Perspective can be a tricky thing to find when you're deep into a second stretch of lockdown, dreaming about the small freedoms being enjoyed by the rest of the country. After all, Melbourne's currently up against some of the world's toughest COVID-19 restrictions, with the return to normality looking anything but speedy. But one local video production company has found a way to embrace all those uniquely Melbourne lockdown feels, and created a documentary based on the phases of our stage four plight. Titled Iso-Cray: A Story of Melbourne Locked Down, Monster & Bear's latest work hopes to kick-start some important discussions about how we're all coping — really — and what we can do to help others through this funky time. While the nightly news is focused on the bigger picture, this ten-minute video creation is celebrating the day-to-day reality, normalising the lockdown moods in the hopes of doing good things for Melbourne's mental health. Plus, it should give interstate mates a solid glimpse at what's really happening down south. The short flick documents everyday life through this latest bout of restrictions, sharing stories of creative resilience from real people in iso all across the city. The cross-section of folks on camera is diverse, but those iso-cray feelings are the same across the board. Basically, whatever you're going through, you sure ain't alone. "I think we all recognise this is a once in a 100-year event, and it's refreshing to see a city (and the broader state) giving each other permission to feel every kind of emotion on the spectrum," said Monster & Bear Creative Director Sarah Hickey in a statement. "We should all be able to share our feelings right now, and we shouldn't be ashamed of it." Tune in to see the kaleidoscope of emotions that is a bunch of real locals living their lockdown lives — from living room dance sessions to late-night musings and some good old-fashioned screaming. Iso-Cray: A Story of Melbourne Locked Down is available to watch in full now.
What could be better than small plates and cocktails on a Sunday arvo? Rum Cha Sundays have launched at Luis Tans. With two sittings at 12pm and 2pm every week, Venezuelan head chef Alejandro Franco Lancini is bringing you his South American flare in bite size dishes. Described as the "unforeseen love child of traditional Chinese yum cha and Latin American flavour", the menu is more tapas than yum cha. Beef dumplings ($10.50) smothered in chimichurri and black turtle beans sit on the menu next to carne mechada spring rolls ($13.50) of pulled beef and whipped guasacaca sauce. Since a lazy afternoon on Bondi's Campbell Parade isn't complete without summery cocktails, Luis Tans has you covered with a fruity list of Bloody Marys and rum cocktails. It's a Sunday session you won't mind getting stuck in for.
For much of his career, Ryan Gosling has perfected on-screen smouldering. He's the kind of actor who can utter few words and still convey everything, as movies such as Drive and Only God Forgives demonstrated so well. But Gosling is also exceptional at comedy, which Barbie reminded the world in 2023 with glorious ballad-crooning, beach-loving Kenergy. Next, cinema's baby goose is getting into action-comedy mode in the Sydney-shot The Fall Guy. Based on the 80s TV series of the same name, the film follows stuntman Colt Seavers (Gosling), whose career isn't what it used to be. After taking time off, he's back at work getting set on fire for a living — but the fact that his ex Jody Moreno (Emily Blunt, Oppenheimer) is directing brings chaos. That's just the first dose of the movie's mayhem. Also complicating matters: that megastar actor Tom Ryder (Aaron Taylor-Johnson, Bullet Train), who Seavers is meant to be doubling for in Moreno's flick, has gone missing. So, the stunt professional now has another task: work out what's going on by solving a conspiracy. If you're thinking "wasn't Gosling in the stunt game in Drive?", you're correct; however, The Fall Guy couldn't be in more different territory tonally. That said, when Ted Lasso's Hannah Waddingham tells Gosling "you're a stuntman — nobody's going to notice you, that's your job", in The Fall Guy's just-dropped first trailer, you'll already know that his casting means that's never going to prove true. As well as finding a missing actor, getting immersed in action intrigue to unravel a criminal plot, saving his latest movie and doing his regular job, Seavers is on a mission to win back Moreno — but IRL stuntman-turned-filmmaker David Leitch, who also helmed Bullet Train, Atomic Blonde, Deadpool 2 and Fast & Furious Presents: Hobbs & Shaw, puts stunts to the fore as much as rom-com banter in the initial sneak peek. Written by Fast & Furious Presents: Hobbs & Shaw scribe Drew Pearce, The Fall Guy co-stars Everything Everywhere All At Once Oscar-nominee Stephanie Hsu, plus Winston Duke (Black Panther: Wakanda Forever). Also a big feature in the trailer: its Sydney shooting location, including the Sydney Opera House and the Sydney Harbour Bridge. Everyone in Australia knows that Gosling was in the country to make the movie — and we all know that any flick shot here will show off that fact in its footage, as seen in the trailer for the also Sydney-made Anyone But You recently as well. On the small screen, The Fall Guy ran for 113 episodes from 1981–86, starring Lee Majors after his best-known role in The Six Million Dollar Man. Check out the trailer for The Fall Guy below: The Fall Guy releases in cinemas Down Under on Thursday, February 29, 2024.
The Red Rattler is hoping for an extra-special birthday present this May; after five years, the alternative arts space, currently facing an uncertain future, is looking to the community for support. 'The Rat' was founded in 2008 by a quintet of queer artists and activists dedicated to independent arts and grassroots activism. They "hocked everything that they could" to create a space that is not only accessible but also legal, and able to survive the market vicissitudes threatening so many live performance venues. All too often, Sydney's exorbitant rent levels get in the way of the arts underground. Two of the five original founders are now departing to take on other projects, so the Rat has decided to adopt a new model, which will see a shift towards becoming a collective-owned, self-sufficient entity. The catch is that this will only be achievable if the venue can find the $40,000 needed to purchase a 40 percent share in the warehouse that it calls home. Enter crowd funding. Audience members, artists and patrons are being asked to donate to the Rat's Pozible campaign, which, at the time of publication, ends in 46 days and has reached 50 percent of its goal. A failure to meet the target amount may mean closure. Given the growing list of venues that have kicked the bucket recently, losing the Rat would seem a rather tough blow. The space occupies a particularly important position, in terms of its focus on community. "The Red Rattler prides itself on accessibility in terms of both affordability and a non-discriminatory mode of operation," says Jamie Ferguson, a member of the volunteer advisory management committee. "[It] was set up as a space where racism, homophobia, transphobia and sexism are not welcome on stage, in the audience, at the door or at the bar. The Rat has and continues to be a space where everyone feels welcome and part of a family, and able to be oneself and also be experimental. There is no judgment, which is a great thing for artists, and performers who want to push boundaries or simply try new things." Anyone wanting to become part of the Save the Rat campaign can make a contribution or offer their services as a volunteer. They're also invited to the venue's fifth birthday celebrations, which will take the form of a fundraiser on Friday, May 3. The line-up includes DJs Seymour Butz and Adonis, Mojo Juju, Wife, Venus Vamp, and "loads of cake".
Deep-voiced Sydneysider Kirin J Callinan preludes a massive Europe tour with a few stops on local turf, i.e. a national tour. He and his '80s cricketer hairdo will be rocking Oxford Art Factory this Sunday, October 4 30. Callinan kicked of his music career as guitarist for Mercy Arms, before going solo with his own unique genre of chaos. His live shows have become infamous, with constant streams of stories from his gigs appearing online. In the words of Clash's Joe Zadah, "these unhinged and confessional sermons are made of savage riffs, self-deprecation and loop pedals." Between his hectic string of live gigs, he's made time to release his album Embracism (out now on XL/Terrible Records), perfect a flamboyant fashionably/unfashionable style and team up with Mark Ronson and Tame Impala as they covered 'I Sat by the Ocean' for Like a Version. Now, Callinan embraces his home city. His Sunday night show will be supported by Molly Lewis and Donny Benet.
While horror has traditionally been the realm of the silver screen, The Walking Dead and newcomer Hannibal have brought all the magnificent gore, thrills and frights of the genre into our homes and onto our televisions. Part cop drama, part serial killer thriller, NBC's Hannibal is a somewhat-prequel to Silence of the Lambs starring Mads Mikkelsen and Hugh Dancy (you can guess which one's the conniving, cannibalistic title character). Recently renewed for a second season, it investigates the lives of Will Graham, an FBI agent, and Hannibal Lecter, forensic psychiatrist. The story is based loosely on the material of Thomas Harris's horrific novel Red Dragon but adds a few grotesque twists along the way. The A.V. Club's Todd VanDerWerff described the series as "an intricately twisted serial-killer thriller, but it's also a surprisingly deep series about psychiatry and the state of the human mind", adding that it "had every reason to be a cheap cash-in and has, instead, turned into one of TV's best shows." The Walking Dead, meanwhile, is more out-and-out horror — and, at this point, one of the most well-known and loved TV shows on the planet. Zombies, backstabbing, amputations: totally gross, and totally excellent. About to start its fourth season, it's packed with scream-out-loud scares, and brings a "film-quality drama series about zombies" to life on television. Season three picked up the story three months after season two ended, with both factions of the main characters attempting to keep their lives together whilst, of course, fighting off the infected zombies. Hannibal: Season One and The Walking Dead: Season Three are released on DVD in Australia on September 25. Thanks to Hopscotch Films, we've got 10 prize packs including copies of both series to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Having dominated Australian dining for decades with the likes of Bondi's Icebergs Dining Room, Da Orazio and The Dolphin Hotel, restaurateur Maurice Terzini is now taking his talents to Asia. And his first stop is Seminyak, Bali, where his new restaurant Da Maria will be opening on Saturday, November 5. As the name suggests, the venue will be bringing a splash of Italy to the tropical Indonesian island. Roman architects Lazzarini Pickering took care of the design and, walking into the courtyard, you'd be forgiven for thinking you'd landed on the Amalfi Coast. The cool whites and blues, bold shapes, fountains and feature ceiling are a contemporary take on 1960s aesthetics, including that of Giò Ponti's famous Sorrento hotel Parco dei Principi. "Da Maria is our portrait of Maurice Terzini in Bali," said Carl Pickering. "'Bali Style' wouldn't have worked for the ideas Maurice had for this restaurant." That said, there is evidence of Balinese influence in the rubber trees, cacti and passionfruit vines. Plus, you'll notice a dash of French fer forgé style in the tables and chairs. As far as the food goes, Terzini has gone for a modern take on simple, traditional Italian dishes. A cool 24 hours of fermentation goes into the pizza dough, which is made using Neapolitan techniques and cooked in lava stone ovens. You'll also find porchetta (whole pig) which has proved a big hit at Bondi's Da Orazio. Among the lighter dishes, there's asparagus with anchovy butter and parmesan, snapper crudo with tomato, chilli and marjoram, and octopus with overnight beans, red wine vinegar and parsley. If you're up for a long feast, then order 'La Panarda', which will get you a selection of sharing plates. "We are offering traditional Italian food, done correctly, in a modern environment without trying to reinvent the wheel," said chef Steven Skelly. "It's accessible, fresh and fun and we really enjoy cooking it." Meanwhile, in the Americano-influenced bar, expect Italian classics, like the Negroni and the Spritz, as well as house-made liqueurs, including vermouth, and a contemporary wine list. As at any Terzini establishment, special events will pepper the calendar, to be curated with help from Motel Mexicola's Adrian Reed. DJs will be popping in every night from 10.30pm onwards and, before then, you'll be kicking back to playlists put together by Sydney DJ Kali (Picnic). Last but not least, there's an onsite boutique, Da Maria Shop by Ten Pieces. Ten Pieces is Terzini's fashion label, launched in partnership with Lucy Hinkfuss in 2011. Find Da Maria at Jalan Pettinenget 170 Badung, Bali, Indonesia, open daily from 5pm–2am and on Sunday for brunch from 11am–3pm.
The last thing any Australian wants this summer is to spend more time indoors, but it looks like the weather has other plans. It already appears that most of the east coast will see out spring with rain and clouds, and they're not the only wet conditions in much of the country's immediate future — with the Bureau of Meteorology's declaring that a La Niña weather event has developed in the Pacific Ocean. When the weather phenomenon hits Australia, it usually means soggier times — and that's what BOM is forecasting for eastern, northern and central parts of the country. And, cooler temperatures, too, so perhaps this won't be the hot vax summer we'd all been hoping for. (Obviously, exactly what constitutes 'cooler' needs to be put in context of Australia's usually toasty summer weather; we aren't quite in for frosty conditions.) In a statement, Bureau's Head of Operational Climate Services Dr Andrew Watkins explained that La Niña "increases the chance of cooler than average daytime temperatures for large parts of Australia and can increase the number of tropical cyclones that form." And, in a revelation that won't surprise anyone who's had a wet week or so — Sydney and Brisbane have both seen rain — Dr Watkins advises that "La Niña is also associated with earlier first rains of the northern wet season, as we've observed across much of tropical Australia this year." The Bureau has declared that a #LaNiña has developed in the tropical Pacific. Typically during La Niña, there is above average rainfall for eastern, northern and central parts of Australia. pic.twitter.com/4KJeKsVI6A — Bureau of Meteorology, Australia (@BOM_au) November 23, 2021 Australia last experienced La Niña last spring and summer, so we're getting back-to-back stints of sodden weather; however, that's not out of the ordinary. "Around half of all past events returning for a second year," Dr Watkins said. In good news, the 2021–22 La Niña might have a weaker effect locally than last year's event — and definitely isn't predicted to be as strong as the weather phenomenon proved between 2010–12. Having an umbrella handy is clearly smart advice over not just the coming days — with showers, rain and/or storms forecast for all Aussie capitals except Perth — but for the summer ahead. It's smart Aussie summer advice in general anyway, but particularly so this year. La Niña forms part of a naturally occurring shift in ocean temperatures and weather patterns along the equator in the Pacific Ocean — a cycle known as the El Niño-Southern Oscillation (ENSO). When it occurs, waters in the central or eastern tropical parts of the Pacific become cooler than normal, and persistent southeast to northwesterly winds get stronger in the Pacific's tropical and equatorial regions. Also, clouds shift to the west — so, closer to Australia. For more information about the Bureau of Meteorology's La Nina declaration, head to the BOM website.
If you're looking to shop locally for your swimwear this summer, look no further than Active Truth, which is offering 20 percent off its Australian-made, sustainable swimsuits. Plus, you'll receive free express shipping, so even though we're already one week into February, you'll have your new swimsuit at your doorstep before summer ends. Active Truth is accessible to beachgoers of all shapes and sizes, with a wide range of swimwear from XS to 3XL. The brand is also committed to sustainability, supporting the Healthy Seas initiative and making its swimwear from reconstructed recycled fibres, such as discarded fishing nets. If you're keen to snag some new togs, have a look through the catalogue of one and two-piece swimsuits and order before the sale ends on Tuesday, February 9. 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.
Stepping back to its titular year, 1985 is filled with signs of its time — from Walkmans playing Madonna, to bars pulsating with synth, to fashion choices that couldn't come from any other period. And yet, for all of the exacting music choices, production design decisions and costuming touches, it's the film's cinematography that grounds it so firmly in the past. With director of photography Hutch shooting on grainy 16mm, Yen Tan's third stint as a director feels like it was made in the era it depicts, then subsequently unearthed now. That couldn't be a higher compliment. This is how many low-budget movies looked three decades ago, with 1985 not only meticulously recreating the same aesthetic, but quietly nodding to the wealth of queer cinema that came before it. Framed with precision, those speckled monochrome images serve another purpose, too. A film's style can say as much as its story, which is never in doubt here. 1985's black-and-white visuals overflow not only with visible texture, but with meaning and emotion — as seen in its loaded shadows, inky contrasts and jittery flecks. How better to convey a world where so much is left unsaid than to cloak it in grey? How better to express existential turmoil than to strand its protagonist between light and dark? And how better to show someone striving to soak in every last detail than to make each grain jostle for attention? Every inch of 1985 looks and feels as it should — like Adrian Lester (Cory Michael Smith) has returned to his Texan hometown at the height of Reagan's America not just for Christmas, but with much more serious matters on his mind. The 20-something hasn't been back to Fort Worth since he left for New York, where he can express his sexuality openly, and his family haven't forgiven his absence. While Adrian's homemaker mother Eileen (Virginia Madsen) understands more than she'll ever utter, his Vietnam veteran father Dale (Michael Chiklis) openly seethes with hurt and hostility, and his pre-teen younger brother Andrew (Aidan Langford) clearly wishes he'd had a role model over the past few years. Awkward is one way to characterise this stilted reunion; caught between the conservative religious rhetoric spouted by the Lesters' favourite radio station and the reality of Adrian's new life is another. Conceiving the narrative with co-editor Hutch, but penning the screenplay solo, Tan treads delicately around the obvious. Given that his protagonist is a gay man in the mid-80s, and that a climate of fear is evident from the outset, it's hardly surprising that AIDS leaves an imprint on this tale. Given the historical context, it's not difficult to guess where the film is headed either, however the movie's slow reveal is as much about reflecting Adrian's experience as it is about both storytelling and chronicling a pivotal period in the past. When a person is faced with tragedy, their perspective changes forever, and yet the minutiae of everyday life cruelly and relentlessly goes on. 1985's power and poignancy stems from this fundamental truth, as Adrian goes home, sleeps in his childhood bed, spends time with his family and hangs out with his high-school girlfriend (Jamie Chung), all while knowing what no one else does: although he steadfastly wishes otherwise, nothing can ever really be the same again. In taking such an internalised journey — even one so astutely made tangible via stylistic flourishes — 1985 is fond of lingering in certain moments. This patient approach is noticeable, even in such a concise 85-minute movie, but it also has another function. As led by Gotham's Smith and ably supported by Madsen, Chiklis, Langford and Chung, this is a film anchored by exceptional performances that live and breathe when they're given the room to do just that. (Often, visually, Tan literally gives them space by peering at his actors in long and medium shots.) What comes to the fore, too, is the complexity of these characters, who never adhere to one-note archetypes despite initially appearing otherwise. That's another essential truth that 1985 conveys perfectly: no matter how transparent a person's facade may seem, you can never truly know just how they're afflicted by pain and heartbreak underneath. https://www.youtube.com/watch?v=gw5LfaKTKoI
This year, as we are wont to do, we ate a lot of meals. We ate mussels and Mexican in Sydney, sushi and salted caramel in Melbourne and fried chicken and Frankenstein foods in Brisbane, as well as some excellent meals on our travels. But, when it comes down to it, at the end of 12 months of noshing, there are only a few truly memorable meals that spring to mind immediately — the ones that were so good, we gushed about them for the next three weeks and nagged our partners/colleagues/friends to return with us ASAP. Here are the dishes burned into our taste memory — if their respective eateries still list them on the menu, book a table immediately. ROUGAMO (CHINESE BURGER) AT XI'AN BIANG BIANG, SYDNEY What if I told you one of Sydney's most memorable burger experiences can be found at a Chinese restaurant in Haymarket? That's right, this year Xi'an Biang Biang introduced us to 'rougamo', aka the world's oldest 'hamburger'. Originating in the Shaanxi province of China, this ancient meat sanga is made from a flaky pastry pocket stuffed with juicy pork shreds. It's soft. It's crunchy. It's everything. Expect warm fatty juices to run down your arm and awkward stares from strangers when you go to lick it off. Let's just say, we can see why it caught on. — Erina Starkey, Sydney food and drink reviewer KANGAROO AND CROCODILE, CALYPSO DREAMS AT MOMOFUKU SEIBO, SYDNEY Puffed kangaroo tendon and crocodile soup aren't things you'll usually see at Seiobo. But neither is Jock Zonfrillo. The native-ingredient wizard, from Adelaide's Orana, helmed the kitchen alongside head chef Paul Carmichael for one night in October, dishing up creative Caribbean dishes with Australian twists. The night began with the above — the broth was rich, the puffed tendon light and tangy — and ended with a dessert of buttermilk and eucalyptus. If you see this elusive pair on a lineup together anytime in the future, I recommend you make a reservation, tout de suite. — Samantha Teague, editorial manager A post shared by Marco Fanuli (@marco_fanuli) on Sep 24, 2017 at 12:41am PDT TEA SANDWICH AT AFRICOLA, ADELAIDE I had dreams about this sandwich on the night after I first tried it. It's a simple yet exceedingly delicious creation: crispy roasted chicken skin on crustless white bread with flat-leaf parsley and a generous lick of chilli mayonnaise. Served with a dish of hot drippings from Africola's signature peri peri chicken (usually spiked with Bourbon if chef Duncan Welgemoed is lingering behind the bar), no less. It's the ultimate hangover cure, which they need to start packaging up and shipping around the country. — Samantha Payne, Sydney contributor WAFFLE-COATED SATED CARAMEL ICE CREAM AT ANNAM, MELBOURNE Salted caramel remained as popular as ever this year and new Vietnamese restaurant Annam was all over it. When I visited in November I revelled in a glorious six courses finished with an an epic waffle and coconut-battered deep-fried ice cream, drizzled in salted caramel sauce. Achieving that moreish balance between salty and sweet this was the perfect way to finish the feast — the modern twist on a Chinese restaurant favourite has easily been one of my fave dishes of 2017. — Ashleigh Whitehill, Melbourne contributor A post shared by Samantha Teague (@teaguese) on Oct 23, 2017 at 4:33am PDT SCALLOP, HAM AND PEAS AT SASAKI, SYDNEY This is what happens when Yu Sasaki recreates pea and ham soup. The head chef and owner of our best new Sydney restaurant of 2017 used prosciutto jelly, scallops and pea shoots to create an Instagram-friendly, edible yin yang symbol that transported its eaters to snotty childhood winters. The restaurant's menu changes frequently, so this is no longer on offer, but there are many other next-level dishes — like the Japanese Madeleines — to enjoy. — Samantha Teague CHICKEN PARMA SPRING ROLLS AT LITTLE BIG HOUSE, BRISBANE Of all of the culinary hybrids cooked up by foodie Dr Frankensteins, Little Big House's might be the most unexpected: chicken parma spring rolls. They're also one of the tastiest, from the oh-so-crispy pastry to the succulent sauced-filled filling. And to think we've all been eating them separately for all of these years. — Sarah Ward, weekend editor KINGFISH SAN CHOY BAU AT ESTER, SYDNEY Most Ester regulars will be familiar with its famed kingfish and mandarin dish, but if you're lucky enough to see kingfish san choy bau on the menu, order it immediately. A recurring special on the menu, the Ester team basically pick the flesh off the roasted kingfish head (which would have gone into the bin otherwise) and then roll it up in a lettuce head with mint, cress and delicious spicy sambals. — Tahlia Phillips, business director A post shared by Jamie // JamJam (@jamjam.li) on Dec 9, 2017 at 6:32pm PST SMOKED MUSSELS AT DEAR SAINTE ÉLOISE, SYDNEY As overall winner of Concrete Playground's best new Sydney bar of 2017, it's no surprise I indulged in one of my favourite meals sitting at the long copper bar of Dear Sainte Eloise. The dish that, for me, carries the succinct menu selection is the smoked mussels on toast ($14). Like bruschetta from the sea, the briny broth is slurpable and the mussels are plump and succulent. The combination of crunchy carrots and fresh parsley with the shellfish is supremely well-balanced — much like Dear Sainte Éloise itself. Pair it with a expertly recommended glass of white from the extensive 350 plus wine list and you'll know exactly why this laneway spot has quickly secured a place in sydney food-loving hearts. — Marissa Ciampi, Sydney contributor PORK BELLY SALAD AT AGRARIAN KITCHEN, HOBART They say you don't win friends with salad but when the salad in question has chargrilled pork belly and a perfectly poached egg, which, when broken, runs through the freshest mixed leaves I've ever eaten, you might want to rethink that statement. Everything the Agrarian Kitchen uses on their menu comes from their on-site garden and farm giving the food this incredible energy and life to it. A must-visit if you're in Tassie. — Samantha Payne HUITLACOCHE AT CHULA, SYDNEY Fungus fans, this one's for you. Potts Point eatery Chula is dishing up a superb "Mexican pizza" called the tlayuda de huitlacoche. This intriguing dish sees a crispy tortilla base topped with refried beans, Oaxacan cheese and blistery black clumps of corn smut (yep, smut). Both a disease and a delicacy, this unusual Mexican ingredient reveals pungent earthy flavours with a funky kick of blue cheesiness. If you like truffle, you need to give huitlacoche a try. — Erina Starkey PANI PURI AT TONKA, MELBOURNE By no means a new dish, but my first pani puri experience — and it delivered becoming something I continued to chase throughout 2017. Tonka's fragrant, slightly warm aromatic water is addictive poured into those crispy parcels filled with potato, mung bean, tamarind chutney and dates. — Quinn Connors, partnerships editor A post shared by Lauren Vadnjal (@lrnvdnl) on Mar 1, 2017 at 4:06pm PST GLUTEN-FREE LAMB RAGU PAPPARDELLE AT KINDRED, SYDNEY Back when I was diagnosed as coeliac in the early 2000s I used to eat rice cakes and tiny pieces of toasted gluten-free bread and think that this was my life now. Slowly, it got better; restaurants started to bring in sans-gluten supermarket spaghetti as an alternative and stopped serving burgers in lettuce cups (mostly), but we still hadn't hit the gluten-free golden age. So I personally don't think it was overdramatic to shed a tear when this bowl of pappardelle was placed in front of me at Kindred — not only was it GF, but the Cleveland Street restaurant makes it fresh in-house, just the same as its regular pastas and breads. It was a special pasta moment and I have returned to Kindred multiple times to relive it. — Lauren Vadnjal, deputy editor PORK BELLY CONGEE AT EITHER OR, SYDNEY Well thought out in design, drinks and food, Either Or serves a menu of Asian-inspired breakfast favourites. The pork belly adobo congee is a clear winner, featuring umami flavours and served with mushrooms, micro greens and a poached egg on top. — Quinn Connors A post shared by Vicky Hanlon (@vicsta.gram) on Dec 22, 2017 at 5:11pm PST CHOCOLATE SOUR CREAM LAYER CAKE AT BEATRIX, MELBOURNE When things get tough, eat cake. The best way to eat a takeaway slice of Nat Paull's infamous Beatrix chocolate sour cream layer cake is straight out of the box on the walk back to North Melbourne Station. It's an old favourite of mine that never, ever disappoints — the buttercream frosting is cloud-like in texture and moreish at the same time, while the dried raspberry crumble on top finishes off with a sharp, sweet aftertaste. — Nathania Gilson, Melbourne contributor VEGAN PATATE PIZZA AT GIGI'S, SYDNEY While Sydney's New York-style pizza scene is somewhat dwindling, rising from the ashes of the woodfire is a healthy crop of simpler pizza restaurants using fewer (but better) ingredients. Newtown's Gigi's has gone one step further and is making fully vegan Associazione Verace Pizza Napoletana-certified pizzas in traditional Neapolitan style. Physical restraints would be required to hold me back from finishing the patate pizza with thin-sliced roasted potato, garlic, rosemary and black truffle pâté. Pair it with a natural wine and Gigi's rocket, radicchio, apple, pistachio and cinnamon salad. Plus, you can feel good about supporting the plant based ethical eating movement over pizza and wine. — Kitti Smallbone, Sydney photographer
In an attempt to boost audiences, an independent theatre in Barcelona has introduced Pay As You Go to the comedy circuit. Rather than risking an advance ticket purchase and (for better or worse) taking the show as it comes, you're charged per laugh. That's right, the sorer your face muscles are when the curtain falls, the bigger your bill. The scheme is a response to plummeting theatre attendance. Mid-last year, Spain's arts scene took one of its hardest hits ever when the government increased the tax on drama performances from 8% to 21%. Consequently, ticket sales dropped by a whopping 30% in just twelve months. Rather than surrendering to despair or closing down altogether, Teatreneu, which boasts eight stages, looked for solutions. That's when they teamed up with ad agency the Cyranos McCann to invent 'Pay Per Laugh'. Facial recognition technology, attached to each seat, records every smile or laugh — and you pay €0.30 per expression recorded. If you're in a bad mood, hard to impress or incredibly self-controlled, you walk away with your bank account intact. If, however, you’re more easily amused, you're charged up to a maximum of €24. The new scheme is truly great news for the performers. According to the promo video, the initiative saw most spectators pay €6 more than they normally would, and led to a 35% increase in crowds. They're contemplating expanding their emotional palette to include dramatic theatre 'Pay Per Cry' fees and our favourite idea, 'Pay Per WTF' — naturally, for performance art. Via Springwise.
There are a few theories floating around about alt-pop Sydney singer-songwriter Andy Bull. The first (now proven) is that the shorter his hair gets, the more attractive he becomes. The man truly is a sort of mythical anti-Samson. The second is this: the reason Andy Bull hasn't become a household name in Australia has less to do with Andy Bull and more to do with the inhabitants of Australian households. You see, we don't quite know what to do with him. He's not shiny enough for our pop tastes; he's not weird enough for our alternative tastes. He's a little Regina Spektor/Ben Folds, but he's also just a little Justin Timberlake. The man refuses to be pigeonholed. But international superstars have ridden the Bull and concluded that it is an experience to be had. Music critics have done the same. He's been invited on the road with the likes of Joss Stone, Tim Finn and Duffy. When he wasn't busy touring with international superstars, he was releasing killer singles like 'Small Town Girl' and 'Young Man'. Then, upon dropping his debut album, We're Too Young, in 2009, Bull was showered with a Cyclone Zane of critical acclaim — including a 4-star review from Rolling Stone. Your chance comes on June 8. After 18 months off the road, Andy Bull returns to promote his newest Triple-J-dominating single, 'Keep on Running'. https://youtube.com/watch?v=JSGUxRWR_r8
It has been less than a week since NSW Health advised that a new locally acquired coronavirus case had been identified in Sydney's eastern suburbs — and, over the past few days, the state's response has rolled out as expected. Mask rules changed, with covering your face now required on public transport and in indoor public settings. Folks in the city's east have been asked to avoid any non-essential social gatherings. And, as always happens, the list of places visited by people who've since tested positive to COVID-19 continues to grow. You know the drill from here, because naming locations and venues that positive coronavirus cases have visited is key element of NSW's containment strategy, and has been for months. The list has been growing swiftly in recent days, with 106 places currently named at the time of writing — including a number of big and notable sites. IKEA has popped up on exposure site lists a few times during the pandemic, and it has again now, with a case visiting IKEA Tempe from 10.15am–12pm on Wednesday, June 16. If you were there at the same time, you'll need to get tested and then self-isolate until you receive a negative result. Another sizeable venue: Central Station, which pops up on six of the seven public transport routes included in the current rundown. NSW Health specifically calls out the train routes rather than the station, but if you caught trains that arrived or departed on platforms 17, 21, 23, 24 and 25 on Tuesday, June 15, you'll want to check the list — as you might need to get tested and then self-isolate until you receive a negative result. The list of places considered close contact sites has 25 entries at present, too, so if you've been in Barangaroo, Bondi Junction, Drummoyne, Fairy Meadow, Newtown, North Ryde, Northmead, Redfern, Shellharbour, the CBD, Tempe and Vaucluse, you'll want to check it out — especially given that NSW authorities keep stressing that transmission has been happening via fleeting contact. Cafes and shops feature prominently on the list, because we now live in a world where grabbing a coffee or going to Myer might mean that you have to get tested and self-isolate for 14 days. https://twitter.com/NSWHealth/status/1406501732000026629 As it has throughout the pandemic, NSW Health is maintaining an ongoing register of locations that have been visited by positive COVID-19 cases — you can check out the entire list on its website. And, if you need a reminder, the symptoms to look out for are coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste. You can find a rundown of testing clinic locations online as well. For more information about the status of COVID-19 in NSW, head to the NSW Health website. Top image: Westfield Bondi Junction via Google Maps.
UPDATE April 28, 2023: Moonage Daydream is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video Ground control to major masterpiece: Moonage Daydream, Brett Morgen's kaleidoscopic collage-style documentary about the one and only David Bowie, really makes the grade. Its protein pills? A dazzling dream of archival materials, each piece as essential and energising as the next, woven into an electrifying experience that eclipses the standard music doco format. Its helmet? The soothing-yet-mischievous tones of Ziggy Stardust/Aladdin Sane/The Thin White Duke/Jareth the Goblin King himself, the only protective presence a film about Bowie could and should ever need and want. The songs that bop through viewers heads? An immense playlist covering the obvious — early hit 'Space Oddity', the hooky glam-rock titular track, Berlin-penned anthem 'Heroes', the seductive 80s sounds of 'Let's Dance' and the Pet Shop Boys-remixed 90s industrial gem 'Hallo Spaceboy', to name a few — as well as deeper cuts. The end result? Floating through a cinematic reverie in a most spectacular way. When Bowie came to fame in the 60s, then kept reinventing himself from the 70s until his gone-too-soon death in 2016, the stars did look very different — he did, constantly. How do you capture that persistent shapeshifting, gender-bending, personal and creative experimentation, and all-round boundary-pushing in a single feature? How do you distill a chameleonic icon and musical pioneer into any one piece of art, even a movie that cherishes each of its 135 minutes? In the first film officially sanctioned by Bowie's family and estate, Morgen knows what everyone that's fallen under the legend's spell knows: that the man born David Jones, who'd be 75 as this doco hits screens if he was still alive, can, must and always has spoken for himself. The task, then, is the same as the director had with the also-excellent Cobain: Montage of Heck and Jane Goodall-focused Jane: getting to the essence of his subject and conveying what made him such a wonder by using the figure himself as a template. Nothing about Bowie earns an easy description. Nothing about Bowie, other than his stardom, brilliance and impact, sat or even stood still for too long. Driven by themes and moods rather than a linear birth-to-death chronology, Moonage Daydream leaps forward with that same drive to ch-ch-change, the same yearning to keep playing and unpacking, and the same quest for artistry as well. Taking its aesthetic approach from its centre of attention means peppering in psychedelic pops, bursts of colour, neon hues, and mirrored and tiled images — because it really means making a movie that washes over all who behold its dance, magic, dance. That's the reaction that Bowie always sparked, enchanting and entrancing for more than half a century. In successfully aping that feat, Morgen's film is as immersive as an art installation. Exhibition David Bowie Is has already toured the world, including a 2015 stint Down Under in Melbourne; Moonage Daydream sits partway between that and a Bowie concert. This gift of sound and vision is as glorious as that gig-meets-art concept sounds — and yes, live footage beams and gleams throughout the documentary. Among the snippets of interviews, smattering of music videos, melange of clips from cinema touchstones that reverberate on Bowie's wavelength in one way or another, and scenes from his own acting career on-screen and onstage, how could it not? During his five years, fittingly, spent making Moonage Daydream, Morgen had access to the original concert masters, from which he spliced together his own mixes using alternative angles. Zooming back to the androgynous space-alien Ziggy Stardust and the Spiders from Mars tour is exhilarating, including when the feature's eponymous song explodes. Jumps to the 90s, to the Outside and Earthling tours, resonate with awe of a more grounded but no less vibrant kind. The Serious Moonlight segments, hailing from the 80s and all about pale suits and glistening blonde hair, see Bowie relaxing into entertainer mode — and, amid discussions about his wariness about making upbeat tunes, mastering that like everything else. When Bowie takes to the stage in Moonage Daydream, it plays as a concert film, in fact, even if there's always a new vintage chat with the man himself, compilation of movie images or video from one of his singles to swiftly follow in this musical mashup. The entire viewing experience is designed to feel like an event and a show; seeing it on the biggest possible screen, and sitting close enough to it so that all that's in front of you is that Bowie-adorned screen, is heartily recommended. Enlisting Bowie's longtime producer Tony Visconti, Moonage Daydream has the sound, not just the soundtrack, to both match and evoke that like-you're-there sensation. (Or, to make its audience feel like Bowie's here in the cinema in front of you.) Those tunes have also been remastered, aided by audio engineer Paul Massey (an Oscar-winner for Bohemian Rhapsody), and they're given the thunderous volume they deserve. Mesmerising fans comes easily in this Bowie mosaic's frames and tunes, with the doco edited as well as written and directed by Morgen; freak out in a Moonage Daydream indeed. For the casually interested, the film uses its style as part of its substance, and as an immersion technique — a tactic that Baz Luhrmann's Elvis also used in a just-as-vivid and expressively stitched-together manner. Understanding by feeling: that's the 2022 wave of modern music icon love for viewers to fall for, although Moonage Daydream and Elvis are clearly different features. The pair's subjects can be heroes, and that's a fact, and their directors want viewers to absorb why beyond merely being told. Among the time-defying jumps backwards and forwards throughout his life — channelling his always-futuristic air — Bowie's narration isn't about singing his own praises, instead flowing with insights into his processes, loves and challenges, and why he kept seeking the new and the bold. Hearing it as the movie's music and visuals work their magic is as revelatory as it's meant to be. Get your 'lectric eye on this and you'll slide through a multi-sensory ode — a multimedia extravaganza — that also includes looks at the Starman's paintings, which he was cautious about unveiling to the world; hops from the Brixton of his birth to his Los Angeles stint, and to his Berlin period and his tours through Asia; and buzzes with delighted-to-the-point-of-anxiety 70s-era crowds. Naturally, a refusal to be easily pinned down, to stop pushing itself and stop transforming also echoes, again paralleling Bowie himself. Morgen teases one song then layers in another, or sets up a segue but veers elsewhere: he is the propulsive documentary's DJ and he loves being playful. Every choice and surprise chimes with the utter Bowieness of it all, and how indefinable Bowie was and still is. Moonage Daydream is noticeably light on his last few decades, and on the reasons he stopped unleashing his inimitable presence upon stages, but perhaps that's another movie's job; this one is wondrous and wonderful anyway.
It might be hard to imagine how Australia's contentious immigration and asylum seeker policies could be fodder for comedy, but Tom Ballard has somehow managed to produce a 'comedy lecture' that is at once moving, thought-provoking, and piss-your-pants funny. The award-winning comedian's latest show Boundless Plains to Share (which takes its title from that oft-forgotten line in our national anthem) tackles the history, inhumanity, and hypocrisy of Australia's immigration policies. It's that rare kind of performance that will leave you both furious and introspective, and also belly-sore from all the laughter. This is one comedy event you definitely don't want to miss.
Video games and drinking have long been buddies. Drinking and art have a healthy relationship. Now, thanks to Sydney based pop-up art gallery, fiftyone, these three tasty aspects of culture can now buy a house in the 'burbs, raise kids and happily grow old together. Bring on GAME OVER. Taking place at Cremorne's art-loving Bread and Butter cafe on June 12, GAME OVER is one night of video game-themed fun, with art and drinks thrown in for good measure. Local artists Robby Williams (no relation, but will indeed entertain you), Phil Marsden and Rohan Cain will be exhibiting and selling their latest pieces and prints. Then there’s the epic Mario Kart tournament on the big screen, bound to separate the Bowsers from the Toads. The whole idea behind fiftyone is to provide young artists a platform to exhibit, as well as bringing art to the after-hours crowd. Proudly continuing the philosophy, GAME OVER promises to do just that. With free entry, live music, art, booze and video games all thrown under one roof, it’ll be nothing short of a KO. Nothing left but to finish him.
Smirnoff takes on a Brazilian spirit speciality with the introduction of a new flavour of vodka, Caipiroska. The Caipiroska mixed drink is typically made by combining vodka with lime wedges and sugar, but Smirnoff has created three different versions of the sweet liquor: lime, mango and passion fruit. The unique flavours deserved to be encased in something more exceptional than the average glass bottles, so Smirnoff wrapped them up in style. The promotional bottles of Smirnoff Caipiroska come in colourful skins that can be peeled off like the fruits they represent. The opaque skins conceal the traditional Smirnoff packaging and give consumers an idea of just how fruity the new concoction is. If you think your taste buds can handle the tangy twist of the Caipiroska mixed drink, here are the simple ingredients: 35 ML Smirnoff vodka, 1/2 lime cut into wedges, 2 small spoons of brown sugar, and 15 ML simple sugar. Enjoy! [via Comunicadores]
The National Gallery of Victoria is wrapping up this wild year in style, hosting the blockbuster second edition of its much-hyped NGV Triennial. Taking over the gallery from Saturday, December 19, the exhibition looks set to be the biggest art event to hit the city in three years, featuring works from over 100 artists, representing 30 different countries. Among them, you can expect a diverse response to this year's themes of illumination, reflection, conservation and speculation. With a lineup like this — and many months of missed art appreciation to make up for — it's hard to know where to even start. But we're here to help. We've delved into the program and pulled out five must-see artworks set to grace the gallery's hallowed spaces this summer. Start plotting your post-lockdown art gallery debut now, with this roundup of five captivating artworks to check out at the NGV Triennial. [caption id="attachment_795343" align="alignnone" width="1920"] Dhambit Mununggurr, 'Can we all have a happy life' 2019-20, courtesy Salon Indigenous Art Project. Installation view at NGV International, photographed by Sean Fennessy.[/caption] DHAMBIT MUNUNGURR: CAN WE ALL HAVE A HAPPY LIFE If you've got a thing for hues of blue, this immersive work from Yolnu artist Dhambit Munungurr will surely resonate. While artists from her home of Yirrkala (Northeast Arnhem Land) traditionally paint using hand-ground ochres and other natural pigments, Munungurr was granted special permission to switch to acrylic paints after a 2005 car accident left her with ongoing injuries. She's since developed a special love for the colour blue and as such, her recent works have left a significant mark on Yolnu art as a whole. This NGV installation Can we all have a happy life (2019–2020) is the latest to embrace the artist's go-to colour palette, featuring a vibrant series of 15 bark paintings and nine larrakitj (hollow poles). [caption id="attachment_795344" align="alignnone" width="1920"] Cerith Wyn Evans, 'C=O=D=A' 2019–20, courtesy White Cube, London. Installation view at NGV International, photographed by Tom Ross.[/caption] CERITH WYN EVANS: C=O=D=A Big and bold is the name of the game for Cerith Wyn Evans' latest work, titled C=O=D=A (2019–20). The London-based artist has created a large-scale, neck-tilting celebration of light and movement, with his series of neon 'drawings' suspended brightly together in mid-air. Among them, you'll spy frantic scribbles, carefully structured shapes and even doodles referencing chemical compounds, each design experienced in countless new ways from different angles as audiences move around the installation. The full display towers at up to six metres high, challenging viewers to continually switch their perspective as they explore how each shape interacts with the next. [caption id="attachment_795349" align="alignnone" width="1920"] Atong Atem, 'Studio series' 2015, courtesy MARS Gallery, Melbourne. Installation view at NGV International, photographed by Tom Ross.[/caption] ATONG ATEM Atong Atem serves up some fresh cultural perspectives with her series of early photography works offering a vibrant exploration of identity. Born in Ethiopia in the 90s and now based in Melbourne, the artist has developed her body of work honing in on migrant stories and post-colonial practices in the African diaspora. For this portrait project she gives a nod to the old-school studio photography practices of her homeland, via a collection of staged shots dripping with colour. The vintage-inspired images are heady and impactful, featuring a festival of patterns and hues delivered through props, backgrounds, textiles and garments. [caption id="attachment_795351" align="alignnone" width="1920"] Stuart Haygarth, 'Optical (tinted)' 2009 (foreground), Mark Rothko, 'Untitled (Red)' 1956 (left) and Sabine Marcelis 'Dawn XXXIII' designed 2015. Installation view at NGV International, photographed by Sean Fennessy.[/caption] STUART HAYGARTH: OPTICAL (TINTED) A collection of over 4500 recycled tinted prescription spectacle lenses are the unlikely heroes of this stunning piece by British artist Stuart Haygarth. Optical (tinted) (2009) speaks to ideas of consumption, time and loss, as a thing of beauty is hatched from a bunch of discarded objects. Best known for his work repurposing everyday items into unexpected lighting installations, Haygarth here puts together a layered, shimmering sphere of used lenses. The intricate work features a careful assembly of elements, with cloudier lenses at the core making way for clearer glass pieces towards the outer edges. It's then lit from within, creating a sort of dazzling disco ball that'll have you reassessing your thoughts about waste and trash. [caption id="attachment_795355" align="alignnone" width="1920"] Porky Hefer, 'Plastocene – Marine Mutants from a disposable world' 2020, courtesy Southern Guild, Cape Town. Installation view at NGV International, photographed by Tom Ross.[/caption] PORKY HEFER: PLASTOCENE — MARINE MUTANTS FROM A DISPOSABLE WORLD We'd imagine there won't be too many times in your life you'll get to admire a giant octopus crafted from hand-felted cigarette butts. But this supersized oceanic beauty will be just one of many featured in a new large-scale installation by Porky Hefer. Plastocene – Marine Mutants from a disposable world (2020) sees the South African artist and his collaborators create a series of handmade sea creatures plucked from some dystopian future. The work's built on the notion of species being able to transmutate, eventually adapting themselves to fit a world of polluted oceans and plastic waste. The NGV Triennial 2020 will be on show at NGV International from Saturday, December 19 until Sunday, April 18, 2021. For more info and to see the full program, visit the NGV website. Top image: Cerith Wyn Evans, 'C=O=D=A' 2019–20, courtesy White Cube, London. Installation view at NGV International, photographed by Tom Ross
The Vanguard has been the burlesque theatre venue in Sydney for years and has thrived as the art has seen a resurgence. They have recently hosted incredibly popular shows, including Star Wars Burlesque and Batman Follies of 1929, and after two years of performing themed shows, the Vanguard's famous The Jaded Vanities are getting back to their roots in order to present an entirely new and compelling show. The Jaded Vanities promises to challenge the conventions of the genre and take burlesque to a whole new level by leading the audience on an alternative and sensually imaginative journey. So if you feel like opening up your horizons, being entertained and enjoying some of the best and most innovative burlesque performers in Sydney, then the Vanguard is the place to be every Sunday until September 8.
In the fickle hospitality industry, and in a city that's seen controversial lockout laws come and go, ten years is nothing to sniff at. For Shady Pines Saloon, it's definitely something to celebrate. The first of many successful venues by the Swillhouse group — which then went on to open The Baxter Inn, Frankie's, Restaurant Hubert and Alberto Lounge — Shady Pines has won the hearts (and caused the hangovers) of many a Sydneysider in the past ten years. The now much-loved Darlinghurst spot threw open the doors to its bar filled with taxidermy, peanut shells and honky tonk tunes back in 2010. And now it's celebrating its graduation into double digits with a big ol' party. [caption id="attachment_653449" align="alignnone" width="1920"] Leticia Almeida[/caption] Get down to the basement venue from 4pm on Sunday, March 1. There'll be live honky tonk, western swing and rockabilliy music kicking off at 5pm, thanks to the likes of the Cruisin' Deuces, Extension Chord and The Sweet Jelly Rolls. As always at Shady Pines, there'll be endless peanuts to shell and snack on, whisky to swill and sip, and $10 margaritas and negronis from 4–6pm. We suggest you stock up on the work Berocca in preparation for Monday. Images: Leticia Almeida
Ah, the humble food truck. Hallmark of the most sophisticated civilisations. Naturally, that world-class institution, Cambridge University, has its own local food truck, known fondly as the Trailer of Life. And for good reason — because everyone knows that a food truck is a comfort to drunken stomachs everywhere, a great alternative to stuffy restaurants and a justification for casual dining en plein air. Plus, where else can you go at midnight, other than Maccas? In recognition of this fact, and following a successful trial this October, Sydney's food trucks are celebrating their own popularity by getting together in one spot to feed you, one Friday every month, following a successful trial run in October and November. There's probably no better way to kick off (or conclude) your TGIF festivities. StreetFest Food Trucks United, as the monthly event is known, will open from 5pm at Belmore Park near Central Station. What tasty nomz will be available there? Are we talking pulled pork banh mi on crispy baguettes? Are we talking caramelised onion and aioli slathered on organic beef burgers? Veggie Patch Van, Tsuru, Cantina Mobil? All your digestive tract's fevered questions are answered on the Sydney Food Trucks website. There's even a smartphone app so you can align yourself yet more closely with this noble enterprise. Lord Mayor Clover Moore, that crafty cookie, says that the event is "part of our ongoing work to create a world-class night-time economy across Sydney". This is an initiative we can certainly get behind, and it mirrors public demand: a recent survey of food truck customers confirmed what we all know deep in our waters to be true, that (a) food trucks create new business in the city, (b) food trucks are the go-to destination between 9pm and midnight, and (c) food trucks tend to generate a devoted following, attracting customers who will happily travel up to 2km just to partake of their goodies. Not only that; the presence of a food truck also enhances a public space, helping to populate it, with all the benefits for a buzzy community that brings.
Thinking about UK cinema's biggest names brings a wealth of famous talents to mind. Odds are that they're on the 2023 British Film Festival program in one way or another. When the Australia-wide cinema celebration returns for its latest tour, it'll do so with Olivia Colman's latest movie, Ian McKellen's as well, what might be Michael Caine's final role and an Alfred Hitchcock documentary. Ken Loach, Liam Neeson, Helen Mirren, Anthony Hopkins, Richard E Grant, Timothy Spall, Helena Bonham Carter, Gemma Arterton, Maggie Smith: they're all covered, too. In total, 28 films are on the British Film Festival's 2023 lineup, including both brand-new flicks and retrospective screenings. Audiences can see the results throughout November, with the festival kicking off on Wednesday, November 1 in Sydney, Melbourne, Adelaide and Perth — and on Thursday, November 2 in Canberra, Brisbane and Byron Bay. BFF will keep is projectors whirring for four weeks, wrapping up on Wednesday, November 29. Opening night's One Life will begin the 2023 fest, with the Hopkins (The Son)-starring biopic coming to Australia after premiering at the Toronto International Film Festival. It tells the tale of Sir Nicholas Winton, whose World War II story includes assisting in the rescue of hundreds of Jewish children, earning him the label of the 'British Schindler'. Johnny Flynn (Operation Mincemeat) plays the humanitarian in his younger years, with Bonham Carter (Nolly) also co-starring. Still on BFF's big festival slots, the Colman- (Heartstopper) and Jessie Buckley (Women Talking)-led Wicked Little Letters will close out the 2023 event. The two actors reunite after both featuring in The Lost Daughter, although this time they aren't playing the same character. Instead, they're in a mystery-comedy that's based on a real-life scandal dating back 100 years And, playing as BFF's centrepiece is The Critic, which is where McKellan (Cats) and Arterton (Funny Woman) come in, and Mark Strong (Tár), Lesley Manville (The Crown) and Nikesh Patel (Starstruck) as well. As the name makes plain, it does involve a critic — a theatre specialist, in a whodunnit that's based on the novel Curtain Call by Anthony Quinn. Also a huge inclusion: My Name Is Alfred Hitchcock, the new documentary from The Story of Film's Mark Cousins. This time, the filmmaker turns his meticulous attention to a director like no other, and to plenty of suspense, including featuring footage from the bulk of Hitchcock's classic films. Among the other highlights, war veteran tale The Great Escaper could be Caine's (Best Sellers) last performance; The Old Oak marks the latest from iconic filmmaker Loach (I, Daniel Blake, Sorry We Missed You); The Lesson features Grant (Persuasion), Julie Delpy (On the Verge) and Daryl McCormack (Bad Sisters) in a literary thriller; and musical Greatest Days features Take That's songs. Or, there's Sweet Sue from Leo Leigh, son of Peterloo and Mr Turner director Mike Leigh; the Irish village-set In the Land of Saints and Sinners, which features Neeson (Retribution), Kerry Condon (The Banshees of Inisherin) and Jack Gleeson (Game of Thrones, and also Sex Education); Samuel Beckett biopic Dance First, with Gabriel Byrne (War of the Worlds) as the playwright; Golda, starring Mirren (Barbie) as Israeli Prime Minister Golda Meir; Mad About the Boy, a doco about Noël Coward; and Pretty Red Dress, which is set to the songs of Tina Turner. Plus, fans of movies about music can add Squaring the Circle (The Story of Hipgnosis), which hails from Control's Anton Corbijn and hones in on the titular photo-design company and its contribution to record cover art, to their BFF schedule. And, among the retrospective titles, the Mirren-starring Caligula, rock opera Tommy and drama Howard's End are all playing in 4K restorations — with Smith's (The Miracle Club) Oscar-winning performance in The Prime of Miss Jean Brodie, plus The Remains of the Day, Women in Love and Morgan — A Suitable Case for Treatment also on the classics list. BRITISH FILM FESTIVAL 2023 DATES: Wednesday, November 1–Wednesday, November 29 — Palace Norton St, Palace Verona, Chauvel Cinema and Palace Central, Sydney Wednesday, November 1–Wednesday, November 29 — The Astor Theatre, Palace Cinema Como, Palace Westgarth, Palace Balwyn, Palace Brighton Bay, The Kino and Pentridge Cinema, Melbourne Wednesday, November 1–Wednesday, November 29 — Palace Nova Eastend Cinemas, Palace Nova Prospect Cinemas, Adelaide Wednesday, November 1–Wednesday, November 29 — Palace Raine Square, Luna on SX, Leederville and Windsor, Perth Thursday, November 2–Wednesday, November 29 — Palace Electric Cinemas, Canberra Thursday, November 2–Wednesday, November 29 — Palace Barracks and Palace James Street, Brisbane Thursday, November 2–Wednesday, November 29 — Palace Byron Bay, Byron Bay The 2023 British Film Festival tours Australia between in November. For more information and to buy tickets, visit the festival website.
When your friends start talking furiously about how The Wire is the best TV show ever made, do you go quiet, trying not to let them know that you haven't watched it? The moment that the final season of Game of Thrones ended, did you instantly feel the urge to start all over again, because you just weren't ready to say goodbye yet? Whether there's a big gap in your pop culture knowledge or you're eager to revisit one of your favourite shows, that's where binging comes in. Serious binging — not just sitting on the couch and watching whatever your streaming platform of choice's algorithm happens to suggest. Serious binging involves committing time and effort to a show, working your way through it from start to finish and finding yourself obsessed with every last detail. It also means that you become that person who tells all their friends to watch or rewatch something. Yes, we've all been there. Finding time to hop into serious binging mode hasn't really been a problem in recent months, but if you're wondering what to watch next, we're here to help. Australia now has more streaming platforms than ever, and one of them is probably playing a TV series you desperately want to devote a big chunk of time to. Here are ten television standouts that you can currently watch from their very first seconds until they ultimately fade to black. https://www.youtube.com/watch?v=faRl5Bea-Go THE SOPRANOS The gangster genre has been part of popular culture since cinema's early days, but on TV, nothing is an essential and influential as The Sopranos. If you've watched any mob-related show or movie since 1999, it'll owe as much of a debt to David Chase's New Jersey-set crime drama as it does to the filmography of Martin Scorsese. Across six exquisitely written seasons, James Gandolfini and Edie Falco led the way — with Tony Soprano's work life, leading a local branch of the mob, intertwined with his home life with his wife Carmela and their kids Meadow (Jamie Lynn-Sigler) and AJ (Robert Iller). In fact, when the show starts, all of the above is giving Tony panic attacks, inspiring a visit to psychiatrist Dr Jennifer Melfi (Lorraine Bracco). Also featuring everyone from Steve Buscemi and Joe Pantoliano to Janeane Garofalo and Ben Kingsley, The Sopranos was simply the best thing on TV until it wrapped up in 2007. All six seasons of The Sopranos are available to stream via Binge and Foxtel Now. https://www.youtube.com/watch?v=z9rKY8MLWTU THE KNICK Over the past few months, almost everyone has rewatched Contagion, with Steven Soderbergh's prophetic outbreak thriller hitting rather close to home during the COVID-19 pandemic. The 2011 film is just one of the highlights on his busy resume, though — and if you're eager to watch the best thing he's ever made, then hit up medical series The Knick. Set at the turn of the 20th century, it follows the staff of a New York hospital as they endeavour to navigate everyday illnesses without the aid of modern advancements, pioneer experimental (and dangerous) surgical techniques, and try to stop their patients from dying. Also in career-best form is Clive Owen, who plays opium-addicted chief surgeon Dr John Thackery, while Moonlight's Andre Holland is similarly excellent as his new assistant chief surgeon. And, because that's the way he approaches most things he works on, Soderbergh directed, shot and edited every tense and thrilling episode. All of The Knick's two-season run is available to stream via Binge and Foxtel Now. https://www.youtube.com/watch?v=eIhUsfhXBJM GREAT NEWS You've seen 30 Rock, the brilliantly funny Tina Fey-created sitcom set within the TV industry. But if you haven't watched Great News, which she executive produced, then you're missing out on one of the other ace television-focused comedies of the past decade. This time around, it all takes place within a TV news program. Katie Wendelson (Briga Heelan) works on The Breakdown as a segment producer, but she wishes her boss Greg (Adam Campbell) would let her handle the show's top stories. There's plenty of workplace hijinks stemming from that premise alone, as well as from the overinflated ego of newsman and host Chuck Pierce (John Michael Higgins), and the celebrity antics of his co-anchor Portia Scott-Griffith (Nicole Richie). Complicating matters, though, is the arrival of Katie's overprotective mother Carol (Andrea Martin) as the show's new intern — and the results are equally smart and silly, as well as highly topical. All of Great News' two-season run is available to stream via Netflix. https://www.youtube.com/watch?v=nNHsA4WIFvc TWIN PEAKS It's the mind-bending small-town mystery-drama that comes with its own menu — and with plenty of thrills, laughs and weirdness. Whether you're watching Twin Peaks for the first or 31st time, you'll want to do so with plenty of damn fine coffee, fresh-made cherry pie and cinnamon-covered doughnuts to fuel your journey to this place most wonderful and strange. And, of course, David Lynch and Mark Frost's seminal TV series doesn't just serve up 90s-era oddness centred around the tragic murder of popular high-schooler Laura Palmer (Sheryl Lee), but returned for a mesmerising third season back in 2017 as well. There's simply never been anything on television like Twin Peaks, because no one can make movies and TV shows like Lynch. No one can play a kind and quirky FBI boss like Lynch either, or a dedicated agent like Kyle MacLachlan as Dale Cooper. All three seasons of Twin Peaks are available to stream via Stan. https://www.youtube.com/watch?v=lUeOCo0HeJo THE WIRE There are many things that are phenomenal about The Wire, from the complexity that seethes through every episode and season, to the fantastic cast centred around Dominic West, Wendell Pierce, Lance Reddick, Sonja Sohn, Michael K Williams and Andre Royo. It's the show that helped make stars out of Idris Elba and a very young Michael B Jordan, and it's absolutely unflinching in its exploration of law and order — and cops versus crime — in Baltimore. That said, as based loosely on the experiences of former homicide detective Ed Burns, and created and primarily written by ex-police reporter David Simon, the best thing about The Wire is how far and wide it ranges in exploring the Maryland city's relationship to law enforcement across its five seasons. Drugs, ports, the government, the school system and the media all fall into the series' remit, contributing to a show that feels as urgent now as when it first aired between 2002–08. All five seasons of The Wire are available to stream via Binge and Foxtel Now. https://www.youtube.com/watch?v=-1v_q6TWAL4 BUFFY THE VAMPIRE SLAYER Back in 1992, big-screen horror-comedy Buffy the Vampire Slayer introduced the world to a plucky California cheerleader who just happened to be fated to slay the undead. That's not the version of Buffy that everyone adores, obsesses over and has watched and rewatched for decades, however, with that honour belonging to Sarah Michelle Gellar in Joss Whedon's 1997–2003 TV series. And, from the show's witty sense of humour to its willingness to put its viewers through the emotional wringer, it's easy to see why television's Buffy the Vampire Slayer is the Buffy of record. A new slayer might be born into every generation, as the series taught us, but only one will always have our hearts — while grappling with trying to be a normal person, killing vamps and sometimes even falling for them, of course. All seven seasons of Buffy the Vampire Slayer are available to stream via Stan. https://www.youtube.com/watch?v=yjuXTD0m9Lc ROUND THE TWIST Sometimes, you want to spend your time binging your way through serious dramas or clever comedies. And sometimes, feeling nostalgic by revisiting the local TV show every Aussie kid watched is on the agenda. For two seasons between 1990–93, then another two from 2000–01, Round the Twist adapted Paul Jennings' popular books into an offbeat fantasy series — and, if you were the right age, it was must-see TV. It's the source of plenty of lighthouse obsessions, given that's where the Twist family lived, and it's also a show that knew how to balance humour, strangeness and scares. And yes, the latter two seasons aren't as great, but we're betting they're still baked into your childhood memories anyway. All four seasons of Round the Twist are available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=xUHlMgJxF30 MAD MEN If The Sopranos was the show that defined the 2000s, and it definitely was, then Mad Men did the same in the 2010s. Matthew Weiner's 60s-set advertising agency drama made a splash from the moment it started in 2007, but Mad Men is the epitome of a slow burn — with the series' charms apparent at the outset, but its full power accumulating and growing over time. That applies to the complicated Don Draper (Jon Hamm), Sterling Cooper's creative director and the show's point of focus, and to everyone in his orbit. Indeed, while Mad Men always tells Don's story, the depth and richness afforded not just fellow major characters such as Roger Sterling (John Slattery), Peggy Olson (Elisabeth Moss) and Joan Holloway (Christina Hendricks), but the series' huge range of supporting players, is one of the show's biggest strengths. That, and its meticulous period look, obviously. All seven seasons of Mad Men are available to stream via Netflix. https://www.youtube.com/watch?v=k4zBo6El-ok ABSOLUTELY FABULOUS Forget Absolutely Fabulous: The Movie, the 2016 film that really isn't funny and definitely didn't need to be made. Completely erase it from your memory, and just focus on the British comedy's five TV seasons and numerous television specials instead. No one plays booze-swilling, trend-chasing, self-obsessed pals like Jennifer Saunders and Joanna Lumley — and on the small screen, at least, their performances as PR agent Edina Monsoon and her magazine fashion editor bestie Patsy Stone are never less than hilarious. There's no scenario too outlandish for this pair, as Eddie's long-suffering mother (June Whitfield), daughter (Julia Sawalha) and assistant (Jane Horrocks) all endure in every episode. And, amidst all the laughs, over-the-top antics and satire, few shows have so astutely explored what it means to be growing older while refusing to let go of your younger years. All five seasons of Absolutely Fabulous are available to stream via Stan. https://www.youtube.com/watch?v=rlR4PJn8b8I GAME OF THRONES Maybe you adored every second of Game of Thrones, including how it ended. Perhaps you'd rather pretend that the last season didn't happen. Or, you could be looking for something to pass the time until George RR Martin finally releases a new book in his A Song of Fire and Ice series — aka the novels that HBO's big fantasy blockbuster is based on. Whichever category you fall into, the eight-season TV show unravels quite the story. Even if you're just in it for the dragons, the endless (and often literal) backstabbing, the soap opera-like relationships, Peter Dinklage's wonderful performance, the inevitable fate that awaits Sean Bean and the chance to say "you know nothing, Jon Snow" a few more times, that's completely understandable as well. All eight seasons of Game of Thrones are available to stream via Binge and Foxtel Now.
Renowned Sydney designer Henry Wilson has joined forces with innovative Sydney-founded furniture website NOMI to design an exclusive, super sleek, flat-packed shelving system called the Chevron Shelves. Customisable online down to the individual panel, the Chevron Shelves are delivered flat-packed and assembled without any tools. No tools. At all. Au revoir, Allen keys. Pairing up with one of Sydney's most celebrated multidisciplinary designers is a big new project for NOMI — the Sydney company revolutionising customisable furniture online. Wilson is well-known for his minimalist, bragworthy furniture, lighting and interiors — usually featuring some kind of self-build component (meaning extra dinner party bragging points). With the no-tools approach and customisable colour being the biggest drawcards, NOMI and Wilson both see manufacturing technique and swanky aesthetic as equally important in the design process. "Our mission is to combine innovative design with efficient manufacturing and cutting edge online technology," says NOMI director and co-founder Henry Gresson (another creative Henry). "Henry's Chevron Shelf epitomize this mission and we are very excited to have him on board." Taking its name from an Ancient Grecian interlocking zig-zag pattern, each Chevron Shelf can be customised in both size and colour with NOMI's slick website. You can pick your desired shelf height, shelf width and pick different colours for every single side panel, shelf layer and back wall — kind of like Shoes of Prey for furniture. Each unit will set you back around $150 each, depending on the material you pick, the width and the amount of layers you add. With each shelf made up of four pieces of precision-milled Birch-play and available in all the shades you've envied in glossy interior design magazines (teal, olive, rose), you can tailor the shelves to suit whichever room needs serious organising. "Everything about the Chevron Shelf reflects its construction method," says Wilson. "It achieves maximum yield from the resources used in its production. It's exciting for me to see it within in the NOMI range where the full potential of its flexibility can realised." Check out NOMI and Henry Wilson's Chevron Shelf here and get customising.
When you get right down to it, successful parenting is governed by one rule: try and make a better life for your kid than the one you had. So when are you allowed to make the call on whether you succeeded? And what do you tell your kids when they show an interest in pursuing the same career that morally bankrupted you? Sorting Out Rachel is David Williamson's latest play, in which he asks whether it's possible to dry clean a stained legacy. Bruce (John Howard) is a businessman at the end of a successful career. He has ushered through a few mergers, cut a couple of throats and kept his nearest and dearest fed and watered. But his daughter (Natalie Saleeba) isn't happy. Her husband (Glenn Hazeldine) is obsessed with their social status and his granddaughter Rachel (Jenna Owen) is veering closer to the sort of life Bruce is beginning to regret. Bruce knows how to fix these problems, but that would involve coughing up a secret he's been guarding for long time now. Thinking of starting a family? Liking the sound of a career in business? Head to the Ensemble Theatre and let one of Australia's most lauded social commentators explain why you haven't thought it through properly. Images: Heidrun Löhr
As of this weekend, Freda's will stay open till late. After years of applying to the council and State Government, the much-loved Chippo bar now has permission to serve until 2am on Friday and Saturday nights, and until midnight on Sundays. These hours represent a two-hour extension. "Being closely involved in the music community for almost a decade, I have seen the drastic decline in Sydney's nightlife — from the envy of the world, to a relative backwater," said David Abram, proprietor at Freda's. "We have lost a large part of our soul in this process, but this news gives hope to all those who want a better solution for our nightlife and who believe a night out should only be about relaxing, listening to music, dancing and engaging with each other in a safe and respectful way." For you, that means more hours to see more music, more art and more cultural happenings. The timing is good, as Freda's recently added an art space to its basement. Called Down Under, it hosts exhibitions, performance art and fashion shows.
Your mates at Concrete Playground know how much you guys love Nutella. Sydney went nuts over those damn Tella Ball milkshakes, Melbourne eats so much of the stuff they caused a temporary nation-wide shortage back in 2015, and Australia lost its collective shit when a toaster-shaped Nutella food truck started rolling around the country. Long story short, the food truck will be hitting the road again this month, embarking on a road trip from Sydney all the way over to Perth. We figured you'd want to hear about it — especially as all the goodies on board will be free. Alistair Fogg, the man behind Sydney's Nighthawk Diner (which has just opened a permanent store in Chippendale) must have had excess Nutella lying around, because he's once again devised the menu for the food truck. This time, he'll be drizzling Nutella on pancakes, crumpets, bagels, waffles and even acai bowls. And, yes, it's all free — although there is a limit of only one item per customer per day,. The nine-stop road trip will spend two days in Sydney, pulling up at Chatswood's pedestrian mall from 7–10am on Friday, May 11 and Peryman Square on the Cronulla Foreshore the morning after from 8–11am. From there, the truck will head to Griffith before going down to Adelaide and across to Perth.
The Night Noodle Markets has returned for another season, whipping Sydneysiders into a frenzy of tasty things on sticks, bowls of noodles and extravagant desserts from Wednesday, October 7 to Friday, November 6. This year, instead of bumping elbows with hundreds of others in Hyde Park, you'll be able to enjoy the festival's usual lineup of tasty treats at home, in your local park or on a beach. Yes, Night Noodle Markets 2020 is coming to you via delivery. This year, the delivery-only menu showcases eight food stalls which have created special menus for the occasion. Thankfully, many of the festival favourites have made the cut. If you're feeling a bit daunted by all that decision-making and wondering how best to navigate the smorgasbord of eats, we've got your back. Here's our pick of dishes worth trying — get excited for cheesy beef-filled waffles, prawn toast doughies and Korean-style loaded toasties. [caption id="attachment_785200" align="alignnone" width="1920"] Donut Papi leche flan[/caption] LECHE FLAN DOUGHNUT BURGER, DONUT PAPI Sydney's go-to for inventive, Asian-inspired doughnut creations, Donut Papi is returning to the Night Noodle Markets with a fresh haul of crafty desserts in tow. These guys sure aren't afraid to get a little creative, as you'll know from past ingenious doughnut iterations like peanut butter birthday cake, ube Oreo and even garlic bread. But the treat you need to sink your chompers into this month is the leche flan doughnut burger ($10). A slab of lush, sticky Filipino-style crème caramel is stuffed between halves of a sugar-crusted doughnut bun, ready and waiting to ooze upon that first bite. CHEESEBURGER PUFFLE, PUFFLE Everyone loves a quirky, cheesy food creation and this one's as fun to say as it is to eat. A return favourite from last year's markets, and a riff on the egg waffles you'll find at street stalls in Hong Kong, Puffle is a savoury waffle cone made out of cheese and filled with various flavour combinations. This month, Puffle is out to win you over with two different decadent versions of its dish, including the cheeseburger ($18) — an assembly of chopped bulgogi-style beef and extra melted cheese, finished with lashings of sweet and spicy ketchup, mustard and Japanese mayo — and a KFC option with spicy Korean-style fried chicken ($18). But, whichever filling you opt for, you're in for a crunchy, oozy and delightfully messy ride. TUPUC CHICKUR AND NOTORIOUS PIG BAO, BAO BROTHERS A regular favourite at the Night Noodle Markets, Bao Brothers is back again with its modern take on the Taiwanese gua bao. This year, the four-strong menu spans Korean cauliflower, mushroom croquettes and a spicy honey prawn number. But our pick lets you try two flavours in one — the Tupuc Chickur and Notorious PIG. The former is stuffed with fried chicken, lettuce and sesame, then slathered with chilli mayo; the latter tops caramelised pork belly with pickled cucumber, a peanut praline crumb, shallots and hoisin sauce. Nab both for $16. You won't want to share, so be sure to grab a second serve if you're eating with a mate or date. [caption id="attachment_782079" align="alignnone" width="1920"] Kera Wong[/caption] WAGYU BEEF DON TOASTIE, TOASTIESMITH Sydney's new toastie-themed takeaway joint — now open in Darling Square and Chatswood — will join the Night Noodle Markets lineup for the first time this year. It's offering up Korean-style sangas that pay homage to Isaac Toast, a chain that serves up this popular street eat. Like in Korea, each loaded toastie is made using thick-cut brioche and comes topped with a fluffy omelette. Of the five options available, our go-to is the wagyu beef and onion don ($12) — it's stuffed with roasted sesame slaw, seaweed and a generous dressing of truffle mayo. Other fillings include shichimi-spiced chicken with smashed avo and pineapple, fried barramundi with tartare sauce and pickled cucumbers, and grilled prawn with corn chips and sweet chilli. PRAWN TOAST DOUGHNUT, DONUT PAPI Donut Papi's menu is really doing it for us this year. While we recommended nabbing the aforementioned leche flan doughnut burger for dessert, Redfern's cult favourite sweet shop is also slinging an extra special savoury option for the Night Noodle Markets. Its prawn toast doughnut takes house-made prawn and fish mince and schmears it on a yeast-raised doughie — which is then dipped in black and white sesame seeds, panko crumbed and deep fried. The dish is also served with a plum and sweet chilli sauce for dipping. This wild new creation is sure to change your mind on what a doughnut is supposed to taste like. The Night Noodle Markets at Home menus are available via Doordash from Wednesday, October 7 to Friday, November 6 as part of Good Food Month. Check out the full food lineup here. Top image: Kera Wong
When Barry Berkman (Bill Hader) heads from Cleveland to Los Angeles for his job, he discovers a previously unknown passion for acting after he stumbles into a class held by veteran thespian Gene Cousineau (Henry Winkler). The catch? Barry is a hitman, and that isn't a line of work that you can leave easily, especially when you become caught in the Chechen mafia's violent and deadly dramas. As Saturday Night Live fans will already know, Hader is an on-screen treasure, but he's never been better than he is in this part-comedy, part-tragedy series. Barry's struggle mightn't seem that relatable on paper, but it proves just that with Hader in the role. Also excellent is Winkler, expectedly, as well as Bill & Ted Face the Music's Anthony Carrigan as a Chechen gangster who befriends Barry, isn't that great at the whole crime business and quickly becomes one of the most memorable characters to ever grace a TV series.
Childish Gambino (real name: Donald Glover) is no ordinary artist. The American do-it-all, who took his stage name from a Wu-Tang Clan name generator, has a stacked resumé which includes Golden Globe winner, Grammy winner and Star Wars character. It should be no surprise then that his live show is not your average stand-behind-a-microphone experience. Glover announced via Twitter this morning that he is bringing his concert experience PHAROS to New Zealand this year. Described as an immersive virtual reality, multi-sensory concert experience, the event will be held over three days from November 23–25 at an undisclosed location near Auckland Airport — Concrete Playground Auckland's calling the vines and rolling pastures of Villa Maria Estate. The festival was first held in Joshua Tree, California, where Glover debuted material from Awaken, My Love inside a VR dome with collaborators. Episodes of his award-winning series Atlanta screened inside an amphitheater and an "Illumination Forest" projected art from inside the dome. Mystery is a big part of the experience; the first edition saw attendees seal their phones in lock bags for the duration of the concert. Glover told Vanity Fair that PHAROS is "meant to be a communal space—a place that evolves and reacts to the culture". "We aren't tied to a format and that lets us adapt in a way that others can't. We're selling real intimacy. We protect the experience and it becomes something you genuinely share with the people around you and you take away something special. We're looking at expanding the world in 2018—there will be more artists involved." Tickets are on sale now via the PHAROS app. Source: Vanity Fair.
For more than a year now, we've all been paying extra attention to maps — but not just to show us how to get from one place to another. Thanks to all manner of handy online diagrams, we've been using maps to see which venues have been visited by COVID-19 cases, and also to work out how far we can travel during lockdowns. Now, with vaccinations an important focus at this stage of the pandemic, there's also a particularly nifty interactive map that'll help you work out where to get the jab. If you're familiar with COVID-19 Near Me, the statewide map that draws upon New South Wales Government's register of locations that positive COVID-19 cases have visited, then you already know where to head for this new map. It's actually an added function on the existing website, which now comes with two options at the top: exposure sites and vaccination clinics. Like the exposure venues part of the map, the statewide diagram gives locations specific hues depending on how the clinics operate. A grey dot is used if the clinic doesn't take online bookings, a purple dot indicates that it's an AstraZeneca clinic and a blue dot shows a Pfizer clinic. This map isn't run by the NSW Government — it's just powered by its official data. So, NSW residents are urged to also check the official NSW Health website as well. At the time of writing, the map was last updated on Sunday, August 8. At present, all adults in Australia can opt for the AstraZeneca vaccine as long as you give a doctor your informed consent before you go ahead. Since Thursday, June 17, the Australian Technical Advisory Group on Immunisation has recommended the use of AstraZeneca vaccine in people aged over 60 only due to the risk of rare blood clotting disorders that've been linked to the vaccine when given to younger folks. That change followed an early recommendation back in April, which noted the AstraZeneca vaccine wasn't preferred for anyone under 50. But since late June, as announced by Prime Minister Scott Morrison, anyone of any age, including those under 60, can still get the AZ jab — after making an informed decision by talking to a doctor. For people under 40 who'd prefer the Pfizer vaccine, you need to fall into a specific group to access it at present, as the nation's vaccination rollout hasn't yet opened up the Pfizer jab to that age group. That means that adults aged up to 39 aren't yet eligible to get the Pfizer vaccination unless you're of Aboriginal and Torres Strait Islander descent; work in quarantine, border or healthcare roles; work or live in an aged care or disability facility; work in a critical and high-risk job such as defence, fire, police, emergency services and meat processing; have an underlying medical condition or significant disability; are pregnant; or participate in the NDIS, or care for someone who does. You can check out all existing COVID-19 vaccination clinics at covid19nearme.com.au. For more information about COVID-19 in NSW, head to the NSW Health website. Images: COVID-19 Near Me as of Monday, August 9.
Someone else's dream job might just inspire your next dream vacation, after Tourism Australia's Beach Ambassador (how do we apply?) just announced a handy list of the top 20 Australian beaches for 2022. The enviable gig sees beach expert Brad Farmer AM survey the nation's sandy spots and draw upon his almost 40 years of writing about beaches — and this year, he's picked Misery Beach in Albany in Western Australia as his best. There's obviously a lot to consider when anointing one of the country's 11,761 beaches as the cream of the crop — and naming the next-best 19, too. If you were to do it, or even just to try to pick somewhere to hit up over summer, you might wonder which ones aren't too busy or seaweed-y, which have the whitest sand and bluest water, and where's best for beach cricket. But Farmer's 2022 list heroes "nature-based locations, many quirky spots within easy reach of cities, and also celebrates the significant cultural value of the coast to Australia's First Nations people," according to Tourism Australia's announcement. Home of the Menang Noongar First Nations peoples, Misery Beach sits 15 minutes south of Albany and five hours southeast of Perth, and is small — sitting in a bay spanning 200 metres. Farmer describes the picturesque place as coming "straight from the pages of a beachscape artist's sketchbook", and that it provides "a dramatic feast for the senses with the look and feel of a perfectly framed filmset". That includes "crystal clear, turquoise water, virgin white sand, bounded by spectacular granite outcrops," and "only a handful of beachcombers, swimmers or kayakers availing themselves of its sublime surrounds", plus "seals, dolphins and returning migratory whales, seeking its calm shelter". It wasn't always this scenic, however, as the location's moniker makes plain. Farmer explains that Australia's last active whaling station sat nearby until it closed in 1978, "and for decades, this shoreline was often awash with whale offal, staining the beach blood red". Now, thankfully, he says that Misery Beach "belies its grim name". [caption id="attachment_712446" align="alignnone" width="1920"] Loch Ard Gorge, Visit Victoria[/caption] Misery Beach claimed top position after Cabarita Beach in New South Wales did the honours in 2020, Nudey Beach on Fitzroy island in Far North Queensland did the same in 2018, and Cossies Beach in the Cocos (Keeling) Islands, in the Indian Ocean, earned the title in 2017. Among the 2022 list's highest-ranked spots, Misery Beach is joined by Horseshoe Bay in South West Rocks in New South Wales' mid-north, which took second place; The Spit at the Gold Coast's northern end in third; four-place getter Flaherty's Beach, on South Australia's Yorke Peninsula; and Loch Ard Gorge, in Port Campbell in Victoria, in fifth. The full list of 20 beaches covers every Australian state and territory, including Christmas Island in the Indian Ocean Territories. Other notable inclusions span Lake Wabby on K'Gari (formerly named Fraser Island), Mots Beach at the mouth of the Snowy River, Murrays Beach in Jervis Bay Territory and Jellybean Pool in the Blue Mountains. So pack your togs, round up some mates and start ticking these off. We see many road trips in your future — not that anyone ever needs an excuse to head to the beach. [caption id="attachment_710496" align="alignnone" width="1920"] Jellybean Pool, Lauren Vadnjal[/caption] THE TOP 20 BEST AUSTRALIAN BEACHES FOR 2022 1. Misery Beach, Albany (Western Australia) 2. Horseshoe Bay, South West Rocks (New South Wales) 3. The Spit, Gold Coast (Queensland) 4. Flaherty's Beach, Yorke Peninsula (South Australia) 5. Loch Ard Gorge, Port Campbell (Victoria) 6. The Neck, Bruny Island (Tasmania) 7. Blue Pearl Bay, Whitsundays (Queensland) 8. Depot Beach, South Coast (New South Wales) 9. Murrays Beach, Jervis Bay Territory (Australian Capital Territory/New South Wales) 10. Dundee Beach, Darwin (Northern Territory) 11. Dudley Beach, Newcastle (New South Wales) 12. Thompsons Beach, Cobram (Victoria) 13. Coogee Beach, Perth (Western Australia) 14. Mots Beach, Marlo (Victoria) 15. Alexandria Bay, Noosa (Queensland) 16. Emu Bay, Kangaroo Island (South Australia) 17. Lake Wabby, K'Gari (Fraser Island) (Queensland) 18. Congwong Beach, Sydney (New South Wales) 19. Jellybean Pool, Blue Mountains (New South Wales) 20. Ethel Beach, Christmas Island (Indian Ocean Territories) Top image: @merrwatson.
Wolf Comedy is a monthly room held on the last Thursday of every month at Chippendale's best-kept secret, Knox Street Bar. Run by up-and-coming comedians Shubha Sivasubramanian, Kara Schlegl and Bish Marzook, as well as Gruen writer and creator of SBS Comedy's Backburner, James Colley, the motto of this room is, simply, 'be excellent to each other'. What that means in practice is a fun, accepting room, committed to diversifying comedy (read: comedians who are not solely twenty-something white dudes), and encouraging new people to perform. If you're a comedy fan but think insult comedy is tedious machismo or you simply don't want to be picked on as an audience member, this is the room for you. However, before the neckbeards rise up and start chanting Political correctness has ruined comedy! Seth MacFarlane is a god!, don’t mistake pleasantness for dullness. This room is all killer, no filler, and tickets routinely sell out.
It's been a David and Goliath battle from the very start, but it seems Goliath has finally made his size known — construction crews have this afternoon been found secretly demolishing the interior of the much-loved Palace Theatre. Though most mourned for the Palace back in June when the owner's lease ran up, many have still been fighting the good fight trying to get the venue heritage listed. After all their good work, the site was set to be reviewed for heritage protection from Melbourne City Council shortly. Now, much of what they were fighting to protect has been destroyed. Though the new owners, Jinshan Investments, are yet to obtain a demolition permit, it seems they're free to do as they see fit with the building's interior. Nearby businesses have reported the rubbish skips have been out the front all week, and construction workers have been spotted hauling out huge slabs of plaster and moulding that has been in place since the early 1900s. One worker told The Age that they were carrying out orders as the site was to be turned into apartments. City of Melbourne councillor Rohan Leppert was one of the first to speak out by calling the police to the scene. "There is no permit to demolish the building, and the owner knows that the Council and Government considers the interiors to be of significant heritage value," he said. "[It's] sheer vandalism." Protestors from Melbourne Heritage Action and Save the Palace Theatre are currently on site too. "We asked to see a copy of the demolition permit and were asked, 'who the hell are you?' and 'where's your badge?'" the group said on their Facebook page. They are now reporting that the demolition crew told police they were "removing plaster to check sprinkler systems". A snap protest has been called for 6pm tonight at The Palace. "[It's] a visual sign to the people who can turn this around that this IS NOT ON!" their Facebook post read. "While there is still something to save you all need to get off your arse and down to the Palace ... The people of Melbourne need to join together to make some damn noise." Outside the @Palace_Theatre at 6pm - make some noise! These cultural vandals need to be stopped and the decision makers must do something — Save the Palace (@SavethePalace13) November 20, 2014 It may be a fairly sad last resort, but if you've ever loved the venue it's time to get your arse up to Bourke Street. Do it for that incredible gig you snuck into when you were 17; do it for the first dates and the late nights and all the amazing bands that have played there over the years; do it for the goddamned principle of the thing. Photos via Melbourne Heritage Action.
It isn't by accident that watching The Changeling feels like being read to, rather than simply viewing streaming's latest book-to-TV adaptation. Arriving from the pages of Victor LaValle's novel of the same name, this new horror-fantasy series is obsessed with stories, telling tales and unpacking what humanity's favourite narratives say about our nature, including myths and yarns that date back centuries and longer. Printed tomes are crucial in its characters lives, fittingly. Libraries, bookstores, dusty boxes stacked with old volumes, beloved childhood texts, a rare signed version of To Kill a Mockingbird with a note from Harper Lee to lifelong friend Truman Capote: they all feature within the show's frames. Its protagonists Apollo Kagwa (LaKeith Stanfield, Haunted Mansion) and Emma Valentine (Clark Backo, Letterkenny), who fall in love and make a life together before its first episode is out, even work as a book dealer and a librarian. The Changeling also literally reads to its audience, because LaValle himself wants to relay this adult fairytale. He doesn't appear on-screen with book in hand, but his dulcet tones speaking lyrical prose provides a frequent guide. "Once upon a time" gets uttered, naturally. Declarations that stepping through someone's story says everything about who they are echo, too. Deploying the author to say his own words here and there is an evocative and ambitious choice, and one that has the exact desired effect: this series doesn't just flicker across the screen, but burrows into hearts and minds. Within its narrative, The Changeling regularly muses on being caught between memories and dreams. Viewing it takes on that same sensation. Getting LaValle reading is savvy as well, then, helping the show's audience share a key sliver of Apollo and Emma's experience. Debuting on Apple TV+ on Friday, September 8, The Changeling believes in the power of tales — to capture, explain, transport, engage, caution and advise. In a show created and scripted by Venom, Venom: Let There Be Carnage, Fifty Shades of Grey and Saving Mr Banks screenwriter Kelly Marcel, there's nothing more potent and revealing than a story. They're how we share ideas, express emotions, pass on information and keep records. They spark our imaginations, help us make sense of the world and offer pure entertainment. As Apollo and Emma learn on an eight-episode first-season journey filled with haunting mysteries, told with eerie intrigue and painted through gorgeously entrancing imagery, they also convey warnings and encapsulate our darkest truths. Aptly, New Yorkers Apollo and Emma meet amid books, in the library where she works and he frequents. It takes convincing to get her to agree to go out with him — and while that leads to marriage and a child, The Changeling's astute thematic layering includes Apollo's repeated attempts to wrangle that first yes out of Emma. In-between early dates and domesticity, she takes the trip of a lifetime to Brazil, where an old woman awaits by Lagoa do Abaeté. The locals warn Emma to stay away but she's mesmerised. What happens between the two strangers sends the narrative hurtling, with the lakeside figure tying a red string around Emma's wrist, granting her three wishes, but advising that they'll only come true when the bracelet falls off by itself. The Changeling isn't a fairytale purely because it involves wishes. It hasn't been badged as an adult version of folklore's short stories just because it's set in the Big Apple this century — Apollo and Emma meet in 2010 — and centres on a couple's tumultuous relationship, either. Where the pair's romance takes them next is right there in the show's name, a term used to describe a baby that's believed to have been swapped out by fairies; however, knowing that, and that witches, curses, monsters and underground cities also pop up, is just scratching the surface of their tale as well. LaValle and now Marcel understand that happy endings, when they do come, are merely a minor part of the narratives that we call fairytales. Amid their supernatural elements, horror and trauma always lurks. That's true of everything from Hansel and Gretel, Cinderella and Little Red Riding Hood to Sleeping Beauty, Snow White and Beauty and the Beast, and of The Changeling. LaValle and Marcel's inspirations sprawl further, including to Greek myths, Scandinavian folklore, US history, Ugandan traditions, One Hundred Years of Solitude and Rosemary's Baby. The Changeling digs into parenthood's joys and stresses, especially for mothers. It lays bare the societal pressures, expectations and threats levelled at women constantly — and the myriad of male forces and reactions. In not only Apollo and Emma's story, but also in Apollo's mother Lillian's (Violent Night's Alexis Louder when she's younger, American Horror Story's Adina Porter when she's older), the series is intricately steeped in the immigrant and the Black American experiences. Courtesy of a stunning late episode solely devoted to Lillian, it recalls Angels in America while expanding upon the many tragedies inflicted upon folks on the margins. Directors Melina Matsoukas (Queen & Slim), Jonathan van Tulleken (Upload), Dana Gonzales (The Handmaid's Tale) and Michael Francis Williams (David Makes Man) make The Changeling as complex aesthetically as it is narratively and thematically. When the show's visuals glow, that's never solely a stylistic choice. When its imagery is shadowy and hazy, the series isn't just employing an easy way to get ominous. Meticulously framed, lit and composed, The Changeling knows the oft-quoted old adage that a picture is worth a thousand words, ensuring that every single frame deepens its storytelling. Sometimes that results in sights so unsettling that they're difficult to shake. At other times, Apollo and Emma's antics are positively ethereal to behold. It takes immense performances to weather everything that The Changeling throws at its characters, and to also guide audiences through each twist, turn, leap and jump. To fans of Short Term 12, Get Out, Sorry to Bother You, Uncut Gems, Knives Out, Atlanta and The Harder They Fall, it'll come as no surprise that Judas and the Black Messiah Oscar-nominee Stanfield is exceptional — soulful, simmering with emotion whether Apollo is falling in love or living a nightmare, and electrifying in his gaze alone. Backo, Porter and Louder are also excellent, anchoring a multifaceted portrait of both womanhood and motherhood. When she pops up midway, Malcolm in the Middle great Jane Kaczmarek is equally brilliant. What phenomenal storytellers this series has amassed. What an enthralling tale they help read to viewers, too. Check out the trailer for The Changeling below: The Changeling streams via Apple TV+ from Friday, September 8.
After the chaos that 2020 has thrown the world's way, hoping that 2021 will be different is perfectly understandable. For award-winning Sydney cocktail bar Eau de Vie, which was once 13th on the World's 50 Best Bars list, change is definitely in the air — with the beloved venue announcing that it'll be moving from the Darlinghurst spot it has called home for the past 11 years. Owner-operators Sven Almenning and Greg Sanderson have revealed that they won't be renewing their lease at the Kirketon Hotel; however, to the relief of cocktail lovers across Sydney, this isn't curtains for Eau de Vie. Instead, the pair will move the venue to a new location, although just where the bar will shift to hasn't yet been unveiled. Announcing the news, Almenning noted that "the last few years have not been without their struggles. That said, this is not the end". In a statement, Almenning and Sanderson also advised that the move stems from a combination of factors, but primarily came down to the lease. While mentioning the impact of COVID-19 on the hospitality industry, the pair advised that "the decision to relocate Eau de Vie from its current site was down to the ten-year lease ending on the October 28, 2020 and not being able to reach an agreement for renewal". Of course, Eau de Vie will farewell its current digs in a fitting fashion. "There have been countless memories created in this space and it's absolutely worthy of some celebration — and for many of our guests and previous staff a last dram or blazer," Almenning said. "Great times were had here and it's only right we pay homage to them and all the people that brought it them to life." Eau de Vie hasn't announced exactly when its time in Darlinghurst will come to a close as yet, but it will shut its doors by the end of the year — likely just prior to New Year's Eve. Over the next two months, patrons can expect the return of some of the venue's star bartenders, as well as the original and famed cocktails that helped make the place such a hit. And, guests might even be able to take a piece of the bar home with them. As for where Eau de Vie is headed next, a new location is still being scouted, but the aim is to reopen in its new spot in early 2021. Find Eau de Vie at the Kirketon Hotel, 229 Darlinghurst Road, Darlinghurst until the end of 2020, with its closing date yet to be announced. We'll update you with more details — and information about its new location — when they come to hand.
Can't afford the sky-high prices of partying but still stinging for somewhere stylish to swing your pint-sized designer handbag? Never fear. Nestled inside The Bristol is Midtown, and nestled inside Midtown right now is a series of irresistibly adorable mini cocktails. If you haven't yet, you're going to want to meet Midtown. It's a buzzing New York-inspired bar slinging some of the city's best martinis, margaritas and negronis. The atmosphere is cool, disco and a little bit electric, and the prices are decidedly affordable. At a teensy $6 a pop, you can enjoy a mini version of your cult-fave cocktails every single Wednesday to Saturday in March. There are seven to choose from – including Mini Pina Colada, Mini Espresso Martini and Mini Pickle Margarita – along with a $6 snack menu that's just as tidy. Fancy a bite of kingfish with sweet cucumber, burnt chilli, finger lime and plum? What about a rosemary and honey butter focaccia? Or go straight to the sweet stuff, with a tiny chocolate brownie with sour cherry and Chantilly cream. And did we mention the complimentary popcorn, marinated green olives and house-roasted chilli, lime and coriander peanuts for every table? All included in your Midtown $6 special – now that's cute.
UPDATE, APRIL 4: Due to concerns around the coronavirus, Disney has announced that Jungle Cruise will no longer release on its initially scheduled date of Thursday, July 23, 2020, with the film now hitting cinemas on July 29, 2021. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. When Disney isn't turning its beloved movie franchises into new theme park zones, as it's currently doing with both Star Wars and Marvel, the enormous entertainment company has been known to take the opposite approach. Plenty of its rides and attractions have inspired films, such as the entire Pirates of the Caribbean series, as well as Tomorrowland, The Haunted Mansion, The Country Bears and Mission to Mars. Now, Jungle Cruise is the latest to join the fold. As the Mouse House did with Pirates, it has enlisted some serious star power, with Emily Blunt and Dwayne Johnson taking the watery journey in the first movie based on Disney's popular river boat ride. She plays an explorer and scientist on a mission, while he captains the vessel she hires to transport her along the Amazon River. From there, as seen in the just-dropped first trailer, it seems that typical action-adventure hijinks ensue. The film's initial sneak peek also sets up a vibe that's part The Mummy, part Indiana Jones, part every other flick about someone scrambling through vast landscapes searching for something precious — in this case, a tree in the Amazon that possesses unparalleled healing powers. When Jungle Cruise floats into cinemas, it'll also feature Edgar Ramirez, Jack Whitehall, Jesse Plemons and Paul Giamatti. Behind the camera, Jaume Collet-Serra is in the director's chair, marking a change of pace after the Liam Neeson-starring Unknown, Non-Stop, Run All Night and The Commuter (and Blake Lively shark flick The Shallows, too). Script-wise, the film is penned by Bad Santa writers (and Crazy, Stupid, Love. filmmakers) Glenn Ficarra and John Requa, as well as Logan, Alien: Covenant, Blade Runner 2049 and Murder on the Orient Express' Michael Green. Check out the trailer below: https://www.youtube.com/watch?v=ydnzilTiBcY After being delayed from its original release date of July 23, 2020, Jungle Cruise will now open in Australian cinemas on July 29, 2021.
If Neighbours wasn't already famously taken as a title of an Australian TV series, it could've also fit Last Days of the Space Age. Set in the 70s in Perth, the eight-part Disney+ show incorporates everything from US space station Skylab and workers striking for their rights to the battle for gender equality, the nation's treatment of Indigenous Australians, grappling with trauma and the immigrant experience — plus Miss Universe and the Cold War as well. Navigating all of the above: three neighbouring families in the Western Australian capital's suburbs. Judy (Radha Mitchell, Troppo) and Tony Bissett (Jesse Spencer, Chicago Fire), Sandy (Linh-Dan Pham, Blue Bayou) and Lam Bui (Vico Thai, Total Control), and Eileen Wilberforce (Deborah Mailman, Boy Swallows Universe) are all good neighbours and good friends. The teenagers in the three households — aspiring astronaut Tilly Bissett (Mackenzie Mazur, Moja Vesna), her surf-loving sister Mia (Emily Grant, RFDS), her best friend Jono Bui (debutant Aidan Du Chiem) and new arrival Bilya Wilberforce (Thomas Weatherall, Heartbreak High) — also all go to school together. Those connections sit at the heart of the series — and, as almost everything that the Bissetts, Buis and Wilberforces know starts to change, their neighbourly ties couldn't be more pivotal. Mitchell and Spencer are more than a bit familiar with this type of situation on-screen. While their careers have taken them overseas for decades — Mitchell has Phone Booth, The Crazies, two Silent Hill films, Olympus Has Fallen and London Has Fallen on her resume; Spencer featured in 173 episodes of House before his Chicago Fire stint; both also co-starred with a 00s-era Dakota Fanning in Man on Fire and Uptown Girls, respectively — they share a past on Neighbours. Last Days of the Space Age is Spencer's big return to homegrown TV, in fact, and his first major Australian small-screen role since playing Billy Kennedy. Ramsay Street's antics aren't set in 1979, of course. Spencer can see the symmetry with the Aussie television role that brought him to fame in the 90s and his latest show, however, he tells Concrete Playground. "The writing quality is a little bit more involved, but that's up to you to decide," adds Mitchell. As Last Days of the Space Age's Judy and Tony, the pair play not just a married couple but also colleagues at the Doull Power Plant, where Tony has been leading the worker strike for six months. When Judy is promoted and tasked with negotiating an end to the union action, their family dynamic is unsurprisingly shaken up. Aided by directors Bharat Nalluri (Boy Swallows Universe), Rachel Ward (Rachel's Farm) and Kriv Stenders (Danger Close: The Battle of Long Tan), creator David Chidlow (Hidden, Moving On) unfurls the Bissetts' upheaval alongside the Bui family's efforts to build a new life after arriving from Vietnam. With the Wilberforces — and with 1979 marking 150 years since Perth was founded — the series also confronts the impact of colonisation. Game of Thrones fans will spot Iain Glen (Silo) among the cast as well, as Judy's father Bob. Also included in the clearly ambitious series, which enthusiastically embraces its era and its tonal rollercoaster: Tony's journalist brother Mick (George Mason, Exposure) covering the beauty pageant, where USSR contestant Svetlana (Ines English, Dead Lucky) is a frontrunner under close watch by her KGB minder Yvgeny (Jacek Koman, Prosper). With Last Days of the Space Age available to stream via Disney+ since Wednesday, October 2, we chatted with Mitchell, Spencer and and French Vietnamese actor Pham about what excited them about the show's bold mix of elements, the fight to be treated fairly that thrums through the series, balancing its tones, Mitchell and Spencer's homecoming, Pham connecting to her roots, Neighbours and more. On What Excited Mitchell, Spencer and Pham About Starring in Last Days of the Space Age Jesse: "I was in the States, I just had my first child and this script came across my desk — and I love period dramas. It was my first chance to play a father with two daughters, so I felt like I was looking into my future a little bit. I knew nothing really about unions or the history of unions, but my character's a very passionate union leader, so I researched that — and there's a whole pretty awful history of treatment of workers back in the day, and workers' rights. But the whole project felt like a really interesting ensemble. It was quite quirky, but it was ultimately about families, and families fighting for each other — and societal change and how they coped with that. And it was really well-written. Then I got to Australia and it was a great cast, and it was a great experience to bring it off the page and bring it to life on the screen." Linh-Dan: "I think when I choose projects, there's always something personal, somehow, unconsciously. And this one was very clear: it was about reconnecting with my roots, basically. Even though my parents didn't go through what the Bui family has gone through, I managed to talk to some of my relatives about it, and it reopened the conversation — and also discovering the hidden pain, the trauma, was my way to get into Sandy. The script was actually so amazing anyway, and period pieces are so interesting. To go back: first of all, Australia, I love traveling; 70s outfits, hello disco. So it was a no-brainer for me." Radha: "There's so much in all of the storylines, and this sense of community, and all different parts of the fabric of the Australian identity being reviewed, in a way, because we have an opportunity to have a bit of distance between now and 1979. I thought that was really an interesting mirror to history, how we've constructed our sense of identity and where we're going to go with it now. Looking through the lens of that period, I thought was really interesting. And I liked all the characters. I felt it was written with a really compassionate, kind perspective. There's so much snarky nastiness in the media lately, that it was nice to just be involved in a story that was trying to put something positive into the world. So I felt very aligned to all those aspects of the script." On Mitchell and Spencer's Homecoming — and the Joy of Not Needing to Imitate US Culture Radha: "It was a little bit of a sense of coming back home, maybe, for me and Jesse — that we were able to bring some of where we've come from to where we are now. It felt like a bit of a contribution for me, being able to come home and do something that I felt aligned to." Jesse: "Every Australian actor I know — because a lot of work is international, and for a lot of actors too — but every actor I know always loves to go home and try to do a project. Because you spend a lot of time learning about throwing yourself into other cultures, and more or less trying to imitate authentically who they are, and where they are in certain points in time and stuff. So to bring it back to something that's much more familiar is just a pleasure. Things are much, much more tangible. It's accessible. There's still challenges, but it makes it very, very fun. And especially when there's good writing and good casting — I know a lot of actors who are always trying to go back to their home countries and do it. And this was an opportunity to do that. So I grabbed it." Radha: "It's interesting — an imitation. That is true when you're working in the US." Jesse: "I mean, you don't think about it. You don't want to think about that." Radha: "Yeah, but you're imitating the culture, whereas here, I feel like this is our culture, talking about things that we're part of." On Whether Making a Show About Neighbours After Acting on Neighbours Feels Like a Full-Circle Moment Radha: "I think Jesse would say so." Jesse: "Yeah, a little bit. There was a little bit of that. Although, yes and no, because the dynamics, the themes that run through the show, the dynamics between the characters, is just a little different to Neighbours, but there is a similarity there." Radha: "We are neighbours in the show." Jesse: "I mean, we're next door to each other." On the Series' Resonant and Repeated Focus on Fighting to Be Treated Fairly Jesse: "I think it's a human trope. Everyone's fighting a hard battle against themselves and in society. It's something everyone can relate to. And it's enjoyable to watch, I think, characters have obstacles — to come up against them, sometimes fail, but sometimes find a way around that and breakthrough for a transformation. That's what this show is all about. It's about transformation, courage and ultimately hope." Radha: "But it's subverted, I guess, in a great way by this crazy stuff that's going on in history, and the crazy costumes. And all this stuff, there's a sincerity to it, but there's also an irreverence about the storytelling, which I think attracted me to it." On Balancing the Mix of Warmth, Tragedy, Humour and History Radha: "That's the challenge in the discovery. I think we were on set thinking 'what is this? Is this a comedy?'." Jesse: "Right. Right." Radha: "'Look at your outfit, man. I can't even look at you without laughing' — but here we are, we're doing this very serious scene." Jesse: "But that's life as well, when it's this tragedy but it's also kind of funny — a bit of black humour or quirky sort of humour. There's always a million shades of grey, which is better than just one colour. And yeah, that was a challenge. And we were always trying to figure out what the tone is in the scene and where you were with the character." Radha: "Even Bharat [Nalluri], who was the first director for the series, was like 'wow, okay, we're really going to create this together, the tone'. And we felt comfortable that he had recognised that that was part of what we were doing — that it couldn't be just taken for granted. I think that's what makes the series unique, that it's got its own tone, its own voice — and I think that was what we created." On How Pham Approached Playing a Character Caught Between Making a New Life and Grappling with Trauma Lin-Danh: "Well, you go deep. I think somehow what your parents instil in you, your family, your surroundings, you feed yourself from all of that, and it's the mystery also of acting, sometimes. Actually, my aunt had written a story about her side of the family, a book she self-published. I did read about that. And it was ups and down all the time, her first few years in France where she lost everything and she refused to go back to Vietnam, and had to fend for herself with her three kids. They were boat people, met some pirates. So, you just talk to these people and you feed off it. It feels a bit selfish and sometimes like I'm forcing a little bit. But they were very generous and we had great conversations with my family that I had not really had kept in touch with. So that's how I got through Sandy." On Mitchell's Take on Judy Being Pulled in Every Direction Both at Work and at Home — and Finding Herself in the Chaos Radha: "I just wanted to keep her really real. And I felt maybe what was charming about her is that she didn't want to do all these things. They were just happening and she was discovering her talents in action, but she wasn't ambitious at all. It was just happening, it was her nightmare that she was going to be doing all these things, and yet she was discovering herself in them. I thought that was really interesting about her. She wasn't this empowered woman — she was somebody discovering her power. And the conflict around that at home, and the challenges of having teenage daughters that just don't want to listen to you, I think it sort of played itself out. And maybe even my own personal bias against it — just feeling that I like these emancipated female characters, so to cut my own wings in the role was really interesting for me. I think those were the challenges, and I was lucky enough to be working with great actors, and we created this wacky little family together. And then the friendships around that, I think layered it with this — I think Linh-Dan was saying it was a feminist show in a way, and I don't think it is only, but it certainly celebrates the relationships between women and the details of women's lives in a kind of intimate way. I think that's one of the beautiful parts of the storytelling." Last Days of the Space Age streams via Disney+ from Wednesday, October 2, 2024. Images: Joel Pratley, Tony Mott and Mark Rogers.
Live every week like it's scam week: on streaming platforms throughout 2022 so far, that's basically been the motto. Indeed, a line from one of the year's big swindle hits so far, Netflix's Inventing Anna, sums up this current spate of con artist-obsessed viewing perfectly: scam culture is here to stay. Dramatising the Theranos scandal, eight-part miniseries The Dropout is the third high-profile release in a month to relive a wild true-crime tale — following not only the Anna Delvey-focused Inventing Anna, about the fake German heiress who conned her way through New York City's elite, but also documentary The Tinder Swindler, which steps through defrauding via dating app at the hands of Israeli imposter Simon Leviev. Made by Hulu in the US and streaming on Disney+ via its Star expansion Down Under, as fellow reality-to-screen 2022 release Pam & Tommy did as well, it also dives into the horror-inducing Dr Death-esque realm. When a grift doesn't just mess with money and hearts, but with health and lives, it's pure nightmare fuel. To tell the story of Theranos, The Dropout has to tell the story of Elizabeth Holmes, the Silicon Valley biotech outfit's founder and CEO from the age of 19. Played by a captivating, career-best Amanda Seyfried — on par with her Oscar-nominated work in Mank, but clearly in a vastly dissimilar role — the Steve Jobs-worshipping Holmes is seen explaining her company's name early in its first episode. It's derived from the words "therapy" and "diagnosis", she stresses, although history already dictates that it offered little of either. Spawned from Holmes' idea to make taking blood simpler and easier, using just one drop from a small finger prick, it failed to deliver, lied about it copiously and still launched to everyday consumers, putting important medical test results in jeopardy. That's the quick version of Theranos' gambit for the uninitiated, but The Dropout takes its time unfurling the full roster of ups and downs (including the fact that it was valued at $10 billion in 2013 and 2014). Created by showrunner and co-writer Elizabeth Merriwether — who was also behind TV sitcom New Girl — it draws its details from the American ABC News podcast of the same name, and doesn't skimp on the infuriating and complicated minutiae. In the beginning, Holmes is the kind of teen who listens to pop tunes to pump herself up and convince herself that she can do anything. She's studious and serious, and also desperate to be known for something. Then, as the series jumps between key years in Theranos' lifespan, she adopts an all-black, turtleneck-heavy wardrobe and deepens her vocal tones to get backers to invest their cash in an idea that doesn't work. A veil of secrecy surrounds the company, including for employees — and to say that questions aren't aren't welcomed is an understatement. Female fraudsters are doing it for themselves, screwing over everyone else and speaking in distinctive voices: that's another theme pumping through both Inventing Anna and The Dropout. But where the former is gleefully glossy and never overly interested in the why of it all, the latter knows that, for the people who relied upon Theranos for crucial health results, it's in potential life-or-death territory. It plays this tale straight and grim, and is also well-aware that it needn't be subtle about getting its point across. Of course, there's an inherent statement lurking in the reality of Holmes' life and lies, and the fact that they so easily tick all of the expected boxes. Hailing from a wealthy family, getting into Stanford, convincing her parents to invest her tuition money into Theranos when she dropped out (hence the title), boasting the connections to stump up other funders: it all follows a familiar path, which is a glaring indictment upon a society that gives rise to these types of scams over and over. When Seyfried's version of Holmes is seen talking to the camera, another recent account of a woman and a swindle springs to mind: The Eyes of Tammy Faye, for which Jessica Chastain is nominated for Best Actress at this year's Academy Awards. That film and the first four episodes of The Dropout share a director in Michael Showalter, who has a thematic niche at present, and also keeps working with talented actors putting in phenomenal lead performances. The skill on Seyfried's part to convey all of Holmes' personality quirks without coming across as cartoonish or a caricature can't be underestimated; it's impossible to stop watching her Holmes, even as every move she makes is exasperating. She's surrounded by an impressive lineup of fellow cast members — Lost's Naveen Andrews as Holmes' boyfriend and Theranos' Chief Operating Officer Sunny Balwani chief among them, plus everyone from Stephen Fry and Succession's Alan Ruck to Law & Order mainstay Sam Waterston and Inventing Anna's Kate Burton — but Seyfried is mesmerisingly exceptional, without ever really earning sympathy for Holmes in the process. We may just be living in peak scandal-to-screen times, with new examples dropping faster than almost anyone can reasonably watch them. Joe vs Carole, featuring original The Dropout star Kate McKinnon, is just new to streaming queues, too; WeCrashed, the Jared Leto and Anne Hathaway-starring WeWork drama, also arrives in March; and Super Pumped: The Battle For Uber, with Joseph Gordon-Levitt as the company's former CEO Travis Kalanick, has premiered in the US ahead of arriving Down Under. Still, while The Dropout has plenty of company, it's easily one of the genre's standouts. The complex tale it relays, the performance it brings with it, the message it screams and the fact that, at every turn, it fleshes out the who, what and why: they're all pivotal and potent. Scam culture might be here to stay, but it isn't enough to just gawk its way — and The Dropout and its powerful take truly understands this. Check out the trailer for The Dropout below: The first four episodes episodes of The Dropout are available to stream via Disney+, with new episodes dropping weekly. Images: Beth Dubber/Hulu.
After three months behind closed doors, the Woollahra Hotel has reopened following some well-earned renovations. Built in the 1930s, the Woollahra Hotel is one of the east's landmark pubs — so it's nice to see the owners have opted for some gentle tweaking – rather than a complete overhaul. From the outside, Woollahra's still got that classic art deco aesthetic, with toffee-colored bricks and rounded cornices, but the front bar and restaurant have both been given a serious spruce. So what's changed? Well, the locals' front bar looks as good as ever, polished to within an inch of its life. It's still a great spot to bend an elbow after a game at the SCG or Moore Park. The biggest shift has been in the kitchen, where new head chef Jordan Muhamad (ex-Rockpool, Spice Temple, Chin Chin) has given the menu an Asian-inspired twist: think steamed snapper ($29), a selection of house-made curries and Hiramasa Kingfish sashimi. Head over on a Thursday night for curry night where you can nab your curry of choice with a serve of rice and a drink. And that's just the bar menu. There's also Bistro Moncur, hidden within the pub, newly refurbished, led by head chef Mark Williamson, dishing up some of Sydney's best French grub. Moncur has always been fancy date-night territory: Barossa chicken pâté, grilled sirloin and saffron crab omelettes, with a mix of local and international wines to wash it all down. Moncur Cellars' Mark Blake is handling the vino, and he's clearly got a thing for organic, vegan and preservative-free drops. There's a top-shelf cocktail menu, too, re-designed from the ground up. The Woollahra's open-air terrace is still there, with its fern-covered vertical garden, pink neon and dangling pendant lights, which are sure to please the Instagram crowd. A bit of razzle-dazzle with a rump steak never hurt anyone, after all. Appears in: The Best Rooftop Bars in Sydney
If you've ever felt a little hungover or lazy in the last few years, you'll know exactly how incredible online ordering systems likeDelivery Hero are. Shopping online for pizza is a thing of beauty, and the fact that it can come straight to your door, already paid for with minimum human contact is a marvel of modern technology. But now they've gone one step further: Delivery Hero are introducing the same service for your pets. Currently only available in Sydney, Doggy Bag is an extenuation of the service you know and love that offers a range of "gourmet takeaway meals for pets". No, your dog won't be subjected to the greasy Pad Thai and pepperoni pizza you were planning on gorging on. These dishes will be made to sufficient nutrition standards with minimum seasoning — your loving pet really shouldn't be punished for how lazy you are. Ranging from $5-9, Doggy Bags are currently available from 10 Sydney restaurants including Erskineville Turkish Pide & Kebabs, Micky's Cafe in Paddington and Millennium Pizzeria in Darlington. The menu options will include penne in a meat sauce with chicken, zucchini, carrots and pumpkin; and boiled chicken fillet with tumeric and garden vegetables. "Everyone we approached was very excited to develop meals for pets," said Delivery Hero marketing executive Guillaume Papillion. "The restaurants were all briefed with what ingredients they should and should not use. Onions, for instance, are toxic to dogs." The owner of Taste of India in Double Bay even consulted a vet on whether dogs could eat tumeric (they can). Though it's only been available for a few days, the service looks promising. Delivery Hero claim they already have plans to expand the reach of Doggy Bags across Sydney and the rest of the country. So, look out: there's a good chance your pets will be eating better than you in the coming months. Via Good Food.
He won't have two turntables with him, but he will be getting behind a microphone — 90s icon Beck, that is, at Bluesfest 2023. The 'Loser', 'Where It's At', 'Devil's Haircut' and 'Sexx Laws' singer has just been added to the Byron Bay festival's already-huge lineup, and he'll be playing an intimate acoustic show on his first-ever visit to the event. Beck will head to Australia almost three decades after 'Loser' brought him to fame, and got lodged in every 90s teen's head for the entire decade (and ever since). He has a hefty list of material to draw upon, though, thanks to 14 records since his 1993 debut album Golden Feelings, including 1996's acclaimed Odelay and 1998's Midnite Vultures. Yes, start making Easter plans now if you haven't already. Those dates: Thursday, April 6–Monday, April 10, which is when the annual festival returns to Byron Events Farm at Tyagarah for its 34th event. Beck joins a lineup that already includes Elvis Costello, Mavis Staples, Bonnie Raitt and Gang of Youths leading the bill, plus Jackson Browne, Tash Sultana, King Gizzard and the Lizard Wizard, Jimmy Barnes with The Barnestormers, and Talib Kweli, GZA and Big Freedia as special guests of The Soul Rebels. As usual, Bluesfest's roster of talent spans a hefty array of music genres — blues and roots, obviously, but also soul, rock, hip hop, R&B and more — with Beth Hart, Buddy Guy, Lucinda Williams, Steve Earle and The Dukes, The Cat Empire and Xavier Rudd also set to take to the stage. Rockwiz Live will be doing its thing, too, in the perfect setting. With Beck's addition, 50 acts have been announced for what organisers are calling "the first original style Bluesfest since the world's borders re-opened". While the fest went ahead in 2022 after two years of pandemic cancellations (and a thwarted temporary move to October for the same reason), it showcased a primarily Australian and New Zealand lineup. With the return of international travel, Bluesfest can welcome top-notch acts from around the globe again. BLUESFEST 2023 LINEUP: 19-Twenty Allison Russell The Barnestormers Beck Beth Hart The Black Sorrows Bonnie Raitt Buddy Guy The Cat Empire Chain Christone 'Kingfish' Ingram Counting Crows The Doobie Brothers Elvis Costello & The Imposters Eric Gales Femi Kuti & The Positive Force Gang of Youths Greensky Bluegrass Jackson Brown Jason Isbell and The 400 Unit Joe Bonamassa Joe Camilleri Presents: A Star-Studded Tribute to the Greats of the Blues Jon Stevens Kaleo Keb' Mo' Band King Gizzard & The Lizard Wizard Lachy Doley and The Horns of Conviction Larkin Poe Lp Lucinda Williams Marcus King Mavis Staples Michael Franti & Spearhead Nathaniel Rateliff & The Nightsweats Nikki Hill Robert Glasper Rockwiz Live The Soul Rebels & Friends with special guests Talib Kweli, GZA and Big Freedia Southern Avenue Spinifex Gum featuring Marliya Steve Earle & The Duke St Paul & The Broken Bones Tash Sultana Vintage Trouble Xavier Rudd Bluesfest 2023 will run from Thursday, April 6–Monday, April 10 at Byron Events Farm, Tyagarah. Season passes are on sale now. For further information, head to the Bluesfest website.
One of 2018's most interesting Australian documentaries told a unique and intriguing tale, stepping into the life of Sydney's Jason King. When the real-life figure isn't working as a security guard, he's out hunting ghosts, although he's not always doing the latter quite as literally as it might seem. King does indeed have a penchant for the paranormal, as well as a side business busting spirits out of people's houses. But, given that the first ghost he says he ever saw belonged to his own brother, who told him that he needed to find their estranged father, he's also haunted by his past. After hitting the big screen last year at film festivals and in general release, Ghosthunter is now taking on a second life — a fitting development, given its subject matter. As hosted by documentarian and filmmaker Ben Lawrence (who helmed the doco about King, plus this year's Hugo Weaving-starring Hearts and Bones), the film has now inspired a five-part podcast, delving further into this strange and compelling story. Released by Audible, it's available to listen to from today, Tuesday, July 23. It's great news for anyone who saw the movie and wanted to know more, and for folks who didn't get around to watching it just yet as well. And, it's obviously a stellar development for true-crime buffs, with Ghosthunter's five 30-minute episodes featuring police investigations, court dramas, family secrets, difficult traumas, murky mysteries, estranged figures from King's history and — naturally — hunting ghosts. Lawrence spent seven years turning King's tale into a documentary, so he has plenty of extra details to share. He starts with King's first ghostly memory, unpacking the rollercoaster ride of a story from that point onwards. In a podcast that doesn't just dabble with true crime, but with family memoir, it helps that King himself makes for an equally charismatic and eccentric character. As Lawrence explains: "you never know how deep the rabbit hole will take you. There were so many personal twists and turns over the seven years creating Ghosthunter that I found myself deeply immersed in Jason's life — I was even the best man at his wedding." Ghosthunter joins Audible's growing slate of Australian content, following in the footsteps of Marc Fennell's It Burns podcast, about the competitive world of breeding super hot chillies. Ghosthunter is available now on Audible — as part of existing member subscriptions, or free with a 30-day trial. The documentary can be rented on YouTube, Google Play and the iTunes Store.
Have brekkie at Jo and Willys and you'll be able to handle anything — from conquering the Bondi to Bronte walk to lazing about on the beach till dusk. North Bondi locals queue at this corner cafe for some of the heartiest, freshest breakfasts around. They're created by co-owner and head chef Guy Turland, star of YouTube phenomenon Bondi Harvest. And they're served all day long. Tuck into the Hipster Three Grain Breakfast Bowl, starring wild rice, quinoa and pearl barley, or the Green Eggs and Ham, with prosciutto and rocket cigar with hummus, poached eggs, and kale (in both wilted and chips form). Then there are the views. Outside, on a wooden stool, you'll be feasting your eyes of Bondi Beach panoramas. Inside, on a church pew or old-fashioned school desk, you can still see generous swathes of ocean, thanks to the huge windows, which fold away when the sun's shining.
"Darling it's better down where it's wetter," Disney's animated hit The Little Mermaid told us; however, the Mouse House also thinks that life is pretty great on top of the water. For nearly a quarter-century, the huge entertainment company has been taking fans of its ever-growing array of pop culture wares on themed vacations, all thanks to its Disney Cruise Line. Alas, setting sail from Australia and Aotearoa hasn't been a possibility — until now. Come October 2023, Disney Cruise Line will head Down Under for the first time ever, running Disney-themed holiday cruises from Sydney, Melbourne, Brisbane and Auckland. And yes, given that Disney own plenty of huge franchises, that means these stints at sea are Marvel, Pixar and Star Wars-themed as well. The Mouse House's first 'Magic at Sea' Australian and NZ cruises will depart from October 28, 2023, with the season running through till February 2024. On offer: sailings for two, three, four, five and six nights — your pick — where you'll watch live musical shows, see Disney characters everywhere you look and eat in spaces decked out like Disney movies. Those musicals include a Frozen show; another production dedicated to the company's old-school favourites like Peter Pan, Pinocchio, Cinderella and Aladdin; and a Golden Mickeys performance, which is obviously all about Mickey Mouse. Or, there's a Mickey party set to DJ beats, nightly fireworks and a pirate shindig on the vessel's deck. While not every show and party is available on all cruises — especially the two-night option — the entertainment also includes Mickey, Minnie, Goofy, Pluto, Moana, Tiana, Cinderella, Woody, Jessie and more wandering around the ship. And, Chewbacca, Rey, Spider-Man, Captain Marvel and Thor as well, if you like hanging out around folks in costumes. The dining setup rotates, so each day of the cruise takes you to a different location with a different theme. One day, you'll hit up the Animator's Palate, which focuses on bringing Disney characters to life — including getting patrons to draw their own characters — and on the next, you'll get munching in a restaurant inspired by The Princess and the Frog, and serving up New Orleans-inspired dishes. Or, there's also Triton's, which offers an under the sea theme given it's named after Ariel's father, and serves four-course French and American suppers. For folks travelling with young Disney devotees, there's also a whole range of activities just for kids — but adults without littlies in tow are definitely catered for, complete with a dedicated pool for travellers aged 18 and over, an adults-only cafe, the Crown & Fin pub, cocktail bar Signals, Italian eatery Palo, and a day spa and salon. Dates for Disney Cruise Line's first trips from Australia and New Zealand vary per city of departure, as do prices, but you can expect to enter this whole new ocean-faring world from $720 per person for two nights in a double-occupancy room from Sydney, $546 from Melbourne and $755 from Brisbane, and $760 per person for three nights in a double-occupancy room from Auckland. And, room-wise, there's ten different types to choose from — some with private verandahs, and some with ocean views through portholes. Disney Cruise Line's 'Magic at Sea' cruises will sail from Sydney, Melbourne, Brisbane and Auckland between October 2023–February 2024, with bookings open from 8am AEST / 11am NZDT on Thursday, September 29, 2022. For more information, head to the cruise line's website. Images: Matt Stroshane / Kent Phillips.
They're called The Kindred, not The Family. Adrienne Beaufort is their leader, not Anne Hamilton-Byrne. But there's no mistaking the inspiration for JP Pomare's book In the Clearing and its new eight-part Disney+ adaptation The Clearing, which streams from Wednesday, May 24. Exploring the inner workings of an Australian cult based in rural Victoria, spouting New Age sentiments mixed with doomsday thinking, fixated upon blonde-haired children and led by a charismatic woman — a rare female cult leader — this tale fictionalises the real-life details documented in countless newspaper headlines since the 80s, and also in Rosie Jones' 2016 documentary The Family and 2019 series The Cult of the Family. Amid their so-wild-they-can-only-be-true stories, both of Jones' projects showed viewers the eerie image of children with platinum locks in severe bobs and dressed in matching blue attire. That distinctive look is similarly at the heart of Disney+'s first original scripted Aussie drama. In the earlier of its timelines, Amy (Julia Savage, Blaze) dons the tresses and uniform as one of the older children at Adrienne's (Miranda Otto, Wellmania) Blackmarsh bush compound — one being prepared to be her heir, and made an accomplice in the group's quest to add more kids to its ranks. Initially dutiful, the teenager is soon questioning the only existence she's ever known, with its harsh rules, strict aunties keeping everyone in line between Adrienne's sporadic visits, weekend services attended by well-to-do acolytes and, sharing the show's title, its LSD-fuelled confessional sessions. The catalyst for Amy's growing unease: assisting The Kindred to kidnap schoolgirl Sara (Lily LaTorre, Run Rabbit Run). Even before her hair is bleached, the eight-year-old that's rechristened Asha rejects her new home. So, as Aunty Tamsin (Kate Mulvany, Hunters) and Aunty Hannah (Anna Lise Phillips, Irreverent) struggle with the brood's latest addition, Amy is charged with helping her new sister assimilate. Creators and writers Elise McCredie (Stateless) and Matt Cameron (Jack Irish), co-scripting with Osamah Sami (Ali's Wedding), aren't solely interested in the rituals and restrictions at the heart of the cult, however, although they find much to mine in its routines, power games and warped dynamics. As it jumps between the past and present, The Clearing is even more concerned with the interplay between control and choice — and the trauma that springs both from a life enforced upon someone and from the decisions they willingly make. "They are as pure and untainted as it is possible to be," Adrienne tells her followers of Amy and her so-called siblings. "A generation raised away from the suffocating rules of society, nurtured under the most perfect conditions," she continues. Even if The Clearing didn't dart forward, then return to The Kindred's heyday, the twisted reality behind those words couldn't be more apparent. There's nothing idyllic about Amy's upbringing, where Tamsin plays cruel disciplinarian, Hannah's exasperation hangs in the air, Adrienne's conditional love and fleeting presence are dangled as carrots, and only Henrik Wilczek (Erroll Shand, The Justice of Bunny King) offers a reliable source of kindness. There's nothing caring about The Kindred co-founder Dr Bryce Latham (Guy Pearce, Mare of Easttown), either, who reinforces just how calculating this sect is about its operations. When The Clearing dwells in the now, still in Victoria at its leafiest, nothing evades the smear of heartbreak and damage as well. Indeed, when single mother Freya Heywood (Teresa Palmer, Ride Like a Girl) hears about a girl being abducted, she can't shake the feeling that history is repeating. She dotes over her primary school-aged son Billy (debutant Flynn Wandin), but she's also visibly nervous and anxious. When she keeps spotting a white van, she's a portrait of panic. In an apt opening image — the show's very first scene — Freya is initially introduced in a lake, submerged up to her shoulders before disappearing below. The Clearing's directors Jeffrey Walker (Lambs of God) and Gracie Otto (Seriously Red) bring this sight to mind often, including what happens next: the surface is still, Freya is lost to the water and her descent into its depths goes unnoticed by the surrounding world. How the show's timelines connect is one of its original mysteries, but the series brings 2011 movie Martha Marcy May Marlene to mind, too. Also a tautly made and atmospheric psychological thriller, the film flits between life within a cult and the difficulties coming out the other side; Love & Death's Elizabeth Olsen plays its many-monikered namesake, while Deadwood alum John Hawkes throws around his menace. The Endless, 2017's brain-bender about two adults returning to the UFO death cult they were a part of as kids, likewise bobs up — and, thanks to Freya's impressive remote home and a throughline about the sway that parents hold over their offspring, Hereditary does as well. As it ponders people forever changed and frayed by an inescapable influence, and how that shapes their paths as adults, The Clearing is clearly in exceptional company. With Savage, Palmer and Otto at its centre, The Clearing also fills its frames with impressive talent. In Blaze and now this, Savage continues to excel as young women dealt tragic hands by fate, and never paints her characters as victims first and foremost; complicated teens feeling every possible emotion in response to complex situations are becoming the rising talent's speciality. Palmer wears Freya's pain and agitation like a second skin, bearing the shattering weight of being unable to clean a murky past out of her head and heart, too. And Otto is transfixing as Adrienne, splashing around a brand of charisma that can keep a congregation in her thrall, and mistreated children, but can't patch over the imposing figure's dangerous sense of self-importance, her masterful scheming and the lengths she's willing to go to to have her flock in her sway. Brandishing its ties to The Family so overtly, and starring a who's who of Aussie film and TV — Claudia Karvan (Bump), Mark Coles-Smith (Mystery Road: Origin), Hazem Shammas (The Twelve), Xavier Samuel (Elvis), Harry Greenwood (Wakefield), Matt Okine (The Other Guy) and Doris Younane (Five Bedrooms) also feature — The Clearing was always going to intrigue, and has since being announced by Disney in mid-2022. That's why viewers will initially press play, but it isn't what makes the series so riveting. It's one thing to dramatise a notorious cult that drugged adults and kids with psychedelics, and to examine the woman pulling the strings. It's another to convey such a range of swirling mindsets, motivations, impacts and coping mechanisms, and so comprehensively and probingly. Chillingly and gripping from the outset, The Clearing haunts far more than just its on-screen characters. Check out the trailer for The Clearing below: The Clearing streams via Disney+ from Wednesday, May 24.
Even under normal circumstances, heading to the UK to see a theatre show isn't in most folks' budgets — which is why, for years now, Britain's National Theatre has beamed its performances into cinemas around the world via a series called NT Live. At the moment, with venues closed across the globe, the latter is obviously on hiatus. Enter a new initiative: National Theatre at Home. As the name makes plain, National Theatre is making its previously recorded productions available to viewers at home — so you can now get cosy on your lounge, put your feet up and pretend you're at the theatre. Shows will stream for free via NT's YouTube channel, with a different performance available each week. Each production will launch on a Friday morning, Australian and New Zealand time, then be available to stream for seven days. It all kicks off with Richard Bean's One Man, Two Guvnors starring James Corden, who won a Tony Award for his performance in the production's 2012 Broadway run. Catch it from 5am AEST on Friday, April 3 (7pm UK time on Thursday, April 2). Then, head back on April 10 for Sally Cookson's stage adaptation of Charlotte Brontë's Jane Eyre, journey to Bryony Lavery's version of Robert Louis Stevenson's Treasure Island on April 17 and enjoy William Shakespeare's Twelfth Night on April 24. On May 1, one of National Theatre's biggest and best shows will drop: its stripped-back version of Mary Shelley's Frankenstein, as directed by Trainspotting and Yesterday's Danny Boyle, and starring Benedict Cumberbatch and Jonny Lee Miller. When the production was performed live back in 2011, Cumberbatch and Miller swapped roles each night, alternating between playing Victor Frankenstein and his revived creation — and both versions are hitting the NT's YouTube Channel. After that, on May 7, comes more Shakespeare: Antony & Cleopatra, featuring Ralph Fiennes and Sophie Okonedo as the fated titular couple. Then, when May 14 rolls around, viewers can check out a never-bef0re-seen archival recording of Inua Ellam's Barber Shop Chronicles. Fans of classic American plays and fantastic actors can look forward to A Streetcar Named Desire from May 21 — with none other than Gillian Anderson as Blanche DuBois, alongside Ben Foster and Vanessa Kirby. On May 28, James Graham's This House will hit YouTube, while June 4 sees Tom Hiddleston join forces with the Bard for a performance of Coriolanus. Keep an eye on the National Theatre at Home website, too, because more productions are likely to be added afterwards. https://www.youtube.com/watch?v=Uh9_EdHDsV4 Top images: A Streetcar Named Desire, Johan Persson. Frankenstein, 2011, photo by Catherine Ashmore. Jane Eyre, 2015, Manuel Harlan. One Man, Two Guvnors by Bean, Author - Richard Bean, Director - Nicholas Hytner, Designer - Mark Thompson, Lighting - Mark Henderson, The National Theatre, 2011, Credit: Johan Persson. Updated May 9.
