen as well — all tread in the footsteps of of Michael Fassbender, Marion Cotillard and Australian filmmaker Justin Kurzel (Nitram) thanks to 2015's exquisite Macbeth, but they stand in absolutely no one's shadows. As also previously splashed across cinemas by Orson Welles, Akira Kurosawa and Roman Polanski, the narrative details remain the same, obviously — from the witches (all played by Kathryn Hunter, Flowers) prophesying that Macbeth will soon be monarch, through to his murderous actions at Lady Macbeth's urging to make that prediction become a reality. All that scheming has consequences, both before and after King Duncan (Brendan Gleeson, Mr Mercedes) is stripped of his throne. One of the smartest parts of the movie's central casting is the change it brings to the Macbeths' seething desperation. Due to Washington and McDormand's ages, their versions of the characters are grasping onto what might be their last chance, rather than being ruthless with far more youthful abandon. They're susceptible to the Weird Sisters' suggestions in a different way, too, embracing what they think should already be theirs rather than seizing a shot they may not have expected for some time otherwise. McDormand's involvement is hardly surprising — she's married to Joel, is one of the Coen brothers' mainstays when her husband and his sibling Ethan share directorial credits, and won her first Academy Award for playing a pregnant police chief in their crime classic Fargo. But The Tragedy of Macbeth moulds what could've just been a given, a case of spouses reteaming again, into an inspired opportunity to give its source material a few shrewd tweaks. Writing as well as helming, that's the intensely fastidious level that Joel operates on. His work has always been assembled with precision, but that devotion to detail feels as stark here as the movie's overwhelmingly evocative monochrome visuals. For a filmmaker known for surveying life's chaotic and careening turns, dating back to 1984's Blood Simple, spanning comedies such as Raising Arizona and The Big Lebowski, and evident in the more recent Inside Llewyn Davis and Hail, Caesar!, too, he makes mess and mayhem look meticulous in The Tragedy of Macbeth. This towering adaptation may carve its own space among the many other Macbeths, but it also shows Coen's penchant for Welles' rendering — and his films in general — plus Kurosawa's Throne of Blood. Those nods come through aesthetically, flickering through a feature that masterfully looks as if it could've been made decades ago. The Tragedy of Macbeth's German expressionism-influenced use of light and darkness isn't just sharp, it's piercing, aptly so when Washington stands in a lengthy corridor to ask "is this a dagger which I see before me?". They're intense words from one of the Bard's greatest soliloquies, and they're paired with such stunning cinematography — that hallway appears to keep extending forever, a sight that says oh-so-much about the moral precipice Macbeth stands at — that the effect is scorching. Something wicked this way comes within the narrative, of course, but something magnificent unfurls in this new retelling. Stepping back into the acclaimed play proves a lean and ravishing experience again and again here, and also eerie and potent — a mesmerising brew when it comes to this story. Strutting and fretting as Delbonnel's staggering cinematography gazes his way, and as Carter Burwell's (The Ballad of Buster Scruggs) score ramps up the tension, Washington is equally transfixing. He needs to be to play this part. He needs to be remarkable to express Macbeth's transformation from loyal royal offsider to killer, and to navigate the corresponding existential torment. Something astonishing this way comes as a result, a feat that isn't The Tragedy of Macbeth's alone with this tale (Kurzel's version was the best film of its year), but provides another masterwork full of sound and fury signifying everything. The Tragedy of Macbeth opens in Australian cinemas on December 26, 2021, and will be available to stream via Apple TV+ on January 14, 2022.
Tropical North Queensland is so rich in natural beauty that it's easy to forget that the region also boasts an impressive art scene. Local and international artists flock to the tropics, finding inspiration in the stunning scenery throughout the area. From local theatres and art galleries, to beachside markets and concert venues, there are plenty of ways to get your culture fix while in the tropics.
Picnic season is upon us, so it's time to amp up your gear-game for the inevitable days spent feasting on foil-wrapped sandwiches and plastic cups of chilled wine. When shopping for picnic gear, you need to consider all the practical stuff like transportability, usefulness (don't forget a bin bag!) and practicality (can it get wet?). But it's also nice if it looks great. We've combined all those things into the following list for our picks of picnic must-haves. And every inclusion on this list is Australian-designed or made because we love to keep it local. SPEAKERS THAT DOUBLE AS ESKYS One of the only downsides to spending a day in the sun picnicking is the mandatory lugging of cooler boxes, picnic baskets, speakers and food from the car to the designated picnic spot. So, whenever possible, try find picnic gear that can do two things at once. Like this pretty and pink two-in-one cooler and speaker from Sunnylife for $199. It has a 15 litre capacity so it fits 16 cans with ice. It also has bluetooth, radio, connects to AUX and USB. If you're after something a little larger and don't require the most aesthetically pleasing cooler-box-speaker-hybrid at the beach, here's another one from Super Cheap Auto that holds 55 litres and will only set you back $60. [caption id="attachment_827827" align="alignnone" width="1920"] Image: Annika Kafacaloudis for Hattie Molloy X Curio Practice [/caption] WARM BLANKETS FOR SUNSET PICNICS Need something to wrap yourself in when the sun goes down and the spritzes aren't warming you up enough? Curio Practice is a female-owned small business making checkered and patterned blankets from the finest Australian Merino wool and made locally in Victoria. Curio Practice's blankets are of impeccable quality and beautifully made, plus, when winter rolls around the picnic baskets go into storage, they look pretty draped over lounge chairs or folded on the end of your bed. Win-win. MINI CUT-OUT TABLES FOR NO-SPILLS If you're on the clumsy side or have a penchant for sinking one too many rosés on the grass with your pals, Etsy store Noosh and Noo sells picnic tables with clever cut-out glass holders so your drink won't get knocked over and your cheese stays free of ants. The tables are handmade out of bamboo so they're light and durable, and you can have your name, initials or a symbol engraved. They're $100 and are made to order in Australia. Or, if you picnic in larger groups, Indi Tribe Collective has portable picnic tables with up to eight wine glass holes and two wine bottle holders for $259.95. PATTERNED RUGS FOR A VINTAGE VIBE Arguably the most important piece of picnic equipment is a durable but fun waterproof rug you can plonk yourself and your food on. Etsy store BreezeBoutique has loads of different colours and checks to chose from, with two size options ranging from around $89-$99. These blankets are made from acrylic and have little PU leather handles for easy travelling. If you want traditional tartan made with natural materials, Waverley Mills is Australia's oldest working textile mill and makes some of the finest Australian Merino wool picnic blankets around. They're crafted in Tassie, made to last and range from $229-$299. BEACH CHAIRS FOR THE PICNIC ELITE If you really want to take your picnic to the next level, purchasing portable fold-out chairs might be on your agenda. If you're after a stylish but comfy chair, Sunday Supply Co have designed luxe beach seats with fast-drying padded foam and fade resistant fabric. They have some very funky covers, including a sunny yellow and white striped number and a beachy black and white polka dot. If you're more low-key but still love a retro look, these striped plastic camp chairs are a throwback we can get around — especially for only $24.99. [caption id="attachment_827899" align="alignnone" width="1920"] Image: Greta Mitchell for Porter Green[/caption] ECO-FRIENDLY REUSABLE CUPS Glassware and expensive ceramic tableware have no place at a picnic, but the over-manufacturing of single use plastics are wreaking havoc on the environment. Instead of plastic supermarket cups, go for reusable options like these stainless steal party cups with splash-less lids or this double wall insulated wine traveller set. The ones featured in the image above are unbreakable, foldable silicone tumblers from sustainable interiors brand Porter Green and are $27.25 for a pack of two. If you're partial to something sparkling, these reusable pink champagne flutes are only $24.99 for two. COCKTAIL SHAKERS FOR ON-THE-GO MARGS The number one way to impress dinner guests is casually shaking and pouring cocktails like you were born to do it while effortlessly maintaining vibrant conversation. Same goes for picnics. Picnic Folk are an Australian brand selling brightly patterned stainless steal picnic equipment like lunchboxes, tumblers and cocktail shakers that are hand painted by an older generation of artisans in Kashmir. If you're more of a minimalist, this cocktail set from Grand Cru Wine Fridges comes in black matte finish and has everything you need to make a basic cocktail for $59.95. PICNIC BASKETS THAT DOUBLE AS CHEESE BOARDS Picnic basket, cheeseboard, card table — we love a picnic basket that can do it all. The Beach People have designed specialised, handmade picnic baskets that have a wooden food grade removable cheeseboard lid and an insulated interior with a zip close for $199. They also have a 'seconds' section, where they sell the cheeseboard picnic baskets that have minor imperfections for $179. If you want something a little larger, Paragon Emporium has a fold out picnic basket that doubles as a table with optional legs that are tucked away when the basket is in its basket form, plus swing out wine glass holders. GAMES TO PLAY WHEN THE CONVO ISN'T CUTTING IT Sometimes a picnic needs an element of organised fun, and, if our national sports are any indication, there's nothing Australian's love more than a bit of competition on the grass. Check out this enormous wooden Jenga from Yellow Octopus or this two-in-one lawn games bundle from Living by Design. If you're vibing the things-that-double-as-other-things picnic tip, perhaps this games-board-slash-towel from Sunnylife is a win for your next beach picnic. [caption id="attachment_828069" align="alignnone" width="1920"] Image: KoolShooters via Pexels[/caption] VINTAGE FINDS FOR ONE-OF-A-KIND GEAR With so many new gadgets constantly being manufactured, it may also be on your mind to start a collection of vintage picnic gear for a more sustainable approach. South Australian based Etsy shop, Beach Kiosk Vintage, has vintage collectables that are perfect for outdoor use and your next picnic. It might take a bit of hunting, but from 80s ice coolers to enamel fondue pots, there's something for everyone. The Vintage Retro Guy is another Etsy shop, this time based out of Geelong Victoria. It usually has a great selection of original, colourful plastic cups, saucers, plates and containers for all your portable picnic needs. Happy hunting. Image: Annika Kafacaloudis for Hattie Molloy X Curio Practice
Sydney Festival is back with a massive 2022 lineup, so clear your diaries because summer is going to be very, very busy. The annual arts, music and culture festival is bringing 133 events to spaces all around the city for 25 days. That includes performances, shows, gigs, installations and more across Sydney's stages, screens, parks, ferry rides, the Andrew (Boy) Charlton Pool and at a new 1000-seat pop-up site in Cathedral Square — because a major citywide arts festival should sprawl absolutely everywhere it can around town. If you're looking to get your dose of art, theatre and live music without breaking the bank, you can score a great deal on Sydney Festival tickets by using your $25 Discover vouchers that the NSW government offered up as part of its Dine & Discover initiative (we know they're still sitting in your Service NSW app). We've rounded up ten of the festival's best events that you can nab tickets for less than $50 using your vouchers, from free outdoor art exhibitions and extravagant stage shows to futuristic raves and prehistoric picnics.
Previously hidden in a backyard sprinkled with fairy lights, Parramatta pizzeria Fratelli Pulcinella has expanded into a new location on Church Street. While you may not be sneaking around the side of a house to get your hands on the saucy rounds, you'll still find the same quality Italian food at Fratelli Pulcinella 2.0. Head into 399 Church Street, and you'll find two firing pizza ovens (one for classic bases and one for gluten-free slices) amid a spacious multi-storey dining room accented with brightly coloured chairs and Italian quotes emblazoned across the wall. If part of the charm at the original Parramatta location was the al fresco dining, never fear — the new space has plenty of tables out back in the courtyard. Food-wise the team has kept things consistent, with the addition of pizza fritta and panuozzo to the menu. Classic Italian combos form the basis of the pizza options: margherita (regular or the extra-cheesy buffalo variety), prosciutto and parmesan, capricciosa and napoletana. But, the rotating menu is known to dish up some unexpected flavours as well. Indulge in a combo of speck, provolone, buffalo cheese, rocket, truffle oil and balsamic glaze. Or opt for the double-layered Amore Tossico, which features fior di latte mozzarella, parmesan, provolone, house-made Italian sausage, tomato, ham, caramelised onions, buffalo cheese, fried speck and basil. Bellissimo. If you're looking for a comforting Italian feast in the west (or on your way to a game at CommBank Stadium), Fratelli Pulcinella is here to hit the spot — now with room for everyone. Updated Monday, December 18, 2023.
Moosejaw, an online shop that sells outdoor recreational apparel, has created the X-Ray Catalog App, available at their website. Once the app is downloaded, the user holds their smartphone over photos of models sporting ski parkas and other fairly unsexy items, only to see the app 'strip' them through the use of augmented reality technology, revealing what they are wearing underneath their clothes. It's true that a lot more people (probably men) are suddenly going to be a lot more interested in this catalogue. If you wanted to look at soft porn in a public place or avoid embarrassment when your mum finds your stash under the bed - she'll just think you really love camping - this technology might just hold the answer. Or maybe it's about giving people the chance to feel as if they have superhero skills. Either way, if you see people reading the catalogue on the train with a little too much interest, you can either tsk them or give them a knowing wink, depending on whether you think this is creepy or brilliant.
After promising a return to Australian shores earlier this year, Coldplay have announced the details of their November tour. The band will be playing four stadium shows in Sydney, Melbourne and Brisbane plus Auckland in New Zealand from November 10-21. Australian talent The Temper Trap and US-based sister act, The Pierces, will be supporting. Coldplay are currently touring the world to celebrate the release of their fifth studio album Mylo Xyloto. In March, the band cancelled two corporate shows in Sydney due to personal reasons. Their last visit down under was in 2011 to headline Splendour in the Grass. “We can’t wait to get back to Australia and New Zealand this November. They’re such special places for us. These venues are pretty huge, the Aussie and New Zealand crowds are always incredible and we’ll be bringing everything we’ve got. It’s going to be big,” lead singer Chris Martin said on the band’s official website. Pre-sale tickets for Visa Credit, Debit and Prepaid cardholders will be released this Thursday, May 17. Tickets go on sale to the general public on Friday, May 25.
It swept cities across the nation into a sugar-dusted frenzy when its pop-up 'dessert museum' travelled the country, now, the team behind the nostalgic Sugar Republic and festive Christmasland is taking its sweet-toothed fantasies to a whole new level, opening Australia's first-ever sweets-inspired accommodation. Opening its doors in Daylesford, Victoria — 90 minutes northwest of Melbourne — Sweet Retreat is a true candy-coated affair, complete with sugar-themed suites you can stay in, play in and take some rather dashing snaps in. Located in an old miner's cottage, the retreat has Milk Bar-inspired art by Callum Preston, a giant Paddle Pop in the living room, oversized Tim Tams in the bedroom, a pink ball pit, a disco ensuite and neon artworks throughout the house. Oh, and it has scratch 'n' sniff cherry wallpaper, too, plus an appliance-filled kitchen for whipping up any sweet treats of your own and some actual lollies to eat. In short, it's exactly what you'd expect from any of Sugar Republic's previous pop-ups, but you can sleep, cook and play games in it. And you can bring along your mates, too, with the retreat housing up to eight people across four themed bedrooms. You can cosy up in the Sweet Love suite filled with Mills & Boon books, the Tea & Biscuits room with teapot lights and biscuit walls, or the rainbow or peaches bedrooms. All rooms have access to the balcony, deck and pergola. There are retro boardgames and Sonos speakers to keep you entertained when you're not sniffing the wallpaper or swimming in the ball pit and, outside of the house, there's a sprawling garden with roses and fruit trees. Of course, there's plenty you can do in the surrounding area, too. You can check out some of Daylesford's more unexpected activities — including llama rides and visits to a treehouse spa — take a look over here. Sweet Retreat by Sugar Republic is now open for bookings, starting from $450 a night. 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.
Mixed-media legend Nikolaus Dolman is renowned for deconstructing pop culture. He's taken on the selfie, clickbait and the 'Western lifestyle economy' all by way of collage and image manipulation. He's copied, cut and pasted his way onto the Australian art scene, garnering attention by subverting our popular obsessions and the repetitiveness of mass media through the infinitesimal forms images can take. And this week, you can see Nikolaus' views on the modern world and how he recontextualises it in his own way at Wild Turkey Way at The Annandale Hotel. There, classic bourbon, iconic Sydney burgers and some of Australia's best artists come together at the inner west pub, for a night of doing things the Wild Turkey way, which is to say, your own way. So to honour this bourbon fete and the spirit of forging your own path, we sat down with Nikolaus to learn about his craft and how he's doing things his very own way. How did you get started as an artist? Everyone in my family is creative in their own way, and has definitely influenced me towards a career in the visual arts. Did your style evolve into collage from something else? I studied printmaking in my undergrad at Southern Cross University in Lismore, NSW, and from there, my practice evolved into different mediums — all closely related to paper, surface and texture. [I've been influenced by] the tactile qualities of paper and infinite possibilities of image reproduction. Where do you source your material from? I source material from commercial and domestic advertising as a start, then it gets lost and transformed through process into a subversion of its original context and form. I'm attracted to pattern and how certain images tessellate, or at least attempt to. What's the message behind your work with its focus on topics like selfies, advertising and popular culture? My work reflects the western lifestyle economy and culture through mainstream media and advertising. Through my work, I explore the repetitious and obsessive qualities of living in an image-saturated world, and the effects such immediacy and disposability have in our everyday. I'm interested in how we are represented in advertising, and how it evokes certain desires. I guess social identity plays a big part in my thought process when I am conjuring up new ideas for works. What's the piece of work that you're most proud of? I've just completed [my] largest piece to date, which I'm excited to show in an upcoming solo show at Firstdraft in Woolloomooloo, opening June 7. Have you ever received any backlash or criticism about your artwork? Yes, mostly because I am personally entrenched in the subject and in challenging certain aspects of it. I try to take an observational stance and eliminate a negative tone by using irony and humour. Also, the act of 'borrowing' content to make work from is sometimes frowned upon. But isn't it just another way of viewing already familiar evocations? Nikolaus Dolman's work, along with other Aussie artists 'doing things their way', will be on display at The Annandale Hotel as part of the Wild Turkey Way pop-up this Friday, May 26. Find more info about the event here.
Uber drivers may want to start thinking about a change of career. The ridesharing giant, whose relationship with its drivers has been turbulent in recent times, may soon reach the point where it no longer has any need for them at all. After all, why spend millions settling lawsuits when you can get the cars to operate themselves? That seems to be the thinking as the company rolled out its first fleet of self-driving cars in the U.S. today. After beginning testing back in May, the fleet of modified Ford Fusion Hybrids, complete with roof-mounted cameras, radar and Uber branding, took its first official outing streets of Pittsburgh on Wednesday — beating other tech companies to the punch. At the moment Uber is still sending a safety driver along in the driver's seat, so they can intervene if anything goes awry. The idea is that eventually those safety drivers won't be needed anymore — but, safety, y'know? "This pilot is a big step forward," said the company via a statement on their website. "Real-world testing is critical to the success of this technology. And creating a viable alternative to individual car ownership is important to the future of cities." They hope that driverless technology will, eventually, help to lower the number of traffic accidents, cut congestion and free up parking space in our cities. At the moment the self-driving cars are only available to "loyal" Pittsburgh Uber riders — if one of the cars is available when they request an uberX, that's what they'll get. That's all well and good, but will these self driving cars be offering their passengers complimentary mints? Where are we on that technology, exactly? By Tom Clift and Lauren Vadnjal.
