Western Sydney has scored a massive new destination for secondhand shopping, with the opening of a brand-new Savers superstore in Auburn. This new site, which opened on Thursday, May 15, is the third New South Wales outpost the global thrift giant has unveiled in just a year, joining the existing Hoxton Park and Oxford Street locations. You'll find the new store smack bang in the thick of Auburn's retail hub on Parramatta Road, a stylish new addition that sits alongside major retailers, shopping centres and homemaker precincts. As with other Savers stores, it's stocked with thousands of new-to-you items arriving daily across clothing, accessories, homewares and more — with most pieces clocking in at under $10. "We've seen an incredible response to our Hoxton Park and Oxford Street stores, and Auburn is the perfect next step in our expansion," says Michael Fisher, Managing Director at Savers Australia. "The store will offer a one-of-a-kind thrift shopping experience, giving Western Sydney shoppers access to quality secondhand goods at affordable prices – all while making a positive impact on the planet." That's not just lip service — as always, sustainability and community remain a core part of the Savers mission. The Auburn store will contribute to the millions of kilos of textile waste diverted from landfill through Savers' Australian operations just last year alone — plus, shopping secondhand has been shown to conserve water, reduce pollution and minimise energy consumption, so you can feel good about doing your bit for the environment as well. On the community side, the retailer's not-for-profit donation partnerships are also expanding —the opening of the new Auburn store sees Diabetes Innovation and Impact Foundation (DIIF) join the Savers charity network, which already includes Red Nose Australia, Diabetes Victoria and Wounds Australia. As with the brand's other stores, Savers Auburn will accept donations on behalf of its non-profit partners to help them fund local community initiatives. Of course, you don't just have to shop to make an impact. Savers has set up a Community Donation Centre within its new Auburn store, where you can drop off quality clothing and household items. Each time you donate, Savers will pay DIIF for your goods, both giving them a second life while contributing to community charity efforts — a proper win-win situation for all sides. Savers Auburn is now open at 315 Parramatta Road, Auburn. For more info, head to the Savers Australia website.
Let there be rock indeed: when AC/DC announced their first Australian tour in a decade, it was always going to be popular. It should come as no surprise, then, that extra gigs have been added now that tickets have gone on sale. Sydney, Brisbane and Melbourne have all scored additional shows, with the band now playing two concerts in each of the New South Wales, Queensland and Victorian capitals. Since 2015, it's been a long wait for Aussie fans if you want to rock 'n' roll with AC/DC live, but the group's Power Up tour will see Brian Johnson, Angus Young and company performing at local stadiums in November and December 2025. With the just-announced extra gigs, Melbourne is getting thunderstruck at the MCG on Wednesday, November 12 and Sunday, November 16; Sydney at Accor Stadium on Friday, November 21 and Tuesday, November 25; Adelaide at the bp Adelaide Grand Final on Sunday, November 30; Perth at Optus Stadium on Thursday, December 4; and Brisbane at Suncorp Stadium on Sunday, December 14 and Thursday, December 18. For this run of dates, Amyl and The Sniffers are onboard in support to make these massive Aussie concerts even more so, and to give attendees a taste of two different generations of Aussie rockstars. Playing Sydney isn't just part of a fitting homecoming for AC/DC, but comes more than half a century since the band played their first-ever show in the Harbour City. Their 2025 gig will be just over a month and a half short of 52 years since that 1973 debut. Power Up is also the name of the group's 2020 album, their most-recent record — which debuted at number one on the Billboard 200, made multiple best-of lists for that year and scored Grammy nominations. For those about to rock, AC/DC's high-voltage current set list spans their entire career, however, including everything from 'If You Want Blood (You've Got It)', 'Back in Black' and 'Hells Bells' to 'Highway to Hell', 'Dirty Deeds Done Dirt Cheap' and 'You Shook Me All Night Long'. So far, the Power Up tour has played Europe and North America, selling more than two-million tickets across 24 shows in the former and notching up ten soldout gigs in the latter. AC/DC will be back in Europe, hitting the Czech Republic, Germany, Poland, Spain, Italy, Estonia, Sweden, Norway, France and Scotland, before their Aussie dates. AC/DC Power Up 2025 Australian Tour Wednesday, November 12 + Sunday, November 16 — Melbourne Cricket Ground, Melbourne Friday, November 21 + Tuesday, November 25 — Accor Stadium, Sydney Sunday, November 30 — bp Adelaide Grand Final, Adelaide Thursday, December 4 — Optus Stadium, Perth Sunday, December 14 + Thursday, December 18 — Suncorp Stadium, Brisbane AC/DC are touring Australia in November and December 2025, with tickets on sale from Thursday, June 26, 2025. Head to the tour website for further details. Images: Christie Goodwin.
There's no shortage of Aussies trying to become global social media stars. If that's your goal too, a first-of-its-kind experience will give your influencing career a significant boost, as Australia's first TikTok content house launches in Adelaide. Known as The Party Games House, this $10 million beachfront mansion in Moana is officially on the lookout for five more influencers keen to live, create and party for free for a minimum of seven days up to two months. The brainchild of Adelaide-based entrepreneur Shane Yeend, a self-made multimillionaire who made his fortune in party games, this extravagant property already has its first tenant, Frida Khalife, a 23-year-old real estate and hospitality worker from Adelaide. With the decision still to be made on who else will be moving into this luxe home, there's still time for influencers of all stripes to submit their applications. "This is the opportunity of a lifetime," says Yeend. "We are looking for Australia's next social superstars. Huge global names like Alex Warren and Addison Rae began in content houses just like this one, and now they have billions of views, brand deals, and are selling out arenas. We believe we will find the next generation of stars right here in Australia." It's not Yeend's first venture into viral escapades. He got his start in 2001 — before most even understood the concept — by creating the official Big Brother Board Game. Becoming an overnight hit, pallets of board games were craned over the Big Brother house wall for housemates to autograph. Now Yeend is returning to the world of virality, this time targeting the Gen Z wave of influencers. "In 2026, anyone with a social media presence should be able to make $1 million a year from social commerce. There's no better time or place to get started than the Games House this summer," says Yeend. Set against the backdrop of Moana Beach, the lucky few who call The Party Games House home will have access to a private chef, a massive pool and a dedicated production team, ensuring each TikTok post does massive numbers. Best of all, influencers living in the house retain full ownership of their channels and commercial activity, with any deals made during their stay theirs to keep. Applications to live in The Party Games House are now open. Head to the website for more information. Images: Benjamin Liew.
Get your napkins pressed and your hand sanitiser primed because the mother of all finger food chains is at long last arriving in Australia. Wingstop has been running a US-based operation since the early 1990s, so it's been a long time coming to our neck of the woods, but this news will no doubt get mouths watering at the prospect of trying its titular wings on home turf. From little things, big things grow, so Wingstop is starting small with a single Sydney outpost. However, they won't stay small for long, with over 100 stores planned to open Australia-wide. If you can't wait to get your hands on it in your hometown, the inaugural opening is coming to Sydney's Kings Cross, with a special opening event pencilled in for Saturday, May 17. What's on the cards? Doors swing open at 11am and the first 500 diners to visit will get five free wings. Should you miss out on the initial offer, there will also be DJs keeping the energy high throughout the day, along with interactive experiences, games and giveaways. If you were lusting after the viral Maccas, ALDI or KFC merchandise drops that took over social media in 2023 and 2024, not to worry — Wingstop will be running its own merch giveaways on the day, the first of its kind in the country, so you can shove it into the faces of those who were lucky enough to get those aforementioned bucket hats and sweaters. At the end of the day, though, we're all here for the wings, so what's actually going to be on the menu? It's poultry aplenty, with classic and boneless wings and tenders available in packs ranging from three to 50. They're tossed with one of twelve sauces: Lemon Pepper, Hickory Smoked BBQ, Hawaiian, Garlic Parmesan, Louisiana Rub, Spicy Korean Q, Mild, Hot Honey Rub, Cajun, OG, Mango Habanero and Atomic. Get them with a side of signature seasoned fries (with seven choices of seasoning), house-made cheese or ranch dips, or cajun-spiced corn. Add on a cold drink or even a chocolate brownie to help the wings go down. If you don't make it on the day, keep your eyes peeled for future in-store events or for where the next location will open. Wingstop's first Australian store will open on Saturday, May 17 at 1/111 Darlinghurst Road, Potts Point. Visit the website for more information or to make an order.
Prepare to have dreams of sweet and spicy doughy swirls that are dripping in sticky cinnamon syrup. Yes, these scrolls are worthy of every heavenly word you've ever read about them. And we're not going to hold back either. You may have seen them in cafes across Sydney: huge, pudgy scrolls covered in a blanket of icing sugar. Hidden within are layers of buttery dough and a secret spice mix that only Tony Jabbour, owner and chef, knows the recipe for. Paired best with a strong latte, these signature scrolls came about as a result of a rough start to a pizza business. Four years ago, Oregano Bakery was a Lebanese pizza store — but boredom led to sugar cravings, so Tony started making his favourite sweet. Enter the cinnamon scroll. Starting with ten units a day, he now produces more than 3,000 a day, and the family-run business is distributing its famous scrolls to over 300 cafes across Sydney. The humble bakery in South Hurstville is bright, modestly small and never without a crowd. People venture far and wide for their dough fix. Everything is made on the premises with passion and dedication, and the whole family is a part of it. Tony's wife, Sonia, is the face of the shop; her energetic and friendly demeanour ensures all customers enjoy every minute (and every crumb). Their son Jayden is head barista and executes a fine espresso; Sonia's brother, Robert, looks after all the marketing and business aspects; and daughter Jasmine is also behind the scenes, taking care of the social media pages to keep the mouths drooling. It's not just the cinnamon scrolls that sell out at Oregano Bakery: mocha, tahini, salted caramel, chocolate, Nutella and banana, lemon, cookies and cream and banoffee are also dropping jaws. With sweet, syrupy goodness swirled into each crevasse, they really are moist morsels of joy worth cradling. Despite the scrolls stealing the limelight, the core of the bakery is still all about the pizza. The za'atar wrap is deliciously filled with mint, shallots, olives and yoghurt, and the simple za'atar pizza with cheese is our pick of the lot. Further consideration should also be extended to the meat pizza with lean minced lamb and also the veggie pizza. In the face of all this success, it's refreshing that family sentiment is at the core of it all. With requests to take it globally, the Jabbours preferred to stay true to their heart, keep their business local and maintain that artisan spirit. They absolutely love making people happy with food, and their generosity and warmth are what make the experience of Oregano Bakery so special. Take time to get your scroll fix and visit the Jabbours — if not for the precious moment with your cinnamon scroll, then for the love. Appears in: The Best Bakeries in Sydney for 2023
Cinephiles have many reasons to love France. After its early filmmaking pioneers played an enormous part in establishing the medium, the country's New Wave of fresh talents helped revitalise it more than half a century later — and in the decades since, the nation has continued to make a considerable impact. Among its many achievements, it's also home to the most famous film festival on the planet, as well as the highest density of cinemas per capita. In short: the world loves the combination of France and film, and the country itself does as well. For the next month around Australia, it's time to say oui s'il vous plaît to all of the above. And, with apologies to anyone who'd love to be jetting off to Paris, it's time to do so by visiting a cinema screen near you. As it has for the past 30 years, the Alliance Francaise French Film Festival is currently treating much of the country to the best, brightest, latest and greatest movies that the European nation has to offer. If there's ever been a reason to escape into a darkened room with a glass of wine and a cheese platter, this is it. Touring Melbourne, Canberra, Perth, Brisbane, Hobart, Adelaide, Avoca Beach, Parramatta and Byron Bay until April 14, this year's AFFFF brings a feast of 54 films to Aussie audiences — big name stars, touching dramas, weird and wonderful delights, and veteran filmmakers trying their hand at English-language flicks all included. If you're feeling spoiled for choice, we've watched and picked the 12 titles you should seek out. Joyeaux viewing. https://www.youtube.com/watch?v=osqw349H9zE NON-FICTION In one of her three appearances on the 2019 AFFFF lineup, Juliette Binoche explores the complexities of living a creative life in Non-Fiction. Despite its title, Olivier Assayas' latest film isn't based on fact — and while Binoche once again plays a famous actor, she's not aping her own existence or revisiting her character from the director's Clouds of Sils Maria. And yet, this witty affair still steps into the dramas of combining the actual and the imagined, as writer Léonard (Vincent Macaigne) earns acclaim and fame for infusing his personal love affairs into his latest book. He's also romantically entwined with Binoche's TV star Selena, while her husband Alain (Guillaume Canet) is Léonard's publisher, setting the scene for a smart, amusing and perceptive dissection of life and love in today's always-online, always-sharing times. https://www.youtube.com/watch?v=AtOwfo1ypOw HIGH LIFE Already one of the best films of 2019, and of any other year for that matter, High Life is as audacious and alluring as it sounds. As should be expected from inimitable writer/director Claire Denis, this sci-fi flick is as intelligent and profound as the rest of her filmography, too, and as craftily determined not to be pinned down. Worlds away from the romance of Let the Sunshine In, Denis re-teams with Juliette Binoche for an existential — and sometimes sexual — nightmare that unravels in the clinical surroundings of a prison spaceship that's hurtling towards the edges of the solar system. But, among a high-profile cast that also includes Mia Goth and Outkast's Andre Benjamin, it's Robert Pattinson who's the star of the show. Playing a man and father haunted in a plethora of ways, the continually impressive actor furthers his hot streak of exceptional, challenging roles under the direction of similarly exceptional, challenging filmmakers. https://www.youtube.com/watch?v=N2L2USPgiMI A FAITHFUL MAN As he did with 2015's Two Friends, Louis Garrel writes, directs and stars in this ruminative romantic comedy, which marks the actor-turned-filmmaker's second stint behind the camera. He plays Abel, who's quickly discarded by his pregnant girlfriend Marianne (Laetitia Casta) in favour of his best friend — and, years afterwards, becomes an object of affection for his former pal's now-grown sister Eve (Lily-Rose Depp). Told from multiple perspectives and shot with a probing eye for beautiful sights, A Faithful Man is the epitome of bittersweet, with Garrel proving a keen observer of human intricacies as both a performer and a helmer. Indeed, while this infidelity-driven affair is light from start to finish, it's also steeped in genuine feeling and drawn from a deep vein of thoughtfulness. https://www.youtube.com/watch?v=H9d310frjNk THE SISTERS BROTHERS For his debut English-language feature, Jacques Audiard pans for gold with The Sisters Brothers — and finds it. The French filmmaker's first flick since winning the 2015 Palme d'Or for Dheepan, this slice of old west life delivers a rich, rewarding, contemplative and comedic western, combining the genre's recognisable grit and verve with its own melancholic spirit. For Charlie Sisters (Joaquin Phoenix), the gun-slinging, bounty-hunting assassin trade is a dream. For the elder Eli (John C. Reilly, taking part in another great double act after Stan & Ollie), it's losing its shimmer. Then their latest job goes awry, with their advance man (Jake Gyllenhaal) teaming up with their prospector target (Riz Ahmed) in a quest for riches, sparking shoot-outs and soul-searching in equal measure against a magnificent backdrop. https://www.youtube.com/watch?v=lXSojVVG4Z8 THE WILD BOYS The Wild Boys might bake its influences into every lurid frame — think Guy Maddin, Jean Cocteau, John Carpenter, Rainer Werner Fassbinder, David Lynch and more — but this wild ride could never be described as the simple sum of its parts. Story-wise, Bertrand Mandico's feature debut follows five unruly teens who commit a crime at the turn of the 20th century and, in an act of both punishment and rehabilitation, are subsequently taken on a sea voyage to a mysterious island. Just like the libidinous quartet, audiences are gifted a sensual swirl of stimuli and subversion; however to say much more about the narrative or the cast is to spoil the movie's many surprises. Whether flitting from flickering black-and-white to bursts of luminous colour, emphasising his exaggerated sets or experimenting with framing, Mandico ensures that every second of The Wild Boys is a vibrant and textured delight. https://www.youtube.com/watch?v=cyGC0W8PfoI AMANDA Collecting awards and nominations around the globe — Cesar and Lumiere nods in France, a prize in Venice and the top spot at last year's Tokyo Film Festival — Amanda is an involving drama that never takes the obvious route. Its title refers to the seven-year-old niece (Isaure Multrier) of 24-year-old Parisian David (Vincent Lacoste), who comes into his sole care after a devastating tragedy. Subtle rather than overt, and never blatantly tugging at the heartstrings, this is a tender yet clear-eyed account of coping with life's unexpected developments. While director Mikhaël Hers (This Summertime Feeling) approaches the material with a bittersweet tone, he also displays a a delicate and even effervescent touch. His leading man helps considerably, with The French Kissers, Eden and Sorry Angel's Lacoste fast becoming on of France's most compelling young talents. https://www.youtube.com/watch?v=eIU_IHfp3cU REVENGE A striking debut from writer/director Coralie Fargeat, Revenge stalks across the screen with all of the rape-revenge genre's violence and horror — and with visceral style and a firm feminist punch as well. During a desert getaway gone wrong, the attractive Jen (Matilda Lutz) segues from mistress to the arrogant Richard (Kevin Janssens), to victim of his brutish pals (Vincent Colombe and Vincent Colombe), to avenger of the myriad of savage wrongs committed against her. The storyline is standard; however Fargeat approaches the film's visuals, mood and energy with the same do-or-die determination as her persistent protagonist. Lutz, too, puts in an all-consuming performance, aptly conveying the feature's specific blood-soaked tale while embodying the fury of every woman who has ever had to fight back against overwhelmingly cruel and vicious forces. https://www.youtube.com/watch?v=zfeEhb4xnps THE NIGHT EATS THE WORLD Zombie movies are as common as ravenous, human-eating crowds after a horrific on-screen outbreak; however The Night Eats the World gives a distinctive taste to the genre's familiar flesh. The first feature from writer/director Dominique Rocher, the sparse horror flick plays out like a cross between I Am Legend and 28 Days Later… with a dose of expected survivalist antics and a few borrowings from single-settling thrillers; however this atmospheric, evocative film boasts a tone that's never less than intriguing. When the world turns from normal to undead in the space of an evening, Sam (Anders Danielsen Lie) is left to fend for himself. His only company is a zombified neighbour (Denis Lavant), and his own ingenuity is all that's keeping him safe from the attacking hordes outside. There's a rich flow of existential dread coursing through this addition to the genre, not only about mortality but also isolation and loneliness. https://www.youtube.com/watch?v=uRF290gedLs SORRY ANGEL At last year's AFFFF, BPM (Beats Per Minute) broke hearts and burrowed into souls with its depiction of 1990s Paris — a time when queer men loved passionately and fought proudly for their place in the world, but always found their existence lingering under a cloud. Consider Christophe Honoré's Sorry Angel not quite its successor, but its dance partner, with the two films sashaying through similar space while unleashing their own moves. Here, writer Jacques (Pierre Deladonchamps) meets student Arthur (Vincent Lacoste) and, as a bond grows between them, the former's illness and the latter's idealism shape their relationship. Sublimely blue in its melancholy mood and its exacting colour scheme, the end result is a layered, almost novel-like, always tender and touching study of life and love. — SW https://www.youtube.com/watch?v=JywE77VYpWc BY THE GRACE OF GOD Exploring sexual abuse in the Catholic Church, By the Grace of God was always going to prove both topical and sorrowful, regardless of its timing. Based on a real-life French case, the film's ripped-from-the-headlines storyline has recently seen two figures portrayed within its frames take legal action, in an ultimately unsuccessful attempt to block its release. In Australia, the movie arrives hot on the heels of high-profile local legal proceedings; however, the anger, dismay and empathy the Silver Bear recipient inspires is all its own. Focusing on three men (Melvil Poupaud, Denis Ménochet and Swann Arlaud) who were inappropriately taken advantage of by the same priest (Bernard Verley) as children, this is a measured, moving, sensitive and sobering picture from filmmaker François Ozon, who ventures worlds away from previous efforts such as Swimming Pool and Young & Beautiful. https://www.youtube.com/watch?v=gZnjwuicCq0 KNIFE + HEART It's 1979. Someone is savagely murdering gay porn stars, all of whom work for successful, ruthless producer Anne (Vanessa Paradis). And, as she tries to keep making movies while her actors keep dropping like flies, she's coping with the end of her relationship with her editor. Kudos to writer/director Yann Gonzalez for Knife + Heart's exceptional premise, which also features films within films, creepy legends, spooky woods and rather inventive weapons. Still, it's his eye-popping execution that makes this a weird and wonderful delight. In his hands, nothing is too much — and we mean nothing. The end result is an assault on the senses that's as brutal as its slasher set-up and as theatrical as its campy tone. — SW https://www.youtube.com/watch?v=WRFwJS7pu80 THE WORLD IS YOURS There are heist films, and there are heist films. The World Is Yours has earned comparisons to Guy Ritchie and Quentin Tarantino's work; however it's no mere derivative take on a well-worn genre. Instead, it's a splashy, stylish, skilfully executed and supremely entertaining effort in its own right, and a mighty fun time at the cinema. Perhaps best known for making music videos for M.I.A., Simian Mobile Disco, Kanye West and Jay-Z, and Jamie xx, French filmmaker Romain Gavras turns this account of small-time gangsters dreaming big into a cool, comic and confidently engaging caper that drips with energy and charm from start to finish. Veterans Isabelle Adjani and Vincent Cassel take to their roles with glee, but it's A Prophet's Karim Leklou who stands out among the movie's stars — playing the son of a seasoned grifter who just wants to pull one last job so he can sell icy poles in North Africa. — SW The Alliance Française French Film Festival tours Australia from March 5, screening at Sydney's Chauvel Cinema, Palace Norton Street, Palace Verona, Palace Central and Hayden Orpheum Picture Palace from March 5 to April 10; Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Kino Cinemas and The Astor Theatre from March 6 to April 10; Perth's Palace Raine Square, Cinema Paradiso, Luna on SX, Windsor Cinema and Camelot Outdoor Cinema from March 13 to April 10; and Brisbane's Palace Barracks and Palace James Street from March 14 to April 14. For more information and to buy tickets, visit the AFFFF website.
Before the opening credits roll on the first of its eight season-one episodes, Binge's new Australian sitcom Colin From Accounts explores some of life's big questions. When two strangers cross paths and literally come to an impasse, who should proceed off into their regular lives to begin with — and who should hang back out of their way till they're gone? Also, what's the appropriate way to interact? Are smiles, nods, waves, and mouthing "you go" or "after you" acceptable? And, if you're the person who scores right of way, how do you show your gratitude as you're merrily venturing forward? These may seem like trivial matters, as everyday and relatable as they clearly are, but the right moves might just inspire a life-changing meeting. They could also have serious consequences, and bond you in a complicated situation for around 12 years with someone you wouldn't have otherwise met. Or, both could occur. That's how it pans out in Colin From Accounts, with the rom-com spying the familiarity, comedy and chaos in bumping into another person on the street. Medical student Ashley (Harriet Dyer, The Invisible Man) and microbrewery owner Gordon (Patrick Brammall, Evil) do just that one otherwise standard Sydney morning. He lets her go first, she flashes her nipple as thanks, then he's so distracted that he hits a stray dog with his car. A girl, a guy and a meet-cute over an adorable animal: that's this delightful and very funny series' straightforward underlying formula. But as the circumstances surrounding Ash and Gordon's initial run-in demonstrate, Colin From Accounts isn't afraid to get awkward, much to the benefit of audiences. There's a syrupy way to proceed from the show's debut moments, intertwining sparks flying with idyllic dates, plus zero doubts of a happy ending for humans and pooches alike. If this was a movie, that's how it'd happen. Then there's Dyer and Brammall's way, with the duo creating and writing the series as well as starring in it, and focusing as much on ordinary existential mayhem — working out who you want to be, navigating complex relationships and learning to appreciate the simple pleasure of someone else's company, for example — as pushing its leads together. Before Ashley becomes 'Flashley', she's a 29-year-old medical student reeling from an unexpected breakup with a colleague (Tai Hara, Underbelly: Vanishing Act). Before Gordon is forced to ask his ex Yvette (Annie Maynard, Playing for Keeps), a vet, to do him a favour, he's a fortysomething who has been single for a unicycle-buying amount of time. By the time the day of their first encounter is out, they'll be sharing a hefty debt and a Sydney home — the former for the dog's treatment and the latter because pets aren't allowed at Ash's sharehouse. She's in his phone as 'Ashley $12k', the amount they're on the hook for. He's in hers as 'Dog Car Guy'. They joke about being each other's weird mate, and openly wonder if two people can be friends once exposed mammary glands get involved. Just like in the Hollywood versions of this kind of tale, romance does blossom. That Dyer and Brammall are behind Colin From Accounts, their past chemistry on fellow Aussie comedy No Activity and the fact that they're married IRL means that pairing them up as more than new pals was always going to be on the show's agenda. It's how the series fleshes out each character and their baggage — including those who-am-I questions, Ash's difficult dynamic with her attention-seeking mother Lynelle (Helen Thomson, Elvis), and the responsibility that running your own business and committing to care for other people each bring — that helps give it depth. Colin From Accounts lets Ash and Gordon unfurl their woes and wishes, and also lets them grow. Sometimes, that happens by peeing and pooping in the wrong place, because that's also the type of comedy this is. Sometimes, it's because the show's central couple have taken a risk, or faced their struggles, or genuinely found solace in each other. There's more than a touch of Catastrophe to Colin From Accounts, in its thrusting of two strangers together by a twist of fate that sees them sharing caring duties — for a dog rather than children, however. In lesser hands, there'd be an initial dose of New Girl as well, but Ash is no manic pixie dream girl singing her way through Gordon's life or unleashing a big bag of quirkiness. Credited with penning four episodes apiece, Dyer and Brammall bring sharpness and authenticity to their scripts, especially when confronting the truth that neither Ash nor Gordon know what they truly want. There's a clear-eyed feel to Colin From Accounts' still-light embrace of one of life's immutable realities: that we're all just moseying forward, being spontaneous, coping with the fallout, colliding with other people — and critters — and hoping for a content-enough outcome. Watching Dyer and Brammall bounce off of each other, dog in tow, is easy. Even when things are at their most strained between Ash and Gordon, and even when Colin From Accounts is swinging for its broadest grabbag-style laughs, their rapport always feels grounded. The script layers in gags about the pair's age difference, and contrasts the distinctive brands of Millennial and Generation X chaos, but the series is never in laugh track-heavy sitcom territory. Neither actor's impressive work should come as a surprise, of course, and nor should their ability to find drama as well as comedy in the show's premise. See: their respective resumes, including Dyer's work in Killing Ground and Wakefield, and Brammall's on Offspring and Glitch. Colin From Accounts may focus on Ash and Gordon's ups and downs, and on Dyer and Brammall as its driving forces, but it also mines a wealth of other talent. Thomson is a scene-stealer, as part of a subplot that examines the lifelong hurt that can spring when no one actually says what they mean. As Gordon's brewery colleagues, Genevieve Hegney (Doctor Doctor) and Michael Logo (Why Are You Like This) each have their moments to shine, and the same applies to Emma Harvie (Frayed) as Ash's fellow med-student bestie. Behind the lens, directors Trent O'Donnell (another No Activity alum), Matt Moore (The Great) and Madeleine Dyer (Monster of Many Worlds) keep the series both breezy and weighty — and instantly bingeable. Check out the trailer for Colin From Accounts below: Colin From Accounts streams via Binge. Images: Lisa Tomasetti / Tony Mott.
Although our arteries may be crying foul, we in Sydney have become well and truly besotted with American food. From the nostalgia of 1950s milkbars to the soul-steeling heartiness of Southern cuisine, there's a certain homey, convivial charm we can't resist. And though we may be over establishments that borrow a little too directly from their US counterparts, there are others that continue to surprise and impress us. The best places, the ones on this list, have risen above imitation and novelty, and they delve deeper into American food than mere burgers. Enjoy one tonight and celebrate America's Fourth of July. Just remember: cookies (deep-fried and dolloped with spicy mayo) are a sometimes food. 1. Hartsyard There is no denying Hartsyard's heritage; it is palpably American in taste, substance and style. As soon as you push open the glass door, the smell of hickory smoked pork greets you with open arms. You'd be forgiven for thinking you had mistakenly stumbled across a classic American backyard cook-out, but that's what’s beautiful about this Newtown newcomer. You never know what to expect. Start with the poutine ($23) for a no-holds-barred introduction to American cuisine that borrows generously from the Bible Belt, French Canada and the friction between urban and rural dining. 2. Soda Factory What you're looking for is a kitschy neon sign reading 'Bobby’s Boss Dogs'. Bobby’s draws the comparison to New York's Crif Dogs, the entrance to clandestine East Village cocktail lounge PDT. Pull on the handle of the Coke Machine and you're inside The Soda Factory — a dimly lit industrial expanse lined with inviting booths and comfy mid-century sofas. For just $9, the Johnny Drama (beef sausage topped with bacon, sour cream, avocado and tomato salsa) straddles the line between gourmet and good old-fashioned grub. 3. Marly Kitchen Chicken and waffles are a classic southern American breakfast combination that makes no sense to us Australians. Deep-fried chicken? Served with waffles? Drizzled in gravy? It just doesn't compute. And it's great that the Marly Kitchen in the hotel's new Garden Bar is doing it, because the risk, complexity and creativity is a foil to the many safe options around town where American equals burger. Choose from crispy buttermilk deep-fried chicken, smoked pulled pork, cheesy BBQ sirloin or Mexican lentil toppings ($8) for the waffles, or try something from the constantly changing special board, featuring more sophisticated options such as crispy skin roasted kingfish with tender confit kipfler potatoes and a finger-licking bushpepper aioli ($26). 4. Eathouse Diner One of the originals, and still one of the best. The red vinyl stools around a curved bar and crimson walls with a chalkboard menu on the wall conjure 1950s Americana, but there's no schtick here. The menu features Southern classics that aren't too heavy, such as fried okra in corn maize batter with spicy chipotle and tomato sauce and the delicious spicy Creole gumbo, as well as dishes with a more English or Australian heritage. The fun atmosphere and seriously good food means that, years in, this place is still full most nights of the week. 5. Miss Peaches Soul Food Kitchen Step off Missenden Road in Newtown and be transported to a pseudo-Louisiana where Miss Peaches and her Soul Food Kitchen are waiting. The spacious brick bar has old-school Southern charm with plenty of comfy booths, a balcony overlooking the hustle and bustle of King Street below, plus a blues-infused vinyl collection to get any feet dancing. The menu is the antithesis of all diets and not for the faint of heart. Think cornbread sliders filled with deep-fried mac and cheese, chicken or beef short rib (3 for $18), crispy tater tots with maple bacon ketchup ($8) or flaky crawfish pies ($12). The blackened fish ($15) is spiced up nice and jerky and a real standout of the menu. 6. Santa Barbara With its Californian atmosphere (at the Coke sign junction of King's Cross, it even feels like a highway) and lengthy menu of American/Asian/Tex-Mex/Pacific fusion, Santa Barbara is a bit of a diversion from the American norm. From the BBQ, the Coke Can Chicken ($18) is enough to feed a small army, and goes well with some jerk prawn and papaya salad ($14). 7. The Dip Founder Andrew Levins' love of food apparently began on a family holiday to Memphis. He's road tested and experimented with his recipes at legendary barbeques for family and friends, and now both family and friends are involved on the floor. There couldn't be a better fit for the stucco booths and jukebox tunes of the Goodgod's front room. The menu is heavily themed and, thankfully, priced to reflect the diner vibe. You want to get the Lev's Dawg, a kosher hotdog topped with chipotle mayo, fresh tomato salsa, grilled yellow peppers and American mustard and definitely, definitely follow up with an ice-cream sandwich. Now closed 8. Hinky Dinks Step off Darlinghurst Road and into the 1950s. The boy's hair is quaffed, the floor is black-and-white chequered, and creamy, frozen drinks come in tall, frosted sundae glasses. Except it's like an American adult milk bar because here, those drinks have (a lot of) bourbon in them. It is indeed a very specific theme here. Every detail has been considered, from the uniforms and cherry-red bar stools to the original 1950s Crosley fridge that took four people to move. But the best part about Hinky Dinks, and the part that prevents it from falling into the Disney theme category, is the staff. They are passionate bartenders and in such a small space they really make it a warm and fun experience. 9. The Bourbon Louisiana Creole food is a mishmash of different cultures, like the population of New Orleans. French, Spanish, African, Italian and Portuguese are thrown into the mix, with jambalaya the signature dish. From the oyster bar, the theme continues with grilled jumbo shrimp ($24) in creole butter and spiced salt. A gumbo with a thick, spicy duck broth and smoked sausage ($18) and clam and corn chowder ($22) pop out from the soup menu. It's interesting, amid the glittery surroundings, to eat this food that has come from simple origins. But then New Orleans does have a thriving drinking scene amongst strip joints and red light shops, so perhaps this is the ideal location. 10. Jazz City Milk Bar To end with? Dessert, of course. Try the banana cream pie, one of our favourite pies in Sydney, combining a foolproof balance between generous servings of banana, sweet caramel and cream. Part of the philosophy of the milk bar is for people to visit with their friends to enjoy American sweet delicacies like pies, cookies, cotton candy and ice cream sandwiches. However, they've also included dinner specialities like gourmet burgers and hot dogs as well as more adventurous dishes like a New Orleans BBQ Shrimp ($28) and A&W Root Beer Braised Chuck Steak ($24). Now closed. By the Concrete Playground team.
On the edge of the rapidly gentrifying Central Park area, lies The Lord Gladstone. Now in the hands of the OG crew (Benny Johnson and Mitchell Crum), the pub had a makeover of sorts back in 2019. While its retained its old-school feel and general laidback vibe, the boys have amped up the entertainment with more live gigs and parties, plus more art exhibitions in the upstairs gallery space, Goodspace. But still, the stern visage of The Lord Gladstone hangs outside tiled walls with a big screen showing sports on one wall while the Regent Street traffic buzzes outside. It's a laidback space, perfect for locals to congregate for a midweek dinner. In the kitchen, chefs are turning out all your pub favourites. Expect a solid chicken schnitty or parmie, lamb chops, fish and chips, nachos, a house curry and a few burger options. Drinks include some (very) local craft beers, such as Young Henrys, 4 Pines, Resch's and Akasha. There's also a short wine list and espresso martinis on tap. With a dedication to live music and an existing killer sound system for the purpose, the Lord Gladstone seems comfortable in its skin, neither trying too hard for design magazine hip nor chasing the food trend of the month. From the graffiti-strewn courtyard to the tartan carpets in the front room, it's an approachable pub set to be a reliable local for years to come. Appears in: The Best Pubs in Sydney
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BERGMAN ISLAND Each filmmaker sits in the shadows of all who came before them — and as cinema's history lengthens, so will those penumbras. With Bergman Island, French writer/director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and the creative wonders our minds conjure up. Her central duo, two filmmakers who share a daughter, literally tread where the great Ingmar Bergman did. Visiting Fårö, the island off Sweden's southeastern coast that he called home and made his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't dream of trying, as they're each searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. Bergman's Scenes From a Marriage has already been remade, albeit in a miniseries that arrived on the small screen a couple of months after Bergman Island premiered at the 2021 Cannes Film Festival — but across one half of Hansen-Løve's feature, that title would fit here as well. Her resume has long been filled with intimate looks at complicated relationships, including in 2009's Father of My Children and 2011's Goodbye First Love, with her movies both peering deeply and cutting deep as they unfurl the thorny intricacies of romance. Accordingly, when Chris and Tony find themselves sleeping in the bedroom where Bergman shot the original Scenes From a Marriage, it's a loaded and layered moment several times over. That said, the thing about willingly walking in someone else's footsteps is that you're not bound to taking the exact same path — as Bergman Island's characters learn, and as the filmmaker that's brought them to the screen clearly already knows. Turning in finessed and thoughtful performances, Krieps and Roth bring a lived-in dynamic to the film's first key couple, with the chaos that swirls from being in the same line of work but chasing disparate aims not just flowing but bubbling in their paired scenes. He's the kind of Bergman fan that's adamant about going on the Bergman safari, a real-life thing that all visitors can do, for instance, while she prefers being shown around informally by young film student Hampus (acting debutant Hampus Nordenson). But their Fårö escapades only fill half of Bergman Island, because the movie also brings Chris' budding script to life. She tells Tony the tale, seeking his assistance in working out an ending, but he's too immersed in Bergman worship to truly pay attention. The feature itself, Hansen-Løve and the audience all savour the details, though — eagerly so. There, in this film-within-a-film, 28-year-old director Amy (Mia Wasikowska, Blackbird) visits an island, too — "a place like this," Chris advises, and one that visibly resembles Fårö. She dances to ABBA to cement the Swedish ties, and also spends her time on the locale's shores wading through matters of art and the heart. The catalyst for the latter: her ex Joseph (Anders Danielsen Lie, The Worst Person in the World). They're both attending a wedding of mutual friends, and their lengthy, passionate and volatile history quickly pushes to the fore. While they've each moved on, they're also forever connected, especially when placed in such close quarters. Accordingly, that tumultuous relationship is as bedevilled by other creative endeavours, and also by the thrall of history, as Chris' quest to put pen to paper. And, via the movie-inside-a-movie concept, there's an evocative sense of mirroring that couldn't spring any firmer from Bergman himself. Read our full review. WASH MY SOUL IN THE RIVER'S FLOW A silent hero and a rowdy troublemaker. That's what Ruby Hunter calls Archie Roach, her partner in life and sometimes music, then characterises herself. She offers those words casually, as if she's merely breathing, with an accompanying smile and a glint in her eyes as she talks. They aren't the only thoughts uttered in Wash My Soul in the River's Flow, which intersperses concert and rehearsal clips with chats with Hunter and Roach, plus snippets of biographical details from and recollections about their lives as intertitles, and then majestic footage of the winding Murray River in Ngarrindjeri Country, where Hunter was born, too. Still, even before those two-word descriptions are mentioned, the film shows how they resonate within couple's relationship. Watching their dynamic, which had ebbed and flowed over three-plus decades when the movie's footage was shot in 2004, it's plain to see how these two icons of Australian music are dissimilar in personality and yet intertwine harmoniously. Every relationship is perched upon interlocking personalities: how well they complement each other, where their differences blend seamlessly and how their opposing traits spark challenges in the best possible ways. Every song, too, is a balance of disparate but coordinated pieces. And, every ecosystem on the planet also fits the bill. With Hunter and Roach as its focus, Wash My Soul in the River's Flow contemplates all three — love, music and Country — all through 2004 concert Kura Tungar — Songs from the River. Recorded for the documentary at Melbourne's Hamer Hall, that gig series interlaced additional parts, thanks to a collaboration with Paul Grabowsky's 22-piece Australian Art Orchestra — and the movie that producer-turned-writer/director Philippa Bateman makes of it, and about two Indigenous stars, their experience as members of Australia's Stolen Generations, their ties to Country and their love, is equally, gloriously and mesmerisingly multifaceted. When is a concert film more than a concert film? When it's Wash My Soul in the River's Flow, clearly, which is named for one of Kura Tungar's tracks. Bateman could've just used her recordings of the legendary show, which won the 2005 Helpmann Award for Best Australian Contemporary Concert, and given everyone who wasn't there the chance to enjoy an historic event — and to bask in the now-late Hunter's on-stage glories more than a decade after her 2010 passing — but that was clearly just the starting point for her movie. With Roach as a producer, the documentary presents each of its songs as a combination of five key elements, all weaved together like the feather flower-dotted, brightly coloured headpiece that Hunter wears during the performance. With each tune, the film repeats the pattern but the emotion that comes with it inherently evolves, with the result akin to cycling through the earth's four seasons. First, a title appears on-screen, overlaid across breathtakingly beautiful images of the Murray and its surroundings, and instantly steeping every song in a spectacular place. From there, the Kura Tungar rendition of each tune segues into practice sessions with Grabowsky and the AAO of the same track, plus both text and on-the-couch chatter between Hunter and Roach that speaks to the context of, meaning behind and memories tied to each piece. Hunter's 'Daisy Chains, String Games and Knuckle Bones', which springs from her childhood, gets that treatment. Roach's unforgettable 'Took the Children Away' does, too. 'Down City Streets', as written by Hunter and recorded by Roach, also joins the lineup. The list goes on, and the power that each song possesses alone — which, given the talent and topics involved, is immense — only grows when packaged in such a layered manner. Read our full review. THE SOUVENIR: PART II In showbusiness, nepotism is as inescapable as movies about movies. Both are accounted for in The Souvenir: Part II. But when talents as transcendent as Honor Swinton Byrne, her mother Tilda Swinton and writer/director Joanna Hogg are involved — with the latter working with the elder Swinton since her first short, her graduation piece Caprice, back in 1986 before Honor was even born — neither family ties nor filmmaking navel-gazing feel like something routine. Why this isn't a surprise with this trio is right there in the movie's name, after the initial The Souvenir proved such a devastatingly astute gem in 2019. It was also simply devastating, following an aspiring director's romance with a charismatic older man through to its traumatic end. Both in its masterful narrative and its profound impact, Part II firmly picks up where its predecessor left off. In just her third film role — first working with her mum in 2009's I Am Love before The Souvenir and now this — Swinton Byrne again plays 80s-era filmmaking student Julie Harte. But there's now a numbness to the wannabe helmer after her boyfriend Anthony's (Tom Burke, Mank) death, plus soul-wearying shock after discovering the double life he'd been living that her comfortable and cosy worldview hadn't conditioned her to ever expect. Decamping to the Norfolk countryside, to her family home and to the warm but entirely upper-middle-class, stiff-upper-lip embrace of her well-to-do parents Rosalind (Swinton, The French Dispatch) and William (James Spencer Ashworth) is only a short-term solution, however. Julie's thesis film still needs to be made — yearns to pour onto celluloid, in fact — but that's hardly a straightforward task. As the initial movie was, The Souvenir: Part II is another semi-autobiographical affair from Hogg, with Swinton Byrne slipping back into her on-screen shoes. This time, the director doesn't just dive into her formative years four decades back, but also excavates what it means to mine your own life for cinematic inspiration — aka the very thing she's been doing with this superb duo of features. That's what Julie does as well as she works on the film's film-within-a-film, sections of which play out during The Souvenir: Part II's running time and are basically The Souvenir. Accordingly, viewers have now spent two pictures watching Hogg's protagonist lives the experiences she'll then find a way to face through her art, all while Hogg moulds her two exceptional — and exceptionally intimate and thoughtful — movies out of that exact process. Julie's graduation project is also an escape, given it's patently obvious that the kindly, well-meaning but somehow both doting and reserved Rosalind and William have been pushed out of their comfort zone by her current crisis. Helping their daughter cope with her heroin-addicted lover's passing isn't something either would've considered might occur, so they natter away about Rosalind's new penchant for crafting Etruscan-style pottery instead — using small talk to connect without addressing the obvious, as all families lean on at some point or another. They provide financing for Julie's film, too, in what proves the easiest part of her concerted efforts to hop back behind the lens and lose herself in her work. Elsewhere, an array of doubt and questions spring from her all-male film-school professors, and the assistance she receives from her classmates is quickly steeped in rivalries, envy and second-guessing. Read our full review. FACING MONSTERS "If you want the ultimate, you've got to be willing to pay the ultimate price." Uttered by Patrick Swayze in 90s surfing action flick Point Break, that statement isn't directly quoted in Facing Monsters. Still, when it comes to the underlying idea behind those words — that anything at its absolute pinnacle comes at a cost, especially seeking bliss hanging ten on giant swells — this new Australian documentary unquestionably rides the same wave. Directed by Bentley Dean, and marking his first movie in cinemas since 2015 Oscar-nominee Tanna, the film focuses on Kerby Brown, the Aussie slab surfer who is at his happiest atop the biggest breakers possible. He's turned hunting them into his life's mission — think Point Break's 50-year storm, also set in Australia, but every time that Kerby hops on a board — and Facing Monsters commits that pursuit to celluloid. Helming solo unlike on Tanna — which he co-directed with Martin Butler, as he did on prior documentaries Contact, First Footprints and A Sense of Self as well — Dean understands three key aspects to Kerby's story. The thrills, the spectacle and the calm: they're all accounted for here, including simply in the astonishing imagery that fills the film. There's no shortage of talk in Facing Monsters; Kerby himself, his brother and frequent partner-in-surf Cortney, his partner Nicole Jardine, and his parents Glenn and Nola all chat happily. But this movie makes much of its impact, and captures plenty that's pivotal, all via its visuals alone. Cinematographer Rick Rifici has long shot the sea as if it's an otherworldly space, including while working as a camera operator on Storm Surfers, as a water cinematographer on Breath, and as the underwater camera operator on Dirt Music, and he's as as crucial here as Kerby. The long, wide, lingering image that begins the film is one such unforgettable moment — essential and exceptional, too. Kerby floats in a sea of lush but rippling pink, face to the sky, his board strapped to his leg. It's a near-supernatural sight, and a transcendent one, but amid the unshakeably striking beauty of the shot, uncertainty also loiters. An unspoken query, too: is this a picture of bliss or bleakness? Next comes a quick cut, letting Kerby's bloody face and bandaged head fill the the screen instead, and making it instantly clear that his love of riding big waves has physical and severe consequences. The gorgeous visions return from there, and the intimacy as well — the latter largely flowing from talk from this point forward — but Facing Monsters' first frames truly do say it all. Indeed, it's noticeable that the remainder of the movie feels like it's paddling after this opening sensation and atmosphere. Facing Monsters is a documentary about chasing, of course — waves, obsessions, addictions, demons, solace and happiness alike. The dangerous nature of slab surfing plays out like a quest as much as an adventure, driving Kerby ever since he and Cortney got bored with the swells at Kalbarri in Western Australia, where they grew up, then starting seeking out bigger and bigger possibilities. That's there in the chatter as well as the imagery, in a film that aims to convey the what and why behind its subject's choices through immersion first and foremost. It's fitting, then, that watching Facing Monsters sometimes resembles riding high — when its visuals express everything they need to — and sometimes floats in shallower waters. Ensuring that audiences share the awe and wonder that Kerby experiences on his board is easy with Rifici's astounding help; diving deeper into exactly what else makes its point of focus tick, and has through swirls of drugs and booze, life-threatening incidents in the surf, and becoming a father, is a far more evasive task. BOOK OF LOVE In 2018's The Nightingale, Sam Claflin gave the performance of his career so far while playing thoroughly against type. As a British lieutenant in colonial-era Tasmania, he terrorised the film's female protagonist to a nerve-rattlingly distressing degree — and his work, just like the phenomenal feature he's in, isn't easy to watch. Book of Love, his latest movie, couldn't be more different; however, Claflin's portrayal could use even a sliver of the commitment he demonstrated four years back. The film around him could, too. Here, he plays a floundering novelist who doesn't want to do a very long list of things, so it makes sense that he takes to the part with a dissatisfied attitude that drips with not only unhappiness, but pouting petulance. He's meant to be one of this dire rom-com's romantic leads, however, and he constantly looks like he'd rather be doing anything else. Author of The Sensible Heart, Claflin's Henry Copper is instantly as dour as his book sounds. It too is a romance, but he's proud of its sexlessness — to the point of boasting about it to bored would-be readers who definitely don't make a purchase afterwards. He's also seen using his novel as a pick-up line early in the movie, and that goes just as badly. In fact, his whole career seems to be a shambles, and the prim-and-proper Brit can't understand why. But he's also surprised when he's told that his latest has become a bestseller in Mexico, and he's hardly thrilled about the whirlwind promotional tour his brassy agent (Lucy Punch, The Prince) swiftly books him on. Upon arrival, where his local translator Maria Rodríguez (My Heart Goes Boom!) doubles as his minder, he's visibly displeased about everything he's asked to do — more so when he discovers that she's taken the liberty to spice up his work. Of course, Maria's revisions — a wholesale rewrite that plunges The Sensible Heart into erotic page-turner territory — are the sole reason that Mexican women are lining up at Henry's events to throw themselves at him. And with both his British-based and Mexican agents adamant that his publicity tour must go on, he's forced to grin and bear that truth as they take a road trip across the country. Henry and Maria are a chalk-and-cheese pair in a host of other ways, naturally, but apparently sparks can't help igniting in this contrived scenario. It's telling that BuzzFeed Studios is behind the film, the site earns a mention in the movie and its plot feels like a gif-heavy listicle from the outset. Indeed, based on how slight and stereotypical every aspect of Book of Love proves, writer/director Analeine Cal y Mayor (La Voz de un Sueño) and co-writer David Quantick (Veep) don't appear to have spent much time fleshing anything out beyond that potential starting point. Tired, not wired: that's the end result, including Book of Love's place in the current literary-focused subgenre of romantic flicks that's also spawned the 50 Shades movies, the After films and fellow forgettable 2022 release The Hating Game. Claflin's patent disinterest is the least of the feature's troubles given that its storyline is nonsensical, there's no sign of chemistry between its leads, the dialogue couldn't be flatter and the travelogue setup has already been overdone. The charismatic Rodríguez certainly deserves better, even if no one else involved inspires the same description solely based on their efforts here. She's stuck playing a character that's been given as much depth and texture as a full stop — the archetype: feisty put-upon single mother with big dreams but crushing responsibilities — but she's also the only part of the movie that feels remotely real. OFF THE RAILS In need of a bland and derivative friends-on-holidays flick that's painted with the broadest of strokes? Keen to dive once more into the pool of movies about pals heading abroad to scatter ashes and simultaneously reflect upon their current lot in life? Fancy yet another supposedly feel-good film that endeavours to wring humour out of culture clashes between English-speaking protagonists and the places they visit? Yearning for more glimpses of thinly written women getting their grooves back and realising what's important on a wild Eurotrip? Call Off the Rails, not that anyone should. Coloured with every cliche that all of the above scenarios always throw up, and also covered from start to finish in schmaltz, it's a travel-themed slog that no one could want to remember. A grab bag of overdone tropes and treacly sentiment, it also doubles as an ode to the songs of Blondie, which fill its soundtrack — but even the vocal stylings of the great Debbie Harry can't breathe vibrancy into this trainwreck. Alongside its woeful been-there-done-that plot, its lack of personality, its yearning to be the next Mamma Mia! and all those Blondie tracks — the prominence of which makes zero sense given how briefly and haphazardly each song, hits and deeper cuts alike from a lengthy list, are deployed — Off the Rails does have another claim to fame to its name. The British film also marks the last on-screen appearance of Kelly Preston, who passed away in mid-2020; however, it isn't the swansong that any actor would want. Her involvement does give the movie's messages about making the most of one's time, embracing what you love and keeping in touch with the people who matter while you can a bittersweet tone, but not enough to wash away its mix of dullness and overdone mawkishness. Or, to invest depth into what's largely 94 minutes of middle-aged travellers arguing about anything and everything. Once close, Kate (Jenny Seagrove, Peripheral), Liz (Sally Phillips, Blinded by the Light) and Cassie (Preston, Gotti) now just call on big occasions — and even then, they're barely there for each other. But when fellow pal Anna dies, they reunite at her funeral, and are asked to carry out her final wish by her mother (Belfast's Judi Dench, in a thankless cameo). The task: catching a train across Europe, through Paris to Girona, Barcelona and Palma in Spain, to recreate a backpacking jaunt the four took decades earlier. Specifically, they're headed to La Seu, a cathedral with stained-glass windows that look particularly spectacular when the sun hits at the right time (the film calls it "god's disco ball"). Anna already bought their Interrail passes, and her 18-year-old daughter Maddie (Elizabeth Dormer-Phillips, Fortitude) decides she'll join the voyage, too. Amid the bickering, which fills most of debut feature director Jules Williamson's scenes and screenwriter Jordan Waller's dialogue, the usual antics all roll out. Old feuds are unearthed, transport often goes awry every which way it can and the main middle-aged trio cause middle-aged women problems (getting drunk, getting lost, causing a scene in a boutique, delivering a baby and the like). Menopause earns some discussion, romance also springs — which is where the always-welcome but underused Franco Nero, aka cinema's original Django, comes in — and life lessons are ultimately learned. If that sounds tediously stock-standard on paper, it certainly plays out that way in a sunnily shot but always plodding ostensible comedy. Few performances could improve this plight, and Off the Rails' happily one-note efforts can't either, especially when its most interesting character and corresponding portrayal — courtesy of Dormer-Phillips as Maddie — keeps being pushed aside. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3. You can also read our full reviews of a heap of recent movies, such as Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman and Blind Ambition.
Live life long enough and anything can happen. Enjoy an undead existence for hundreds of years and that feeling only multiplies, or so the wealth of movies and TV shows that've let vampires stalk through their frames frequently remind viewers. A sharehouse-set mockumentary focused on bloodsucking roommates who've seen more than a few centuries between them, What We Do in the Shadows embraces that idea like little else, though — as a Jemaine Clement and Taika Waititi-starring movie, aka one of the funniest New Zealand comedies of this century, and then as a hilarious American TV spinoff. The premise has always been ridiculously straightforward, and always reliably entertaining. That dates back to Clement and Waititi's short film days, which is where this franchise began as 2005's What We Do in the Shadows: Interviews with Some Vampires — and continues right through to the TV iteration's now-airing fourth season, which screens in Australia via Binge and in New Zealand via Neon. A camera crew captures the lives of the fanged and not-at-all furious, squabbles about chores, a rising body count and avoiding sunlight all included. Their domesticity may involve sinking their teeth into necks, blood splatters aplenty, sleeping in coffins and shapeshifting into bats, but it also covers arguing about paying bills, keeping the house clean and dealing with the neighbours. For fans of the film, the stakes were high with this leap to television. What We Do in the Shadows, the movie, had already given rise to a homegrown offshoot courtesy of Wellington Paranormal — the NZ TV show that trailed the movie's cops (Mike Minogue and Karen O'Leary) as they kept investigating the otherworldly — which first arrived in 2018. But the small-screen version of What We Do in the Shadows has a few crucial and important things going for it: another killer cast, this time inhabiting a ramshackle, gothic-style abode in Staten Island; the same glorious sense of silliness, including everything from blood sprinklers and undead labour disputes to getting a genie to magic up a giant penis in the latest season alone; an eagerness to gleefully skewer the entire vampire genre; and well and truly letting anything happen within its frames. Season four picks up after a climactic end to the show's prior batch of episodes, which only finished airing back in October 2021. Its bloodsucking roommates were all set for their own adventures, after Nandor (Kayvan Novak, Cruella) decided to explore his roots in his ancestral homeland in what's now Iran, and Nadja (Natasia Demetriou, Eurovision Song Contest: The Story of Fire Saga) took up a prestigious job in London with the Supreme Vampiric Council, who oversee the vampire world order. Her beloved Laszlo (Matt Berry, Toast of London and Toast of Tinseltown) stayed behind at the last minute to take care of the baby that burst its way out of energy vampire Colin Robinson's (Mark Proksch, The Office) body. To accompany Nadja, in his place he sent Nandor's familiar Guillermo (Harvey Guillen, Werewolves Within), who has also discovered throughout the first three seasons that he's a Van Helsing — yes, a vampire hunter. What We Do in the Shadows wouldn't be What We Do in the Shadows if its central quintet were scattered around the world, rather than bantering together, so homecomings are swiftly in order. A year has passed in the show, old grounds have been stomped, new jobs trialled and that infant is now a young boy — who, eerily, still looks like Colin. Nandor returns more determined than ever to find a wife, and thinks that one of his many from the Middle Ages could be the one again; bringing back a Djinn (Anoop Desai, Russian Doll) to grant his wishes helps. Nadja has big ambitions, too, but of the professional rather than personal kind. Taking over the local Vampiric Council again, she sets her sights on turning it into a vampire nightclub. Its custodian The Guide (Kristen Schaal, The Bob's Burgers Movie) is unsurprisingly far from thrilled. If vampire nightclubs and blood sprinklers sound familiar, that's because back in 1998, Blade got there first. That's the type of winking and parodying that What We Do in the Shadows loves — and keeps finding ways to turn into comedy gold. It'll always be difficult to beat the show's exceptional first-season episode that featured Wesley Snipes as a half-vampire version of himself, alongside everyone from Tilda Swinton to Paul Reubens referencing their own past undead film roles (Only Lovers Left Alive and Buffy the Vampire Slayer, respectively), but this series never stops trying. It's just as devoted to fleshing out the demonic world that exists beyond human eyes, with a new episode set at an anything-goes night market where the supernaturally inclined trade for everything they can a particular treasure. That nodding and nudging will never grow old, thanks to the stellar writing behind it, as well as the fantastic cast bringing it to the screen. Matt Berry should star in all comedies always (see also: the aforementioned Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace), and his pronunciation, the way that Laszlo yells "bat!" when he turns into a bat and the character's general buffoonery will always be among What We Do in the Shadows' biggest weapons. Hearing him read In Cold Blood to the young Colin, as a bedtime story, is a scene for the ages alone. He's ably matched by always riotous Demetriou and the equally amusing Novak, who lean into their vamps' eccentricity-laced personalities with as much gusto. Nadja's unapologetic passion, pursuing whatever she wants whenever she wants, always feels fleshed out, as does Nandor's awkwardness despite a past as a bloodthirsty warrior. It was always going to take something special to match the big-screen What We Do in the Shadows. That's a task that its TV spinoff has always managed, however, and as enchantingly as the immediately catchy strains of theme song 'You're Dead' by Norma Tanega — a tune the two versions share. Nothing about this delight sucks, not for a second, and season four is as ace as ever. Check out the trailer for What We Do in the Shadows season four below: What We Do in the Shadows' fourth season streams in Australia via Binge and in New Zealand via Neon. Images: Russ Martin/FX.
For half a century, no trip to the Sunshine Coast has been complete without visiting a 16-metre-high pineapple. In 1983, even Princess Diana and the then-Prince Charles went there, as throngs of tourists have before and since. Stop by now and you'll still see a giant piece of tropical fruit, but one that's had a revamp, with the Queensland big thing officially reopening after undergoing renovations. Plenty of changes have been floated for The Big Pineapple and its 165-hectare site over the years, with a craft brewery, water park, and places to stay via an RV park, an eco resort and a hotel all among the ideas under the attraction's master plan. For now, however, owner Peter Kendall and his company CMC Property have focused on repairing and restoring the main highlight itself, as well giving the location's train the same treatment. The Big Pineapple has also scored a new cafe, new viewing platform and new children's playground. If the towering sight looks extra shiny — and ready to gleam in the obligatory snaps that everyone takes while they're in its presence — that's thanks to sandblasting, repairs and marine paint by the hundreds of litres. To get a good glimpse, that's where the new viewing platform comes in. Dating back to the 50s, the train now has a similar sheen after a restoration process, including to its carriages and track. "We are awaiting some final certification for the train and hope to start public train rides soon, providing rides across the property including access to Wildlife HQ," said Kendall, also mentioning the zoo with 200-plus species of animals that's been onsite since 2014. Stopping by The Big Pineapple hasn't just been about its fibreglass namesake for some time, given that TreeTop Challenge Sunshine Coast and its high-ropes courses and ziplines also calls it home. So does coconut foods producer COYO, as well as Sunshine & Sons distillery. Come October, The Big Pineapple Festival — the locale's music festival — will return for the first time since 2021. The fest started in 2013, then ran annually surrounded by pineapple fields until its present three-year break. Getting a ticket isn't just about seeing live tunes in the location's natural amphitheatres in such close proximity to The Big Pineapple, but also pitching a tent at event's 4000-person campground. [caption id="attachment_944026" align="alignnone" width="1920"] The Big Pineapple, Alpha via Flickr[/caption] "The Big Pineapple is undoubtedly the most-recognisable tourism icon of the Sunshine Coast and so I am very proud of the team's work to restore the pineapple to its original glory," said Kendall. "This is just the first stage of the regeneration project. Our number-one priority was to reopen the main pineapple structure and cafe, and to get the train running again." "Our next priority is to complete the renovations to the inside of the pineapple structure itself and we hope to reopen it for tours later on." [caption id="attachment_698027" align="aligncenter" width="1920"] Anne and David via Flickr[/caption] Find The Big Pineapple at 76 Nambour Connection Road, Woombye, Queensland — open 8.30am–4pm daily. For more information, visit the attraction's website.
If you live in Manly, your ferry commute home just got a little bit more bearable (a whole lot tastier). Harbour City Ferries has just opened bars on the four vessels that service the northern beaches suburb, and they're being helmed by local craft brewers 4 Pines. The on-board bars are a first for a Sydney public ferry — until now, you could only buy a bev on privately owned services, like the Manly Fast Ferry. The 4 Pines Ferry Bars can be found on the four Manly ferries: Collaroy, Narrabeen, Freshwater and Queenscliff. The brewery's core range will be kept on-board, including sips like the Indian Summer Ale, the In Season IPA and the Brookvale Union Ginger Beer. While booze will only be available from 4–8pm each day, non-alcoholic drinks and a food menu available at other times. Those that rush to work will especially find a lot to love — think, smoothies, frittatas, granola yoghurt pots and the Le Pig toastie, made with leg ham, gruyere, cheddar and Dijon mustard. All the food will be whipped up by the 4 Pines kitchen. According to Sydney Harbour Ferries Managing Director Martin Kearney, the move is about improving the onboard experience. "We have listened to what our customers want and believe the bar service on Manly ferries adds an enjoyable dimension to the journey of regular commuters and visitors to our city," Kearney said. The 4 Pine Ferry Bars are now open on the four Harbour City Ferries Manly services, with alcohol served between 4 and 8pm.
Over the past few years, the south coast's Shoalhaven region has gone through a bit of culinary revolution. Long the source of some of Australia's best oysters, it's now also home to a bunch of top-notch cafes, restaurants and eateries. And many of them come with views — from sweeping oceanscapes to rolling farmlands. In summer 2019/2020, however, the region was hit by devastating bushfires — with many local businesses taking a hit. So, grab some mates and head on a road trip this summer with hungry stomachs, an empty boot and money to spend. From coastal getaways to outback adventures, Australia is home to a wealth of places to explore. Every trip away offers the chance to not only reconnect and recharge, but also to support the communities that have been affected by bushfires. Your visit plays an important role in Australia's recovery, which is why we've partnered with Tourism Australia to help you plan your next Holiday Here This Year. Some of the places mentioned below may still be closed due to COVID-19 restrictions. Please check websites before making any plans.
Yayoi Kusama's list of achievements just keeps growing. At the age of 96, the Japanese talent has proven a pioneer and an icon many times over across her eight decades of making art, and now she has breaking an Australian record to her name as well. Thanks to the exhibition that shares her moniker, which has been on display at Melbourne's NGV International since December 2024, Kusama can now claim the nation's highest-attended ticketed exhibition ever. This news confirms what Aussies have long known: we're dotty for the creative genius who uses spots aplenty in her work, plus pumpkins, tentacles and flowers — and for an art figure who knows how to get audiences losing themselves in a gallery via her infinity rooms. Since Yayoi Kusama opened on Sunday, December 15, 2024, it has welcomed more than 480,000 people through the door. That number still has time to go up, too, given that the exhibition runs until Monday, April 21, 2025. That it's open from 8am–6pm till Wednesday, April 16, then will operate from 8am–midnight daily between Thursday, April 17–Monday, April 21, will assist. To put that huge attendance in context, Victorian Premier Jacinta Allan compared it to one of Melbourne's best-known venues. "This record-breaking exhibition has brought five MCGs worth of visitors to the heart of Melbourne — that's great for local jobs, great for local businesses and great for families looking for something to do these holidays," Allan said. "We're truly overwhelmed by how enthusiastically Victorians and visitors alike have embraced this exhibition — and connected so strongly with Kusama's work and life story. This milestone is a testament to the enduring impact of Kusama's work and the growing appeal of contemporary art in Australia," added NGV Director Tony Ellwood AM. This celebration of Kusama was already in the history books for giving Australia its largest-ever retrospective dedicated to the artist. In terms of tickets sold, Yayoi Kusama takes the record from another Victorian exhibition, Van Gogh and the Seasons, which displayed in 2017 and saw 462,262 people head along. The National Gallery of Victoria's spectacular tribute to Kusama includes the Japanese icon's brand-new Infinity Mirrored Room–My Heart is Filled to the Brim with Sparkling Light among its ten immersive installations, breaking the world record for the number of such pieces by the artist assembled in one spot as well. In total, there's 200 pieces on display, taking over the St Kilda Road gallery's entire ground floor with a childhood-to-now survey of its subject's creative output. Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court, a new version of Narcissus Garden, the yellow-and-black spheres of Dots Obsession, the all-ages-friendly The Obliteration Room, participatory floral piece Flower Obsession, the mirror-heavy Chandelier of Grief, gourds aplenty in The Spirits of the Pumpkins Descended into the Heavens: they're all part of the exhibition. Across the eight decades of art on offer, some pieces have never been seen Down Under until now. Some are sourced from private collections, and others from Kusama's own personal stash. Overall, Yayoi Kusama steps through the artist's work via a thematic chronology. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they all appear. Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne until Monday, April 21, 2025 — including from 8am–6pm between Saturday, April 5–Wednesday, April 16, and from 8am–midnight between Thursday, April 17–Monday, April 21. NGV Friday Nights: Yayoi Kusama runs each Friday until Friday, April 18, 2025. Head to the NGV website for more details and tickets. Images: Visitors and artworks in the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photos: Danielle Castano, Sean Fennessy, Tobias Titz and Kate Shannassy.
When Suicide Squad reached cinemas screens back in 2016, it garnered plenty of attention. Critics largely hated it, fans loved it and some folks tried to shut down Rotten Tomatoes because of it. Come awards season, it picked up an Oscar (for best achievement in makeup and hairstyling) as well as two Razzie 'worst' nominations. The divisive reactions just kept coming, although there were two things that almost everyone agreed on. Firstly, most people rightfully loathed Jared Leto's interpretation of the Joker. Secondly, the majority of viewers adored Margot Robbie as Harley Quinn. While the DC Extended Universe hasn't gotten a whole lot right in its attempts to emulate the Marvel Cinematic Universe (see Batman v Superman: Dawn of Justice and Justice League, for example), its powerbrokers did seem to pay attention to the super-sized Suicide Squad debate. In response, they're giving the world what it wants: more Robbie as everyone's favourite ex-psychiatrist turned antihero. In Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), Harley Quinn has moved on from the clown prince of crime (much like DC has moved on from Leto, at least for now, with Joaquin Phoenix playing the character in the new standalone Joker film). In the aftermath of their breakup, she rounds up a crew filled with other fearsome Gotham ladies — including Black Canary (Jurnee Smollett-Bell), the Huntress (Mary Elizabeth Winstead) and Renee Montoya (Rosie Perez) — to thwart supervillain Black Mask (Ewan McGregor). Directed by Cathy Yan (Dead Pigs), also co-starring Chris Messina and Ali Wong, Birds of Prey marks Quinn's first solo cinematic outing — and as the just-dropped first trailer shows, it's going big. When it hits theatres in February 2020, expect plenty of colour, chaos and formidable gals wreaking havoc, in what's been rumoured to be the first in a Quinn-focused trilogy. With Suicide Squad getting a sequel in 2021, confusingly titled The Suicide Squad and helmed by Guardians of the Galaxy's James Gunn, the pigtailed prankster definitely isn't leaving screens anytime soon. Check out the trailer for Birds of Prey below. https://www.youtube.com/watch?v=1SuGhiVLUrM Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) will hit cinemas in Australia and New Zealand in February 2020.
Nowadays there are subscription services for just about anything. Board Games? Check. Booze? Check. Legos? Check. Organic period products? You betcha. Meet Juuni, a subscription that delivers a customisable box of organic tampons, pads and liners to your doorstep each month. If you're anything like us, every 28 days, you'll find yourself digging around the bottom of your bag or making a desperate run to the convenience store. To help save you from the stress of being caught out — because, face it, periods are stressful and annoying enough as they are — founder Eri Stewart (who's also behind Hard to Find) created a line of organic products that look and feel more like a gift set than a necessity. Unlike your typical tampons, Juuni's products are bleach-free, pesticide-free and 100-percent biodegradable. The certified organic cotton is hypoallergenic and contains no synthetic dyes or fibres. The pads and liners also have an organic top sheet and the plastic wrappers are biodegradable, too. Apart from the necessities, the well-designed boxes also include surprise gifts each month to help brighten up your week. And you can choose to include one of Juuni's face mask to boot, which contains aloe leaf, cucumber, pomegranate and green tea — all of which help soothe and brighten skin and combat hormonal skin break outs. So, how does it work? You build your custom box with the likes of tampons ($3.99 for a ten-pack), pads ($3.20 for a five-pack) or liners ($3.20 for ten-pack) and choose if you want to receive deliveries every month or every three months (the latter works to be slightly better value and includes free shipping). All new customers get their first box free, too, and you can cancel whenever you want. To sign up for Juuni and get your first box free, head over to the website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Stephen King's literary output contains multitudes. Horror, which the author has been best-known for since his 1974 debut Carrie, is just one genre on his bibliography. Accordingly, a life-affirming tale about the fact that we all also contain multitudes — Walt Whitman's poem Song of Myself is naturally quoted — isn't a surprise from the writer. Filmmaker Mike Flanagan bringing King's novella The Life of Chuck to the big screen might've been less expected, though, if the director behind recent TV must-sees The Haunting of Hill House, The Haunting of Bly Manor, Midnight Mass and The Fall of the House of Usher wasn't again exploring characters not initially appreciating, then slowly dawning upon the fact, that the choices they're making aren't necessarily ones that are making them happy. Flanagan has adapted King's work before, first with 2017 film Gerald's Game, then with 2019 The Shining sequel Doctor Sleep. Neither was a fantasy/drama that celebrates life's wonders and small joys — and just relishing existing for the time that we each have in general — however. That's The Life of Chuck through and through, with Flanagan's characteristically perceptive version of the King story that was first published in 2020 compilation If It Bleeds proving one of the most-heartwarming viewing experiences of 2025. Consider the 2024 Toronto International Film Festival's People's Choice Award-winner if not an antidote then a helpful reminder whenever minor annoyances blight your days: this picture understands that revelling in the delights, not the dramas, is a more-fulfilling mindset. Being a part of the film's cast was an instant yes for Karen Gillan (Douglas Is Cancelled), who initially starred in Oculus for Flanagan. The 2013 horror movie brought the Scottish actor to the US before playing Nebula in the Marvel Cinematic Universe and rolling the dice in the Jumanji franchise joined her resume. And yes, The Life of Chuck immediately stood out, she tells Concrete Playground. More than that, the picture's thoughtful examination of relishing tiny, everyday wins and treasures, and discovering what and who truly light up your life, is "such an interesting thing to dive into just as a human being," Gillan advises. "It's a great question to ask yourself." "I found myself asking myself this in preparation for the film, and after having watched the whole film. I asked myself 'how am I spending my precious time on this planet in the way that I want to?' and 'am I doing the things that make me truly happy?'. And 'if it were to all end tomorrow, what would I go and do that I've been too scared to do?'. And it was such an interesting way to reflect on how I'm living my life. So I just found it really moving on just a human level." [caption id="attachment_1017401" align="alignnone" width="1920"] Amy Sussman/Getty Images[/caption] In The Life of Chuck, Tom Hiddleston (Loki) portrays the titular character, as do Jacob Tremblay (Queen of Bones), Benjamin Pajak (Honeypot KK) and debutant Cody Flanagan at various stages, all as the flick steps through its namesake's existence in reverse. The movie begins as the end of days approaches, with society crumbling with it. Think: the internet disappearing forever, the sea enveloping cities, ordinary routines proving pointless and the hospital where Felicia Gordon, Gillan's character, works being inundated with those unsurprisingly unable to face the fast-ticking clock put on everything they know. Confusion reigns, including about a particular new development that Felicia's schoolteacher ex Marty Anderson (Chiwetel Ejiofor, Bridget Jones: Mad About the Boy) also notices: TV and billboard advertisements filled with Charles Katz's image and thanking him for his "39 years of service", and radio ads as well. While there's nothing like being forced to confront your mortality to spark a reassessment of what's important in life, who matters, and how you want to spend the time that you have and direct your energy towards, that idea echoes in The Life of Chuck's following chapters, where nothing apocalyptic lingers in the narrative's timeline. And, it buzzes and hums in a movie that is anything but standard in digging into a concept that is no stranger to the screen. Spontaneously answering the call to dance, developing and embracing your passions, carving out time for life's pleasures where you can, treasuring your loved ones: in a picture also featuring Mark Hamill (The Sandman) as Chuck's grandmother and giving Ferris Bueller's Day Off great Mia Sara (Dorothy and the Witches of Oz) a rare screen part as his grandmother, these moments and realisations are essential. Everyone from Annalise Basso (Blind River), David Dastmalchian (Murderbot), Harvey Guillén (Companion) and Matthew Lillard (Five Nights at Freddy's) to experienced Flanagan cast members such as Kate Siegel, Rahul Kohli, Samantha Sloyan and Carl Lumbly (all most recently in his The Fall of the House of Usher), plus also Violet McGraw (Doctor Sleep), similarly get their time to shine in The Life of Chuck. Gillan receiving hers also added to her parts beyond Guardians of the Galaxy and MCU fare — to a filmography already overflowing with them, of course, going back to her first on-screen role in Rebus; then to The Kevin Bishop Show, The Well, playing Amy Pond on Doctor Who and more in the UK; and also the Jumanji films, NTSF:SD:SUV, Selfie, 7 Days in Hell, In a Valley of Violence, Gunpowder Milkshake, Dual, Late Bloomers, her feature directorial debut The Party's Just Beginning and other titles since. It is indeed refreshing when Gillian isn't donning the Nebula makeup for a role. "I would say that the biggest difference is that I just kind of feel like I'm at the spa every morning when I'm not in the Nebula makeup. Because the Nebula makeup is intense. And it's so cool and it's so worth it, but they've got the scalpels and stuff. It's not one of those spa-like experiences. And then any other job, it just feels so luxurious in comparison," she shares. "So I love playing Nebula, but it is really nice to just have a normal face." We also spoke with Gillian about reteaming with Flanagan, playing someone trying to look after everyone else as the world disintegrates, fleshing out a complicated relationship alongside Ejiofor in their brief screentime together and The Life of Chuck as a source of inspiration — and also being a King fan starring in a King movie, swinging from big franchises to more-intimate projects and the film's feeling of quiet urgency, among other topics. On the Unique Prospect of a Film That Celebrates Life and Its Wonders, the Multitudes That We All Contain and Treasuring the Small Moments "The script completely stood out to me. So I've worked with Mike Flanagan before, on a movie called Oculus. He's actually the whole reason that I moved from Scotland to America. And so it was one of my first roles in Hollywood. So when I got the call for this project, I was ready to sign up having not even read the script because I was so excited about working with him again. And I love all the Stephen King adaptations that I've seen. So it was a bit of a no-brainer. But when I actually read this script, it was like 'this is like nothing else I've ever read before'. It's so unique — even just the structure of it. It's told in reverse and the whole first chapter is the end of everything, and then you learn that that's all a metaphor for one man's life, Chuck. And it was just such a beautiful exploration into an ordinary man's life, and really focusing on those smaller moments that don't usually get screentime in movies — and showing the beauty of those moments." On What Excited Gillan About Stepping Into Felicia's Shoes "There were so many things about the character that I thought was really interesting. I really was intrigued by the fact that she had taken on this caretaker position in everyone's lives around her. And I kind of filled in a whole backstory as to why that would be the case — because it's not really explored so much in the short story or the film. But it was a really interesting character to dive into, because she's this real caretaker-type, and you can see that in her relationship with her ex-husband Marty. But then we throw her into the end of the universe, the end of everything, and you can just see how much she's still trying to fulfil that position and keep everybody going — and maintain optimism when everyone is just giving up around her. And I thought that was such a beautiful character trait." On Fleshing Out a Complicated Relationship Alongside Chiwetel Ejiofor in Their Brief Amount of Screentime Together "We didn't actually do so much reading the scenes with each other or anything like that. We just spoke and had conversations, and we did that both separately with Mike Flanagan to really flesh out characters and backstories, and then talked together. But the first thing that we ever shot together was the long phone call scene, and it was his side of the phone. So we made sure that we were present for each other — and so I hid in a bedroom upstairs and would just call him on the phone, and then we would film his side of the scene. So I was just in some random person's bed in the house, no one else was there in the house that we were in, just kind of talking to him on the phone. And that brought such a sense of authenticity to the whole thing. And then he did the same thing for me when I filmed my side of the conversation. What was nice about that was having not done it over and over again prior to that — like, the first time he properly heard that scene would have been through the telephone." On If a Film About Life's Quiet Wonders and Being the Centre of Your Own Universe Gets You Thinking About Those Ideas in Your Own Life "Yeah, it's so true. And this film really reminded me of that. And I found myself being really filled with gratitude for all the little things that sometimes you can take for granted. And yeah, I think honestly, it was just such an existential experience watching the film when it was all finished. I came away from it crying, but they were happy tears. And I just think that's so rare that film does that to its audience." On the Film's Tonal Balance — Proving Heartfelt and Sweet, But Also Clear-Eyed About the Truth That Life Is Fragile and We're All Only Here for a Short Amount of Time "I think you just have to trust Mike. He has it. And all I really tend to do is just try to approach each scene from the most-truthful place possible — and ask myself the question 'how would I genuinely feel if this was happening?'. And then what I do is I think of a time when I genuinely felt that emotion, and try to access it so that I don't really have to act — if that makes any sense — because I'm generally feeling something. And that's all I'm focused on. I'm not necessarily like 'how does this fit into the bigger picture?'. I think that, for me, is the director's job, and I'm just there to bring some authenticity and to genuinely feel things." On Starring in a Stephen King Adaptation When The Shining Is One of Your Favourite Films "I know — a non-horror one, which feels even more rare and unique. It was just mindbending. I'm like 'what? I'm in a Stephen King thing?'. That just seems like, to me, as big as it gets. And actually he loved the film, which was so cool — because I know that he wasn't a fan of The Shining, and he loved The Life of Chuck. And I got to meet him, and he came and supported the film, and came to the premiere at the Toronto Film Festival — and I met him and I was pregnant, and he told me to have a good one, and I'm never going to forget that." On the History Among the Cast and Crew of The Life of Chuck — and Not Just Gillan and Mike Flanagan's History Together "So I had such a good time on Oculus. Really, that's one of the best experiences I've ever had on a film. And then I found myself really wanting to have that experience again. Because I visited set, I visited Mike when he was filming The Haunting of Hill House, the series. And I was looking around and I saw all the same crew members as Oculus, and I was like 'I want to do this again'. And I was like 'put me in something'. And then he did. And it's The Life of Chuck. And it was just so great to reteam with him and see how he's evolved, and actually how he's exactly the same — which is mainly how I experienced it. He hasn't changed that much, even though his career has gone into the stratosphere. He's still the same old Mike. But he has evolved in ways as a filmmaker, and that's really cool to see. I just loved it. I had the best time." On the Ease That Comes with Repeat Director Collaborations "Definitely. It's just like any person that works with a new colleague or one that they've got a shorthand with. It's exactly that. You sort of have to feel each other, figure out each other's rhythms a little bit, get on the same frequency — and it's just so nice when you don't have to do that introductory period every single time. You can just dive back in. Some of the directors I've worked with have very distinctive ways of working, and sometimes you have to recalibrate and be like 'okay, so this director likes to give notes over a giant megaphone thing. This one is going to want me to improvise. This one's going to want me to stick to the script'. And so it's nice to just know what you're getting into again. And also they know how you work and can get the best out of you — because the best directors, in my opinion, are different directors to each actor, because each person needs something slightly different. And so it's nice when they really understand how I work as an actor." On the Impact That Working with Flanagan the First Time on Oculus Had on Gillan's Career "It really did bring me over to the States. It literally got me a visa to be able to stay in the States, which meant I was available for auditions and that's how I managed to have a career over in the States. So it just kickstarted everything for me. And it was a massive challenge for me as an actor to lead a film. I was young at the time and it was quite a demanding role. And so that made me have to level up and up my game. And so for my development as an actor, it really helped me get a lot better." [caption id="attachment_888782" align="alignnone" width="1920"] Marvel Studios. © 2022 MARVEL.[/caption] On Being Able to Swing Between Big Franchises Such as Guardians of the Galaxy and the Marvel Cinematic Universe, Plus the Jumanji Films, and More-Intimate Projects "That just feels like such a treat as an actress. I'm like 'that's so great to not be completely pigeonholed, and to get to do projects of all different sizes and genres'. I mean, that's my dream. I would hate to be bound by typecasting or anything like that. [caption id="attachment_756013" align="alignnone" width="1920"] Jumanji: The Next Level[/caption] I think I'm just looking for great characters and great stories, and it truly doesn't matter if it's a $200-million film or $200,000 film. It's like 'I don't care'. It's about making good cinema at the end of the day, and I just feel really lucky that I've had a variety of experiences." On If You Tap Into Something in Particular to Bring The Life of Chuck's Feeling of Quiet Urgency — That Life Needs to Be Lived Urgently to Be Lived Fully — to the Screen "I would say so. I was definitely asking myself questions about how I'm living my life. And I started to have these visuals — like, 'imagine if I just had an hourglass with the sand falling through it for my whole life, what level of the sand would it be at?'. And it's something so wild to think that it's constantly dwindling away. And you kind of forget that as you go about your day to day, and you think 'oh, that's not going to happen to me' and 'that's never coming' — but it is. None of us are getting out of this. And so, yeah, I think it's first of all really important to remember from time to time in your life. And I really had to think about that in terms of the character and what she would do in the moments where she knew that those were her last. Who does she want to reach out to? And I think what I learned is so much of the stuff that we focus on in our lives would just fall away in those final moments. Like, we think we focus on accolades, achievements, money — and none of that matters at the end of it all. What matters is being around the people that you love and love you. And that's definitely what I've found in the character." The Life of Chuck opened in Australia cinemas on Thursday, August 14, 2025 and in New Zealand cinemas from Thursday, July 31, 2025.
Harrison Ford fans, rejoice: first came the legendary actor's debut regular small-screen role in western drama 1923 late in 2022, then arrived his second such part in comedy Shrinking, and 2023 will also deliver his fifth big-screen stint as Indiana Jones, too. But when Indiana Jones and the Dial of Destiny arrives midyear, complete with Ford donning the famous hat once more, his new co-star will prove just as exciting: Fleabag favourite Phoebe Waller-Bridge. Hitting cinemas in late June 2023, Indiana Jones and the Dial of Destiny heads back to the 60s, and uses the Space Race between the US and the Soviet Union as a backdrop. And, as both the movie's initial trailer back in 2022 and its just-dropped new sneak peek during the Super Bowl both show, he has his goddaughter in tow — with Waller-Bridge's Helena even dropping in to rescue the hero archaeologist in the latest clip. Wondering what else is in store? As well as Ford, Dr Henry Walton 'Indiana' Jones Jr's famous headwear and that whip — two different looks at Ford, actually, including Indy in the film's present day and Indy in the past, with the movie using digital de-aging technology — there are Nazis to battle and the famous John Williams-composed theme soundtracking the action as well. The archaeologist's latest outing does bring in a few changes to the series, however. Firstly, Steven Spielberg isn't in the director's chair for the first time ever, handing over the reins to Logan and Ford v Ferrari's James Mangold. And, George Lucas doesn't have a part in the script, either with Mangold co-scripting with Ford v Ferrari's Jez Butterworth and John-Henry Butterworth. Cast-wise, expect the return of John Rhys-Davies as Sallah, too, plus Antonio Banderas (Official Competition), Mads Mikkelsen (Fantastic Beasts: The Secrets of Dumbledore), Thomas Kretschmann (Das Boot), Toby Jones (The English), Boyd Holbrook (The Sandman) joining the on-screen talent alongside Shaunette Renee Wilson (Black Panther), Oliver Richters (The King's Man) and Ethann Isidore (Mortel). When it crusades across the big screen from June, Indiana Jones and the Dial of Destiny will arrive a whopping 42 years after Raiders of the Lost Ark, 39 since Indiana Jones and the Temple of Doom and 34 since Indiana Jones and the Last Crusade (and 15 years after Indiana Jones and the Crystal Skull). And yes, if it's a big blockbuster franchise, it stars Harrison Ford, and it debuted in the 70s or 80s, then it's always coming back to the screen — as Star Wars: Episode VII — The Force Awakens and its sequels have, as well as Blade Runner 2049. Check out the latest teaser for Indiana Jones and the Dial of Destiny below: Indiana Jones and the Dial of Destiny releases in cinemas Down Under on June 29, 2023. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.
Almost three decades ago, Spiderbait made Australian music history when they won Triple J's 1996 Hottest 100 with 'Buy Me a Pony'. They were the first local act to top the countdown. Now, that catchy track has a chance to again notch up a huge feat: taking out Triple J's new Hottest 100 of Australian Songs. Aussie tunes have emerged victorious in the station's annual countdown plenty of times since, of course. So, it isn't just 'Buy Me a Pony' that's in the running to be a two-time winner. That feat mightn't be achieved at all anyway — because there's no shortage of excellent Australian tracks that haven't topped a Hottest 100 before but might just come out in the number-one spot in the Aussie-only poll. Whichever song that you're certain should be named Australia's best, voting is open as at 8am AEST on Tuesday, June 17. You've got a month to pick your favourites — until 5pm AEST on Thursday, July 17, 2025. The results will then be broadcast from 10am AEST on Saturday, July 26, 2025 on not only Triple J, but also Double J, Triple J Unearthed and its dedicated Triple J Hottest station. Although no one needs a reason to celebrate Aussie music, Triple J has one: 2025 marks its 50th birthday. That fact ties into one big caveat when you're voting, you do need to choose a track that was released before the station hit that milestone on Sunday, January 19, 2025. [caption id="attachment_854346" align="alignnone" width="1920"] M Drummond[/caption] The Triple J and Double J voices that'll be counting down your picks include Ash McGregor, Dave Woodhead, Dylan Lewis, Yumi Stynes, Abby Butler, Tyrone Pynor, Concetta Caristo, Luka Muller, Zan Rowe and Lucy Smith. And if you're curious about which other tunes, aside from 'Buy Me a Pony', could score the double win, 'No Aphrodisiac' by The Whitlams, 'These Days' and 'My Happiness' from Powderfinger, 'Amazing' by Alex Lloyd, 'Are You Gonna Be My Girl?' from Jet, 'Wish You Well' by Bernard Fanning, 'One Crowded Hour' from Augie March, and 'Big Jet Plane' by Angus and Julia Stone are also in the running, for starters. Gotye's 'Somebody That I Used to Know', Vance Joy's 'Riptide', Chet Faker's 'Talk Is Cheap', The Rubens' 'Hoops', Flume's 'Never Be Like You' and 'Say Nothing', Ocean Alley's 'Confidence' and The Wiggles' 'Elephant' have also all topped the yearly poll before. Tame Impala's 'The Less I Know the Better' won the 2010s-centric countdown, while DMA's 'Believe' did the same for the Like a Version poll. Triple J's Hottest 100 of Australian Songs will broadcast from 10am AEST on Saturday, July 26, 2025 — with voting open between 8am AEST on Tuesday, June 17–5pm AEST on Thursday, July 17, 2025. Head to the Triple J website for further details. Top image: Ocean Alley, Neegzistuoja via Wikimedia Commons.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning both big chains and smaller independent sites in Sydney and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=mwk9DsB2JAM IRRESISTIBLE Late in Irresistible, a penny drops — figuratively, of course. Much that has seemed overtly clumsy and broad prior to this moment is given some bite and sting thanks to a crucial plot development, and the political comedy finally seems like something that its writer/director Jon Stewart would conjure up. It's a great moment, but it's sadly also a case of too little, too late. Equally skewering and unpacking the polarised state of America today, especially where politics, elections, campaign finance and escalating culture wars are concerned, Irresistible is far too happy to coast on stereotypes of supposed Democratic and Republican party supporter traits, and for far too long. As he did for on The Daily Show, Stewart has set himself the important task of pointing out just how broken US politics is at present (or, realistically, just how broken it continues to be), but this is one of the great comedian and commentator's lesser efforts. It's also inescapably, unshakeably obvious, even as a moral comedy that endeavours to pair its laughs and observations with a few lessons. After being humiliated by Hillary Clinton's defeat in the 2016 election, Democratic strategist Gary Zimmer (Steve Carell) is re-energised about his job when he's shown a YouTube video from the small town of Deerlaken, Wisconsin. In it, Marine Colonel Jack Hastings (Chris Cooper) makes an impassioned speech supporting undocumented immigrants, and Gary instantly sees a potential Democratic mayoral candidate who'll actually appeal to voters in the Republican heartland. On the ground, little goes smoothly. When Gary's long-time rival, his Republican counterpart Faith Brewster (Rose Byrne), arrives to support the incumbent mayor, Deerlaken suddenly becomes the centre of national attention — and a drawcard for hefty political donations. While Byrne is a fantastic comedic actress in general, it's telling that her presence, expressions and line readings ensure that she steals absolutely every scene she's in, including opposite Carell. Everyone from Russian Doll's Natasha Lyonne to That '70s Show's Topher Grace also pops up, but Irresistible's other standout performance comes from an underused Mackenzie Davis (Terminator: Dark Fate) as the Colonel's resourceful daughter. https://www.youtube.com/watch?v=Mwk10YGPFiM I AM GRETA If a single image can sum up the current crucial battle against climate change, it's a picture — any picture — of Greta Thunberg. Since deciding to skip school to protest outside Sweden's parliament back in August 2018, the braid-wearing teen has become the face of a movement. She isn't the first person to sound an alarm about the dire state of the planet, to vehemently speak truth to power or to gain widespread attention, but her determined, no-nonsense approach really isn't easily forgotten. Sometimes, it's directed at ordinary Stockholm residents going about their days while she strikes. As she has garnered increasing attention, Thunberg has trained her stare on crowded United Nations' conferences, too, and at attendees with the power but not necessarily the inclination to make a difference. She has also met face to face with world leaders, but she knows that politicians usually only share her gaze for a photo opportunity. Demonstrating patiently, speaking passionately, shaking hands for the cameras: all of these moments are captured by documentary I Am Greta, which surveys Thunberg's ascension from everyday Swedish 15-year-old to one of the best-known figures fighting to save the earth. The film acts as a chronicle, starting with her activism on her home soil, following her efforts as she's thrust to fame, and culminating in her trip across the Atlantic Ocean via yacht to present at 2019's UN Climate Action Summit, where she gave her iconic "how dare you" speech. But as the title indicates, this doco is just as concerned with Thunberg's home life as her public impact. Accordingly, while filmmaker Nathan Grossman has an array of recognisable footage at his disposal in this slickly packaged affair, he interweaves it with quieter, intimate and unguarded moments. These snippets help paint a picture of the teenager behind the activism, and much of it is highly relatable. Also cutting through astutely is Thunberg's continued recognition of how, as her fame increases, the global response by naysayers encapsulates so much about the status quo and the lack of government action. And, similarly leaving a mark is the documentary's dedication to show Thunberg's work to effect change in action, and to let that speak volumes. Indeed, what echoes here is that simply doing the right thing is essential regardless of any obstacles and opposition, whether urged by Al Gore, David Attenborough, Aussie doco 2040, your best mate, your neighbour, a stranger or Thunberg. Read our full review. https://www.youtube.com/watch?v=LFVhB54UqvQ REBECCA In the pages of Daphne du Maurier's 1938 novel, and on the big and small screens several times since, Rebecca tells the tale of a young woman caught in the shadow of her wealthy new husband's late previous wife. So it's noticeable and perhaps fitting that the new 2020 movie adaptation mimics that sensation, with Ben Wheatley's film forever destined to be compared to Alfred Hitchcock's Oscar Best Picture-winning 1940 adaptation of the beloved book. Wheatley is a stellar filmmaker, and has a resume filled with everything from Down Terrace, Kill List and Sightseers to High-Rise, Free Fire and Happy New Year, Colin Burstead to prove it. Here, in his most mainstream, least boundary-pushing effort to date — and his most visually lavish, too — he has crafted a moody and brooding, elegant and often overtly gorgeous film that doesn't do its source material or the gothic genre a disservice. But it still always feels as if it is following in Hitch's footsteps, even when it deviates from that version's famed changes under Hollywood's strict production code at the time. As the book does, this iteration of Rebecca starts an evocative line: "last night I dreamt I went to Manderley again". It's uttered in voiceover by a young woman who is never known as anything but Mrs de Winter (Lily James), and who viewers first meet as a paid companion to an acid-tongued socialite (The Handmaids' Tale's Ann Dowd) during a trip to the French Riviera. During the picturesque getaway, the unnamed heroine crosses paths with widower Maxim de Winter (Armie Hammer). Romance quickly blooms, setting them en route to his sprawling family estate. Back at Manderley, however, the new bride can't escape the lingering presence of the movie's titular figure, the menace directed her way by housekeeper Mrs Danvers (Kristin Scott Thomas) and the sensation that much is awry about her current situation. Those unacquainted with Rebecca's twists should keep it that way going in, with Wheatley patiently teasing out its ample psychological thrills. Still, as luxe as it looks, as capably as it handles the iconic narrative and as memorable as Scott Thomas is — with James and Hammer always hitting their marks, but doing little more — this is a movie that exists, engages enough, but rarely has a strong lasting impact. Read our full review. https://www.youtube.com/watch?v=rTxobgjD3hE CITY OF LIES It has been almost a quarter-century since Tupac Shakur and Christopher Wallace (aka the Notorious BIG/Biggie Smalls) were gunned down in separate incidents within six months of each other — and, over that time, fewer films about either or both have reached screens than one might expect. Known not only for their music but for being the focal points of the supposed East Coast-West Coast hip hop feud, the pair's plights have inspired exactly zero worthwhile movies, though, and that includes the long-delayed City of Lies. Based on the non-fiction book LAbyrinth by Randall Sullivan, this conspiracy thriller views the deaths of two of the 90s' biggest stars through the efforts of LAPD detective Russell Poole. There is real-life grounds for that angle, and the on-screen Poole (Johnny Depp) is constantly noting and fighting against the racial prejudice that existed in the Los Angeles police department at a time just after the Rodney King assault, trial and riots, as well as the OJ Simpson case. But there's no escaping the fact that the film approaches some of the most momentous events in rap history through a white cop. In 1997, Poole is assigned to another shooting — of a black officer by a white officer — just days after Notorious BIG's death. Soon, however, his investigation of the former leads him to the latter, and to the conclusion that the LA police were involved in killing Biggie, all as his superiors demand he ignore the evidence. Decades later, long after he has resigned from being a cop, a journalist (Forest Whitaker) wanders into Poole's apartment for a 20-year piece on the rapper's murder — and the writer might've been accused of dredging up the past if Poole's walls weren't covered in case details and materials. Where director Brad Furman turned legal thriller The Lincoln Lawyer into a slick and entertaining affair, almost everything about City of Lies is misjudged, and it drags on rather than drawing viewers into its theories or even the cases it covers. Depp plays crusading but hard done by with little discernible effort, and the decision to film the movie's 90s scenes with the same type of hues and lighting usually reserved for 70s-set features smacks of the same. And while Whitaker is the best thing about City of Lies, his determined performance isn't enough to salvage the film. https://www.youtube.com/watch?v=w9Vm7cpQX80 HOPE GAP If you're going to watch a couple navigate the waning days of their decades-long marriage, and watch as their adult son tries to cope with the fallout, too, then you might as well be directing your eyeballs at Annette Bening, Bill Nighy, and God's Own Country and The Crown star Josh O'Connor. They play Grace, Edward and Jamie, respectively, with their family rocked by the revelation that mild-mannered, history-obsessed teacher Edward is leaving after 29 years because he's fallen in love with another woman. Usually the shining light and driving force in their modest house in a seaside town, Grace doesn't take the news well. Jamie, who lives in the city and doesn't generally come home as often as anyone would like, swiftly becomes his mother's main source of a support and a go-between with his father. As written and directed by second-time filmmaker William Nicholson (1997 feature Firelight) based on his 1999 play The Retreat from Moscow, little in Hope Gap's narrative offers surprises — especially if you've seen other movies about marital breakdowns, such as 2019's far meatier Marriage Story — but the British drama benefits considerably from its central trio of talent and their performances. While the plot plays out as anticipated, one aspect of Hope Gap does veer from the expected formula — and that'd be O'Connor. That he's an exceptional actor isn't new news, but he's firmly the heart of this wordy drama about the yearning and breaking hearts of his character's parents. He's also the most soulful part of the film; however, that isn't a criticism of Bening and Nighy. In spiky but still vulnerable mode, Bening may struggle with an unconvincing English accent, but she cuts to the core of Grace's bravado and pain. Nighy plays his part in a far softer, gentler, more nervous register, and helps make it plain just how Grace and Edward's marriage has gotten to this fracturing point. In a handsomely shot movie that intertwines picturesque glimpses of the coast with tense domestic scenes — and uses poetry verses to help convey emotion as well — they all demand the viewers' attention. But without the especially tender and thoughtful O'Connor, Hope Gap would've felt like just another average portrait of a longstanding relationship imploding, even with Bening and Nigh's impressive work. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; and October 1 and October 8. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle. The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth and Savage. Top image: Rebecca, Kerry Brown / Netflix.
Seeing movies get the TV treatment isn't a new trend. From Buffy the Vampire Slayer and What We Do in the Shadows to Fargo, plus everything from Irma Vep and Dead Ringers to A League of Their Own and Interview with the Vampire as well, there's no shortage of examples (and that's before getting into Marvel's and Star Wars' shows). But when Baz Luhrmann's Australia hits the small screen, it'll be doing a few things differently. Firstly, it has a new name. Secondly, it's been fashioned out of originally shot footage back when the flick was made — so it's turning the film into television quite literally. That series: Faraway Downs, a six-parter that was first announced in 2022, is closing the first-ever SXSW Sydney Screen Festival and is destined for Disney+ Down Under from Sunday, November 26. Wondering how that might turn out, even if you've seen Australia? There's now a Faraway Downs trailer. For 15 years, Australia has inspired a particular train of thought when it comes to Luhrmann's movies: they can't all be good ones, even if almost all of them are. Australia is the one outlier on his resume — the one film that doesn't live up to the spectacular Strictly Ballroom, Romeo + Juliet, Moulin Rouge!, The Great Gatsby and Elvis — so that's where the tinkering and reimagining as Faraway Downs comes in. "I was inspired to re-approach my film Australia to create Faraway Downs because of the way episodic storytelling has been reinvigorated by the streaming world," said Luhrmann. "With over two-million feet of film from the original piece, my team and I were able to revisit anew the central themes of the work." Combining two of the nation's biggest actors with one of its biggest filmmakers, Faraway Downs still stars Nicole Kidman and Hugh Jackman, of course. If you need a refresher on Australia's plot — and therefore the new episodic version's plot, too — it follows English aristocrat Lady Sarah Ashley (Kidman, The Northman) after she comes into possession of an Aussie cattle ranch. To save it from cattle barons, she enlists the help of a drover (Jackman, The Son). That's just the overall gist, however, given that the sprawling movie also spans World War II and its impact, as well as the country's historical treatment of Indigenous Australians. Fittingly given the OG name — and as usually proves the case with Luhrmann's flicks — the cast includes a who's who of homegrown talent. As well as Kidman and Jackman, plus Brandon Walters (Mystery Road) as Nullah, everyone from Essie Davis (Nitram) and Bryan Brown (Hungry Ghosts) to Ben Mendelsohn (Secret Invasion), Jack Thompson (High Ground) and David Wenham (Elvis) features, as does the now-late David Gulpilil (Storm Boy) and Bill Hunter (The Cup). Check out the trailer for Faraway Downs below: Faraway Downs streams in Australia and New Zealand via Disney+ from Sunday, November 26 — after closing the 2023 SXSW Sydney Screen Festival on Saturday, October 21.
Each year, at the turn of winter to spring, Hindus celebrate Holi, a festival exalting colour that leaves participants saturated in bright hues. Holi serves as the inspiration behind the Color Run, a unique 5k race touring 18 United States cities. Runners are invited to join the "3.1 miles of color madness" that comprise the untimed Color Run purely for the sake of a good time. The only race requirements are that all participants wear a white t-shirt and be willing to be greeted with a blast of coloured pigment upon completing every leg of the race. The pigment, made of 100% natural food-grade cornstarch, is colour-specific for each portion of the race. After the first kilometre, runners are splattered with yellow; after the second, they are doused in blue. And so it continues until the end of the 5 kilometres, when each runner is covered head-to-toe in a brilliant mish-mash of every hue imaginable. https://youtube.com/watch?v=ZWsfHC-0d6A [Via PSFK]
Underground CBD favourite Burrow Bar moved from its original home in De Mestre Place to 96 Clarence Street with big plans to expand into two levels and open a restaurant above the bar. Those plans became a reality with the opening of Cash Only Diner, a Vietnamese eatery serving up dishes with roots in owner Chau Tran's family heritage and the dishes of Hue, Vietnam. Tran has taken dishes she learned from her mother — a classically trained chef who studied at a French finishing school in Hue — and, with the help of co-owner Bryce McDonough and the Burrow Bar team, has put together a menu that bursts with flavour and showcases the cuisine of the coastal Vietnamese city. The venue embraces seasonality and so the menu changes day to day. Some dishes you could enjoy include the cá kho tộ, caramelised and braised salmon served in a clay pot and dripping in marinade; the giò thủ, a pork and mushroom terrine; and C.O spring rolls filled with prawn and minced pork. Every Tuesday, aka Tuesday Noodz-day, where the venue runs a new noodle special with limited bowls that showcase regional noodles and unique dishes, not many people have heard of or get to try outside of Vietnam. Cash Only Diner sits above Burrow Bar, meaning you can bet the drinks are as exciting as the food. Pair your Vietnamese feast with a selection from the cocktail menu, like the green mango negroni, a pineapple and gin creation called Napoleon's 2nd Vice, and a boozy Vietnamese iced coffee, a creative twist on the espresso martini.
The latest addition to Merivale's portfolio, Palmer & Co. is a gorgeous hiding place. Tucked into the underground level of what was once a throbbing, sticky nightclub in the heart of Sydney's CBD, the venue has been transformed beyond recognition into a glowing little cove that exudes the sumptuous glamour and devilish secrecy of the 1920s prohibition era. Whilst perhaps not the most inspired of concepts, every detail of Palmer & Co. speaks of Merivale's signature polish, and the bar's clandestine feel echoes the theme of secrecy. Embraced by exposed brick walls, heavy timber surfaces and the intimacy of low, golden lighting, you are enveloped immediately by a sense of sophistication as your enter Palmer & Co. This is a bar for grown-ups. You are invited by the staple Merivale beauties, in flapper dresses and all, to make your selection from the extensive menu of spirits and cocktails, embellished by photographs harking back to days of dapper criminals in three-piece suits and girls who could neck a bottle of bourbon and look graceful doing it. Palmer & Co. offers a small selection of bar snacks, including spicy chipolatas ($12) and charcuterie share boards ($18 for 2), but this is not really a dinner spot. I suggest you eat beforehand because, if you are anywhere near as susceptible to Palmer & Co.'s hypnotic sway as I was, it will be hours before you emerge again. Appears in: Sydney's Best Underground Bars for 2023
It has been seven years in the making, but Splendour in the Grass is moving into its new digs — the North Byron Parklands — just 20 minutes north of NSW's Byron Bay. Securing a location for the winter pilgrimage has been a hazardous task over the last few years, which included a two-year stint in Rockford, Queensland from 2010-11. But today organisers announced that the long-intended permanent home is prepped and the 2013 festival dates are set for the weekend of July 26-28. Today's press announcement also teased at "the next chapter" for avid festival-goers as it settles into 660 idyllic acres. Like all things Byron, festival co-producers Jessica Ducrou and Paul Piticco emphasised staying true to their roots: "Onsite camping has always been a high priority for us. It creates a real sense of community at the show." Splendour has worked hard to earn its reputation for pulling the big internationals over the last few years — Coldplay, Kanye West, Jack White and '90s favourite Pulp are among the esteemed list of headliners past — while showcasing a strong Aussie punch in their lineups. The 2013 lineup announcement might be a little while off, but the question on our minds is, can we beat the 43-minute record sell-out time of last year?
After 35 years of serving soulful Lebanese food from its hand-built masonry oven in Guildford, Yum Yum Bakery has unveiled a second home in Concord. The new flagship showcases Yum Yum's creative approach to classic Lebanese flavours in a polished fitout with a state-of-the-art kitchen, and the same warm hospitality that's made it a community go-to since 1989. Founded by Lebanese refugee Toufic Haddad and now run by his son Najib, Yum Yum leans into tradition but isn't afraid to break away from it. Many of the recipes and baking methods remain unchanged from Haddad Senior's time at the helm — and these classics take equal billing alongside decidedly next-gen creations. On the menu, you'll find highlights like golden haloumi spring rolls drizzled with honey, lamb shawarma tacos and Yum Yum's signature woodfired awarma and egg manoush, with its gently spiced, full-flavoured minced lamb confit. There's also a generous spread of brunch platters made to share. It's all prepared with meat from a halal-certified butcher and a commitment to the handmade, heartfelt approach that's defined Yum Yum from the start. The breezy Concord site features indoor-outdoor seating, a private dining room and sleek finishes by B Spaces and Regera Group. Fans of the original will recognise the same flavours and heart they've known from Guildford — but no doubt Yum Yum is set to win over a legion of new fans as it enters its next chapter.
Sydneysiders love pizza. Sydneysiders also love a bottomless deal. So it is cause for celebration that Harbour City folk can finally celebrate both these passions at once, courtesy of Surry Hills pizzeria, 170 Grammi. Luigi Esposito — the pizzaiolo who helped ignite Sydney's love of woodfired slices, most notably at his popular chain of Neapolitan restaurants, Via Napoli — is laying on a Roman feast every Friday lunchtime. From midday–4pm, diners can get their fill of Rome's most quintessential cuisine, including freshly fried suppli (Rome's answer to arancini), schiacciata, a traditional crisp flatbread loaded with slices of mortadella, and of course, 170 Grammi's pizza-fication of classic Roman mains, including the already-iconic carbonara and porchetta pizzas. Be sure to leave room for dessert. 170 Grammi's maritozzi (cream-filled Roman doughnuts) come in a range of styles, from classic flavours like traditional vanilla and pistachio to more contemporary twists, like Nutella and Kinder Bueno. During your 90-minute seating, you'll enjoy free-flowing Aperol spritzes, as well as a selection of wines, beers and soft drinks. And at $69 per person, inclusive of all drinks and food, not only is this one of the most delicious bottomless deals in Sydney — it's also one of the most affordable. Images: Trent van der Jagt.
In these Netflix-obsessed, streaming video-heavy days, the words 'on demand' have been added to almost everything we watch. But it seems they're no longer restricted to screens, with a Brisbane venue bringing the concept to live theatre performances. In an Australian first, 50-seat Brisbane establishment Studio Theatre and Cafe is offering live theatre on demand. Patrons can request a staging of a show at any time of the day — and any day of the week — that takes their fancy. Yes, you can say goodbye to being at the mercy of regular sessions, and start seeing things more suited your schedule. Catching a play in the late hours of the evening or the early hours of the morning is real option. There are a few caveats though, to help minimise the impact of keeping the cast and crew on permanent standby — waiting in the wings 24/7 isn't the best situation for actors. Bookings must be for groups of ten people or more, and only certain productions are available at on-demand times. Along with the $20 ticket cost, both are a small price to pay for seeing a live performance with your friends whenever you want to. Kicking off the test period of the flexible gimmick until the end of the year is one-man musical Once in My Life, which tells the tale of a figure who probably wouldn't have played whenever the audience asked him to — aka Frank Sinatra. If the season is successful, more will follow. Find Studio Theatre and Cafe at 647 Wynnum Road, Morningside. Visit their website and Facebook page for more information. Image: Dollar Photo Club.
We all know that video piracy is a crime and that we should pay for the music we are listening, too, but just how far we have come from 20th-century entertainment is not always present in our minds. Enter photographer Julia Solis and her new book Stages of Decay — a feat that took her across Europe and the US over a period of years to document over 100 disused and dilapidated theatres that once housed The Who, witnessed the cinematic events of their eras and were symbols of popular culture, cultural hubs and signifiers of Western affluence. The images tiptoe along that enticing line between nostalgia, beauty, decay — actually it is all very Tintern Abbey — and all those butterfly feelings that come up when we dream of days long gone. Solis sees the images as more experiential, as she told Flavorwire: "You want a one-on-one encounter with it, to open secret closets and fondle plaster and play with rusted machinery without your parents' interference. In a society that's increasingly controlled, monitored and publicised, a wild space like that can't help but have an incredible allure." Be sure to note the cars parked underneath the ornate ceiling of the old Michigan Theatre, and for the trivia buffs, it is now the parking lot for the new cinema. Circle of life?
The stomping singalongs, Guinness stews and rowdy, fiddle-fuelled shindiggery of Paddington's long-serving Irish pub, Durty Nelly's, have seen their last day. There's a brand new pub in the Intersection, sitting where the songs of the Irish were once sung, and making its presence felt in Paddo's pretty streets. Meet The Village Inn, owned by Leeroy Petersen (owner of The Print Room upstairs, brother of Brody, owner of Surly's, Riley Street Garage, The Stuffed Beaver). It's a sharp new spot that's giving pub renovations hope, and it's already pretty packed. With the reopening of the Hotel Palisade, the revamp of the Bellevue Hotel and the recent Vic on the Park-steered reno of The Lord Gladstone, the debate over great and terrible pub renovations is rife in Sydney at present. The Village Inn is the latest of this trend, and they've quite honestly nailed it. With the help of designers Alexander & Co. (Surly's, The Morrison, Daniel San and The Print Room), the space is a quirky jumble of taxidermy, exposed brickwork, leather banquettes, a hand-wrought communal bar and blonde wood tables. The designers have worked within the bones of the 1840s-built pub, swept away any possible remnants of ol' Durty Nelly's, and forged a brand new, genuinely friendly personality in the space. Pub nosh at The Village Inn is a well-thought-out affair, from the usual Scottish tavern-inspired suspects to Actually Interesting Salads. One of the most effective crowdpleasers, The Glenmore ($23) sees a stout-braised lamb shank with white truffle and chive mash, the tender meat falling right off the bone. Thumbs way up for the spring salad ($16), an artful little dish of roast pumpkin, peptic seeds, toasted walnuts and blue cheese croutons, alongside the Rowe salad ($16), a hearty but colourful concoction of winter baby beets, watercress, cashews and chive balsamic dressing. For something a little lighter, the kitchen has developed the 'Mid-Priced Affair' menu, with The Nordic ($17), a little plate of smoked salmon and a teeny tiny dill, pickle and smoked baby potato salad. The Heritage ($17) is full of flavour, with heirloom tomatoes, basil and burratta (but we honestly could have done with a little more burratta for 17 beans). No pub renovation is complete without a novelty food hybrid to get writers sucked in. But the Inn hasn't gone completely OTT, going with a safe mix: 'burwiches' (burgers crossed with sandwiches, so a pretty straightforward concoction). But these aren't your regular tired pub 'wiches, with a steeper price tag but worth every penny. The Big Bad Wolf ($19) is a pork lovers' delight, with three serves of piggery (smoked ham, pork belly and bacon) on one milk bun with a fried egg and gruyere. For the non-carnivores there's The Forbes ($17), a messy, messy creamy egg and chive salad with pickles on a toasted panini. All come served with a generous helping of hand cut chips, but you'll be hard pressed to finish them. While we'll (sorta) pine for the pints of Kilkenny and the knee-slapping live Irish music of Durty Nelly's, we're pretty happy the quirky little pub on the corner has found itself in safe hands. A solid addition to the Paddo pub scene and a prime example of a great pub reno. We'll be back.
"Careful, you've got about seven cameras on you," Josh Niland quips to one of his chefs on a quiet Monday evening. The Saint Peter cook in question offers a nervous smile, but isn't distracted from his meticulous work: chargrilling twenty identical King George whiting over coal. The butterflied fish are served with a nostalgic play on hundreds-and-thousands — a rich butter sauce with bright chives, finger lime and popping orange tapioca pearls. "Make sure you start at the tail end, so the fish continues to cook evenly," Niland recommends to the group, who have been invited to preview his pop-up collaboration with whisky-maker Talisker. By all accounts, things are going swimmingly for Niland: he was the only Australian chef to be awarded a spot in this year's Best Chef Awards, also nabbing the Best Chef Innovation Award for his nose-to-tail approach to the ocean's finest. Back in 2020, he also won the James Beard Book of the Year Award for his magnum opus, The Whole Fish Cookbook. But the peerless seafood chef rarely dabbles in branded collaborations. So, we took the time to chat about the art of collaboration in the kitchen, teamwork and the best advice he's ever received. [caption id="attachment_873425" align="alignnone" width="1920"] Image: Talisker and Saint Peter pop-up.[/caption] How do you go about choosing the right partners for your venues? "The initial engagement with Talisker was fascinating to me — there are very few metrics around for what you can do with fish and whisky. It's a very robust alcohol to weave into a fish dish. But, I like being pushed into the corner and told 'this is all you're allowed to do'. It's also about quality [when it comes to partnerships]. We're making a decision based on quality and the underlying ethics of the business — ensuring that they're working responsibly in terms of the procurement of their ingredients and how they work within the company. We have to do our due diligence and make sure that both parties are aligned." Speaking of quality products, I assume there were a few whisky tastings involved in the process? "There were definitely some... should we say 'quality checks' — not just from me, but also from my chef Ben, who gave it a good taste." [caption id="attachment_855330" align="alignnone" width="1920"] Image: Rob Palmer, Charcoal Fish[/caption] How do you approach collaborating with Julie, your wife and co-owner, particularly if you disagree? "I feel like Julie and I are obviously very aligned. We've been married nearly 13 years so we've had meals together and experiences together, and that polishes the edges of what we feel we want to be doing as professionals. But that continually changes all the time — the way we were pre-COVID is very different to the way we are now. And I think what you'll see from Saint Peter in the coming years will be starkly different to what you see now — that's just signs of a good, evolving business. Although there are moments of friction, above all it just comes down to trust — knowing that, if it doesn't seem 100% right because it's not the same as what we did at one time, then the trust is there that we're making the best decision. We trust that we're not going to steer the ship astray, and we rely a lot on the team around us to help us make those decisions — especially significant ones. We're very fortunate to be surrounded by some really extraordinary people in our management team and also the young chefs and front of house professionals." [caption id="attachment_870811" align="alignnone" width="1920"] Image: Talisker and Saint Peter pop-up.[/caption] How do you collaborate with your chefs at Saint Peter? "It's been a learning experience the last two years, how to be a better coach as opposed to captain. We're now starting to see the benefits of mentorship and looking after the guys really well, and they're starting to feel more confident with what they can offer to the team. It's been a nice 12 months, even though it's been challenging — it's been super rewarding. You can go home at 6pm and put the kids to bed, and know that everyone is 100% behind you and they all believe in the one thing and they're all driving towards the same product. There are moments where you're like 'I wish I could've had my hands on that', but I've changed significantly in the last six years. I've gone from standing on the stove and going 'nobody touch anything, I'm doing it' to now going 'can somebody else do this cause I want to show you how to do it' and then people are thriving and they're showing the next people. It's all a maturity thing and a learning thing — I was 26 when we opened Saint Peter. I'm getting pulled in every direction personally and professionally so I'm just making sure that at its heart everyone understands what we're doing and why we're doing it." [caption id="attachment_739656" align="alignnone" width="1920"] Image: Fish Butchery by Cody Duncan[/caption] Obviously finding consistent and reliable producers plays a huge role in what you do. How do you approach managing those relationships? "Consistent and reliable — that's actually the biggest challenge. You can never rely on anybody and you can never rely on the weather. When what we plan at the beginning of the week doesn't arrive, then we need to change. That's why when people always ask, 'why can't you leave dishes on the menu, why can't you just stop changing the menu?' It's not for not trying! It's because we always have to work like that. When you're a fish business you have to keep changing and evolving. We now have four teams all working on fish that is not always consistent and that is not reliable, so we rely on [the team] to remain flexible and adaptable and courageous enough to keep turning up. Finding the fishers that we've found — particularly Walkers Seafood in Mooloolaba in Queensland and Bruce Collis at Corner Inlet in Victoria — I would put that down to me having a relationship with Steve Hodges at Fish Face. So you've got Steve Hodges, Neil Perry, John Susman, Greg Doyle and Peter Doyle from the generation that's just gone through and they have carved out a pathway for our next generation and given us the ability to go direct to fisherman. But you have to be ready to pick up the phone and talk for an hour — about fish. The extension of that conversation is really powerful for the customer to hear about, because then there's a registering and appreciation for the price point, because they see the value of someone going out and intentionally catching something for their dinner." [caption id="attachment_870810" align="alignnone" width="1920"] Image: Talisker and Saint Peter pop-up.[/caption] What's the best advice you've ever been given? "'Treat everyday as a sprint, but life is a marathon.' Simon Marnie from ABC Radio told me that, he's a friend from a long, long time ago. I had just got back from overseas and he could see all the layers of places I wanted to go and people I wanted to meet in my eyes, but he kind of slapped me over the head and said 'listen'. Even Luke Magen said to me as a second-year apprentice that 'Rome wasn't built in a day'. That came at a really poignant time in my cooking, I had been there for about eight months and I was really frustrated that I hadn't been 'seen' yet, because you were part of a 35-chef system. It really bothered me. So I went and I did a trial at Balzac with Matthew Kemp and he offered me a job. And then I got back to work the next day, not to have the conversation, but to continue to think about if I wanted the job. Luke came up to me and said 'I heard you had a conversation with Matt Kemp.' And I realised that the kid from Maitland didn't realise how small Sydney was. Luke said, 'Rome wasn't built in a day, you need to be patient.' You gotta — not necessarily earn your stripes — but understand that you can't have everything you want right now, but with a bit of application and intentionality and telling us that that's what you want, then let's get on with it. And then from there I got to really be exposed to a lot more." Josh Niland's Taste of Talisker will pop up in Sydney's North Head between Friday, October 21–Saturday, October 22. You can purchase tickets to either the three-course menu or the Made by the Sea whisky experience via Moshtix. Top image: Rob Palmer, from Josh Niland's The Whole Fish Cookbook
When long-running live jazz spot The Basement announced it was closing in March last year, a wave of sadness rippled through the Sydney live music community. It seemed the Circular Quay venue was set to be another empty space. But then Mary's hospo duo Jake Smyth and Kenny Graham (also responsible for resurrecting The Lansdowne and The Unicorn) stepped in, announcing they would take over space and reopen it as Mary's Underground. It's probably not what you expected from the Mary's crew. There are no burgers on the menu (though you can find them upstairs at Mary's CBD) and it's more of an eat-with-cutlery situation. Smyth and Graham have diverted slightly down the bistro route for Mary's Underground — making it a place where you can do dinner and a show as well as just a drop-in drink on a rowdy night out. As promised back in February, the venue will keep The Basement's commitment to live music going, with gigs running every night except Sunday (when the bar is closed). So far, programming has included a six-piece Afro-Cuban band, a ten-piece South London jazz performance and a New Orleans-inspired house brass band. But apart from the focus on live music, the venue isn't going for a theme other than "Sydney 2019". According to Smyth, he and his team — which consists of award-winning sommelier Caitlyn Rees (ex-Fred's), bar manager Karl Coombe and head chef Joel Wootten (both ex-Rockpool) — "aren't trying to recreate another time or another feeling", wanting the venue to instead "scream 'now'". Still, the menu has a distinct French vibe that's hard to ignore (and similar to that of Restaurant Hubert around the corner). Think caviar, oysters, lobster and a $300 seafood tower. Unlike at Mary's, you won't be able to get a meal for less than 20 bucks here. But if money is no object, the gents suggest trying the a serve of the Tasmanian sea urchin, the rock lobster potato salad and the Spanish tortilla (with the addition of blue swimmer crab, naturally). For mains, the French-style breaded whiting and the rotisserie duck with persimmon and star anise ($70 half, $140 whole) are Smyth's go-to. He also suggests ordering all of the seven sides — which include hasselback carrots and a parsnip and macadamia gratin — and finishing off with rhubarb and rosella mille-feuille for dessert. Yeah, you'll need to bring a few mates along if you're planning to follow in these footsteps. If you're just after some seafood, find a spot at The Clam Bar, a 30-seat wine and oyster bar down the back. This has a dedicated chef shucking, slicing and plating fresh market seafood before your eyes. If you'd rather something quick and casual — or vegan — you can always pop up to Mary's Circular Quay upstairs. As well its cult fave beef burgs, the bar also serves Mary's first ever completely plant-based burger. On the wine side of things, Rees — whose accolades include the 2018 Gourmet Traveller Sommelier of the Year — has designed an extensive eight-page wine booklet (which includes a whopping 37 bottles of chardonnay) and every bit of it is organic or biodynamic. She's working towards keeping the list at half-Australian and half-international producers, the latter being mainly Italian and French varietals. Offsetting the enormous wine list is a succinct list of six cocktails — three specialty and three lesser known classics — that will change monthly. The list, according to bar manager Coombe, will showcase the bar team's tastes, as well as classics that it feels have "been overlooked or underrated by the hospitality community". Those include the Rum Uppercut (a mix of smoked rum and Plantation overproof rum with amaro, spiced pineapple syrup, bitters and Young Henrys cloudy cider) and Coombe's version of a Lychburg Lemonade (Jack Daniel's No. 7, Cointreau, lemon and soda). A regular classic is set to be the Filth and Fury, which is the venue's signature dirty martini. It infuses Poor Toms gin with Adelaide Hills Distillery dry vermouth, Australian bush tomato and edible seaweed. While certainly a more grown-up venture than the group's previous venues, the usual party vibes of the OG Mary's prevail, making it a great addition to the CBD bar scene. Images: James Adams. Appears in: Sydney's Best Underground Bars for 2023
The Meadow Meat crew love its different slabs of meat — and it'll try their hardest to get you to fall in love with them, too. Fresh cuts of sirloin steak, pork roasts, lamb frenched racks, kebabs and handmade sausages are all available six days a week. All of the meat is sourced from Australia so you'll be helping out Aussie farmers and shop owner Sam Norouzi with your purchase. Keep track of the specials, which are posted regularly on social media — think prosciutto-wrapped pork fillet, beef cheek wrapped in pork lace with chilli or stuffed capsicums with cheese. Don't have time to cook? Meadow Meat also has a selection of cooked takeaway lunch options, including roast or pulled pork rolls, baked vegetables and roast free-range chicken.
"Well, Kriv got talking to me, you see. At a certain point late in the filming of The Correspondent, he mentioned in passing that he wanted to talk to me about another thing. And when he told me about the idea, I had some initial reluctance, because I guess playing another important Australian political figure wasn't the first thing that would come to mind on my list of most-desired projects," Richard Roxburgh tells Concrete Playground. The Australian actor is chatting about director Kriv Stenders, who he worked with on 2019's Danger Close: The Battle of Long Tan, then on 2025 cinema release The Correspondent and now on Joh: Last King of Queensland as well. "And I guess the way that he talked about it, the way that he pitched it to me, I just thought it was such a kind of crazy, excellent idea that I thought I had to go for." In Roxburgh and Stenders' aforementioned movie collaborations so far, the former has continued a trend that's popped up repeatedly across his career: portraying real-life Australian figures. Danger Close tasked him with stepping into Brigadier David Jackson's shoes. In The Correspondent, he helped bring journalist Peter Greste's ordeal after being arrested in Egypt, then put on trial, found guilty and sentenced to seven years' imprisonment, to the screen. Now, however, Roxburgh is playing former Queensland premier Joh Bjelke-Petersen — and doing so not in a drama, but in a documentary. Joh: Last King of Queensland initially premiered at the 2025 Sydney Film Festival, then made its way to streaming via Stan. While Stenders has compiled a wealth of archival footage to fill its frames, as well as contemporary interviews with the politician's family members and friends, plus journalists, historians and more, Roxburgh couldn't have a more pivotal part. In recreations of the final days that the conservative figure at the doco's centre spent in office in 1987 after years leading the Sunshine State — when he refused to leave, in fact — the acclaimed actor delivers Bjelke-Petersen's speeches. Stenders grew up in Queensland, and has crafted a cautionary portrait of Bjelke-Petersen's time in charge of the state. The prolific filmmaker, who has kept jumping between fiction and fact, and the big and small screens, via everything from The Illustrated Family Doctor, Lucky Country, Red Dog and its sequel, Kill Me Three Times, the Wake in Fright miniseries, Jack Irish, Bump and Last Days of the Space Age to The Go-Betweens: Right Here, Brock: Over the Top and Slim & I, has also made another timely film with Roxburgh after The Correspondent also proved exactly that. Watching Joh: Last King of Queensland's survey of one man's authoritarian-style power, a regime filled with corruption and the vast suppression of dissent, for instance, means seeing blatant parallels to global politics today. [caption id="attachment_1015675" align="alignnone" width="1920"] Stephane Cardinale - Corbis/Corbis via Getty Images[/caption] Despite his initial hesitation, Roxburgh felt that this was a unique opportunity. "It really did. It felt really quite odd, and I was still unreally unsure about it when we started shooting it — but Kriv was so determined about it and was loving what he was seeing so much, he kept reassuring me that it was just going to slot into what he was doing. So, I trusted him," he advises. He was aware of the type of material that would surround his performance in the documentary, too. "I picked Kriv's brains about a lot of it, so I did know quite a bit of what was going on. I knew the people he'd interviewed, what the general thrust of their interviews were. I was across quite a bit of that stuff." Portraying Bjelke-Petersen doesn't just follow Roxburgh's time as Greste and as Jackson for Stenders. He has played former Australian Prime Minister Bob Hawke twice, in both Hawke and The Crown. His performance as corrupt police office Roger Rogerson in Blue Murder won him his first Australian Film Institute Award — the accolades that are now the AACTAs — and Logie. Then there's Roxburgh's efforts as pianist Percy Grainger in Passion; as Ronald Ryan, the last person legally executed in Australia, in The Last of the Ryans; and in Bali 2002 as Graham Ashton, the Australian police's operational commander in the investigation into the bombings. That parts as real-life Australian figures keep coming his way, alongside interrogations of power and how it impacts those in prominent positions — streaming series Prosper and The Dry sequel Force of Nature equally fit the latter bill — were also topics of discussion in our second chat for 2025 with Roxburgh. Among other subjects, we spoke with him about putting in another performance for Stenders that places him in one space alone, as portraying Greste largely did; not growing up in Queensland under Bjelke-Petersen like Joh: Last King of Queensland's director; if there's a real-life Aussie that he's keen to take on next; and the diversity he's enjoyed beyond his stints inhabiting IRL names, with Thank God He Met Lizzie, Oscar and Lucinda, Mission: Impossible II, Moulin Rouge, Van Helsing, Rake, Sanctum, Looking for Grace, Go!, Elvis, Aunty Donna's Coffee Cafe and Lesbian Space Princess just some of his other projects. On the Theatre Feel to Roxburgh's Solo Scenes in Joh: Last King of Queensland — and the Process of Stepping Into Bjelke-Petersen's Shoes "It was a weird little moment in time, obviously. Because it felt after a couple of days, I said to Kriv, like a stage production that no one would see about the life and times and great strangeness of this powerful Australian political presence. So it was odd. But I think the more I settled into it, into the rhythms of that character, and tried to burrow into what he was doing in those last three days when he was alone, the more settled I felt. I thought it was going to be easier than it ended up being — because I thought, the way that Kriv talked about it, we weren't going to do makeup, we weren't going to do any of the lookalike stuff, in particular. But there were some elements that were so key to his personality, and so key to the way that he crafted sentences — the way that he conveyed information. And then there were other things, like the fact that he had polio as a child. There were so many things that went into the physical and vocal life of the character that ended up being so important and, in a way, they were sine qua non. I had to at least find the song of it. I had to find that cadence, that particular gift for clouding argument, for obfuscation, for changing sentences midstream. And you couldn't do that in the end without actually doing it. So it ended up being quite a lot of work — a lot of pre-work." On Getting Into the Mindset of a Leader That Everyone Wants Out of Office But Is Refusing to Leave "There's quite a bit of really excellent footage of Joh strongly inhabiting his argument, whatever the argument is. And so that was really useful to see how he commanded the space in those times. There was a lot less of his cloudiness, his wooliness, his diversion, obfuscation, when he was speaking like that — and a lot more control and determination, incredible determination, that he was absolutely right. Joh was an absolutist. He believed in his authority, and the fact that it was a kind of gift to Queensland from god, as it were, because he felt like he was obeying divine instruction. He was always serving his version of his lord. And so there's, to my mind, a really salient warning in that as well." On Whether There's Anything That's Key to Roxburgh in Inhabiting, Rather Than Merely Impersonating, a Real-Life Figure "I guess it's not more than it is for any other character you do. It's just a different landscape, because it's a landscape that everybody's seen before. So the difference is that an audience is going to watch it with a precondition and pre-understanding of what that character is meant to look like or how they were. It's not really different in the sense that you always have to find yourself in the in the centre, in the makeup of — and I don't mean makeup as in hair and makeup, I mean in the cellular energy of that individual, which doesn't change whether the character is fictitious or was somebody who lived and was very much in the public eye. But the difference is that everybody knows that landscape. So the people watching this documentary, at least 90 percent of them will be enormously familiar with the personality and personage of Joh. And so they'll be coming in with a pre-understanding or a preconditioning to what that character is like. So that's the thing. The risk is to do the comedic version of the character, because there were so many great versions of that and I didn't want to fall into that." On If Having an Outsider's Eye, Not Growing Up in Queensland, Helped with Roxburgh's Task in Joh: Last King of Queensland "Interesting thought. I don't know the answer to that. I feel like probably my work would be the same no matter what. Because your work, when you're inhabiting that character, is going to be always the same — and in a sense, it's to not judge it. Because Joh, whatever we think of him, he had his own incredibly powerful reasons for doing what he did — and incredibly powerful self-justifications for doing them." On What Interests Roxburgh About Interrogating the Nature and Influence of Power On-Screen "I think it's definitely something that interests me, because it's so front and centre in the human experience — because we're either living it, aiming for it ourselves, or we're suffering at the hands of it. And so it's always there. And it's such a rich and compelling part of what it is to be a human being, as evidenced in everything that Shakespeare ever wrote. There's no drama, in a sense, without it, without the mechanics of it in one way or another." On Why Portraying Prominent Real-Life Australian Figures Keeps Coming His Way "No clue why I get offered these things because I obviously don't look a thing like Bob Hawke. I don't look at thing like Joh Bjelke-Petersen, either. I don't know why this happens. And as I said, I did have really strong tendrils of reluctance when Kriv was first talking to me about this. And he said 'look, I understand if you don't want to do this, having played Bob and various others — Peter Greste and other Australian famous figures'. But then I think I just really love the audacity of this project. I love the audacious way that Kriv was finding to tell this story. I just thought 'it's a great, really ballsy, wonderful piece of cinematic thinking that I loved I really'. I just really dug it. And I trust his opinion." On the Parallels That Joh: Last King of Queensland Draws Between Joh-Era Queensland and the US in 2025 — and If It Felt Like This Would Be a Timely Film While Making It "Yeah, it did. I think it's really fascinating because I have spoken to 30-year-olds in Australia who didn't know the name Joh Bjelke-Petersen, and I thought 'holy crap, come on, everybody should know that name'. These people need to be known about. As the famous saying goes about history repeating, I just think there's so many shots across the bow in that administration of Joh Bjelke-Petersen. There's so many warnings about untrammelled power and where it can lead — that one tiny rollback of something here then leads to a bigger rollback of democracy there, which just keeps leading democracy further and further afield, until you end up with, I think, a kind of deeply embedded, corrupt, pretty rotten administration where there is so much fear, so much resentment, so much anxiety. And where anybody with a slight sense of sitting outside the paradigm had to escape to safety. And I don't think that's a great place to be, and so I would love Australians to know about what happened under the administration of Joh Bjelke-Petersen." On How Roxburgh and Stenders' Working Relationship Has Evolved Over Multiple Films Now "A lot of trust in it. I really do. And a lot of the time, not having to say too much to each other. I'll still pick his brains and he'll obviously give me direction and talk about stuff. We will do that. But I think I just know what he's after. I can assess what he's after at any given moment, I think. And sometimes, we just scratch our heads after a scene and say 'I don't know if that? Did we get that right? Or do we — fuck it, let's do another one'. So there's a really great, very relaxed, trusting shorthand, I would say. And I think Kriv is an artist who is at his peak of his powers. I think he's doing such really, really interesting, strong work." On How Roxburgh Sees His Almost Four-Decade On-Screen Journey So Far "I think I've been really lucky because I've had a working life in the thing that I love. And I do still love it. I love the hell out of it. I love doing what I do so much. I love the various shapes of it. So I also like the idea of producing, of directing, of creating material, as well. I love being able to step between theatre and film and television. I like the gradation of difference that exists between film and television. I like all of it. I love all of it. So I feel really lucky and I feel privileged in the matter that I have had a life in it, and been able to make life in it. Because it's not always the case, and it can be a tough life at times. But I feel incredibly fortunate." On the Diversity That Roxburgh Has Enjoyed Across His Career — Even If Recurring Trends and Themes Pop Up "I love it. I love the kind of weird, wacky, family-photo-album madness of that particular curriculum vitae, I guess. I think, again, I'm lucky. I'm lucky to have experienced things that were ridiculous comedies. I love my time on Rake so much, because it was familial because I was deeply involved creatively — and it was so meaningful to me on lots of levels. But I think it's just a really madcap photo album that is kind of fascinating to thumb through, not that I ever do. But I guess one day in my dotage I'll be siting around, thumbing through: 'my god, I did this thing called Go!. I did this thing called — can anybody remember Lesbian Space Princess? I mean what did I do in that?'. I think it's fascinating. It's crazy." On Whether There's Any Other Key Australian Figure That Roxburgh Is Keen to Portray "No — I can say in all honesty there's not particularly. That person does not exist particularly at the moment. Generally what happens more is that you get offered something and your first thought is 'well, that's insane. That's ridiculous. Why would they? I don't. I'm not. I couldn't play that person'. And it goes from there so. No, I would say this — it's not like I would ever sit around thinking 'I'd love to have a crack at that character'." Joh: Last King of Queensland streams via Stan.
When Ricos Tacos closed its popular Chippendale home at the start of this month, founder and head honcho Toby Wilson promised: "We'll reopen in a bigger way later on in the year". That time has arrived sooner rather than later with the cult-favourite Mexican joint set to emerge in a new home in Redfern next month. Ricos has been acquired by PUBLIC, the hospitality group behind The Strand Hotel, The Lady Hampshire, Oxford House and Maybe Sammy. With the help of PUBLIC, Wilson and the team are levelling up Ricos at Cleveland Street stalwart The Norfolk Hotel and transforming it into the impressive restaurant and bar that it was always destined to be. "We never intended to have a 20-seater venue," Wilson told Concrete Playground when the Chippendale outpost closed down. "Ricos was always meant to be something a bit bigger than that." The multi-storey restaurant will be split into two distinct spaces — a bright yellow dining room and beer garden downstairs, and the mysterious Club Ricos upstairs. Food-wise, you can expect favourites from both the previous venue and the beloved taco truck, plus some new additions including a permanent spot for tacos al pastor on the menu and a rotating taco of the week. "I've spent a lot of time at The Norfolk being a Sydney local and it's the perfect place for the version of Ricos Tacos I've been envisioning since I started in the food truck," says Wilson. "Jon and the team at PUBLIC have allowed me full creative license and support to enhance its offering. I can't wait to show everyone what we're working on." Hailing back to the 1920s, The Norfolk Hotel is a historic Redfern watering hole that already boasts one of Sydney's best wine and snack bars in La Salut. The moody corner bar specialises in all things Spanish and Catalonian, recently taking out the Special Jury Prize at the international Star Wine List of the Year awards for 2023. Ricos Tacos will join the party from early September. The hotel closed last month for general renovations and so that the rooms that will become the new iteration of Ricos could be transformed into a vibrant space reminiscent of Mexican sports bars. [caption id="attachment_857614" align="alignnone" width="1920"] La Salut, Nikki To[/caption] Ricos Tacos will open at The Norfolk Hotel, 305 Cleveland Street, Redfern in early September. Top image: Nikki To
What runs the film world right now? Concert flicks, which are having a big-screen moment again. In the space of mere months, three huge examples of the genre will play cinemas worldwide, much to the delight of folks who like getting their movie and music fix in one go. First comes Taylor Swift's Eras tour concert film in October. In Australia, Talking Heads' Stop Making Sense, aka the best concert flick ever made, will return to picture palaces in November. And now RENAISSANCE: A FILM BY BEYONCÉ will do the same worldwide from December. Beyoncé is no stranger to splashing her sets across a screen, after HOMECOMING: A Film By Beyoncé did exactly that on Netflix back in 2019. That movie covered the superstar singer's time on the Coachella stage, and came with a 40-track live album as well. This time, Bey is focusing on her 56-performance, 39-city world RENAISSANCE tour in support of the 2022 album of the same name. Now wrapped up after starting in Stockholm in Sweden in May and finishing in Kansas City, Missouri in the US on Sunday, October 1, the RENAISSANCE tour featured everything from 'Dangerously in Love 2', 'Cuff It', 'Formation' and 'Run the World (Girls)' to 'Crazy in Love', 'Love On Top', 'Drunk in Love' and 'America Has a Problem'. Sadly, audiences in Australia or New Zealand haven't experienced that setlist for themselves, with the tour skipping Down Under shows so far. Accordingly, RENAISSANCE: A FILM BY BEYONCÉ is the first chance for Bey fans in this part of the world to join in without heading overseas. "When I am performing, I am nothing but free," says Beyoncé in the just-released trailer for the new concert flick, which dropped along with the news that the movie exists. "The goal for this tour was to create a place where everyone is free," the musician continues, in a sneak peek that includes behind-the-scenes glimpses, crowd shots and, of course, spectacular concert footage. RENAISSANCE: A FILM BY BEYONCÉ charts the tour from its first show until its last, as well as the hard work and technical mastery that went into it on- and off-stage, as 2.7-million-plus fans have seen in person. In North America, it'll hit cinemas on Friday, December 1, and play for at least four weeks from Thursday–Sunday, including in IMAX. Exactly when the film will debut Down Under hasn't been revealed as yet — nor where the movie will screen — but prepare for lift off ASAP afterwards. Check out the trailer for RENAISSANCE: A FILM BY BEYONCÉ below: RENAISSANCE: A FILM BY BEYONCÉ will start screening in North America from Friday, December 1, with opening dates in other locations still to be announced — we'll update you when Australia and New Zealand details are revealed. Images: Julian Dakdouk / Mason Poole.
It's hard not to fall in love with Excelsior Jones. The friendly cafe sits in what used to be an old corner store in the inner west suburb of Ashfield and is a welcome addition to a quiet neighbourhood that was, before Excelsior, devoid of a local haunt. Having to compete with popular neighbouring Marrickville and its drawcards of Cornersmith and Coffee Alchemy, Excelsior Jones is no doubt something the locals here will want to keep secret, especially with such a top-notch crew on board. Co-owners Anthony Svilicich and James Naylor are both ex Le Monde, so too is the barista, Julian Beresford, who is steaming out their own custom blend of Five Senses coffee to perfection. Also on board to bring a touch of brilliance to the modest menu is Adrian Borg, who previously held stints at Assiette and District Dining. The compact menu is a cracker. House-cured salmon hash with pearl shallots, fried buckwheat, poached egg, and fresh herbs ($16) is nourishing and tasty to say the least, while the bacon and egg sandwich with capsicum relish and aioli ($10) will please any fan of this staple. For those who love a crunchy granola, go for the house-made version with roasted seeds, nuts, and creamy yoghurt ($10), and if you're around for lunch, try the chicken salad with black sesame, avocado, and bean shoots ($15) or a slow-roasted lamb sandwich with salsa verde ($14). Feeling nostalgic? Your undoing could be a malted milkshake ($6.50) or a spider ($6), a real tribute to the classic milk bar days. But it's the cheeseburger that will win over the famished ($16). The tomato relish could be the crucial component, or perhaps it's the fried spuds that accompany this time-honoured favourite. Either way, it'll be hard to wipe a smile off your face afterwards. The open space uses white wooden furniture with raw textures, and big windows help to highlight the abundance of air and space. Both James and Anthony are incredibly enthusiastic about providing a place where locals and people from all walks of life are welcome and feel comfortable, and the atmosphere definitely reflects this. They're so passionate, in fact, that the name 'Excelsior Jones' came from historical research Anthony did into the area. Formerly the name for the street, before the current Queen Street, Anthony thought the pairing of the two words had a nice ring to it and slight mystique. Moreover, in Latin, 'excelsior' translates to 'ever upward'. You get the point.
Lives of extravagant luxury. Globe-hopping getaways. Whiling away cocktail-soaked days in gorgeous beachy locales. Throw in the level of wealth and comfort needed to make those three things an easy, breezy everyday reality, and the world's sweetest dreams are supposedly made of this. On TV since 2021, HBO's hit dramedy The White Lotus has been, too. Indeed, in its Emmy-winning first season, the series was a phenomenon of a biting satire, scorching the one percent, colonialism and class divides in a twisty, astute, savage and hilarious fashion. It struck such a chord, in fact, that what was meant to be a one-and-done limited season was renewed for a second go-around, sparking an anthology. That Sicily-set second effort arrives Down Under on Monday, October 31, airing week to week — via Binge in Australia and Neon in New Zealand — and the several suitcase loads of scathing chaos it brings with it are well worth unpacking again. Sex, status, staring head-on at mortality and accepting the unshakeable fact that life is short for everyone but truly sweet for oh-so-few, regardless of bank balance: they're The White Lotus season two's concerns. All three played key parts in season one as well, but this sunnily shot seven-episode second run emphatically stresses that the bliss money is meant to bring is truly a mirage, as is the carefree air of a vacation. Accordingly, another group of well-off holidaymakers slip into another splashy, flashy White Lotus property — this time in Taormina in Italy, sat atop jagged cliffs and beneath the looming Mount Etna — and work through their jumbled existences over drinks by the pool, dinners at the bar, hefty room-service bills and sightseeing trips around town. Another death lingers over their trip, with The White Lotus again starting with an unnamed body — bodies, actually — then jumping back seven days to tell its tale from the beginning. Running the Sicilian outpost of the high-end resort chain, White Lotus manager Valentina (Sabrina Impacciatore, Across the River and Into the Trees) is barely surprised by the corpse that kicks off season two. Non-plussed about the hotel's demanding guests, her staff and men in particular, she's barely surprised at much beforehand, either. Initially, viewers will share her lack of astonishment, with writer/director/creator Mike White (Brad's Status) setting up this return visit with similar elements as season one. New location, new hotel employees, a mostly new cohort of travellers, same malaise and mayhem: that's The White Lotus' second season at the outset and on the surface. As it proved the first time around with such potency, however, this series is exceptional at letting the supposedly straightforward and idyllic blister like a sunbather catching some rays — and at peeling away layer upon layer of ostensible ecstasy in a seeming utopia. Now married to Greg (Jon Gries, Dream Corp LLC), who she met in Hawaii in season one, Tanya McQuoid-Hunt (Jennifer Coolidge, The Watcher) is among the resort's fresh arrivals — and, with her husband, the show's familiar faces. Everyone else around Sicily skips through the series for the first time, some with a heartier spring in their step than others. Tanya's assistant Portia (Haley Lu Richardson, After Yang) is hardly thrilled when she's dispatched to her room, for instance, after Greg gets furious that she's on their vacation with them. She wants this jaunt away to be an experience after spending years alone in her room doomscrolling through the pandemic, but her boss just wants an emotional lap dog. Actually, Portia wants her trip to become a lusty Italian sex comedy, which White gleefully plays up across his slate of season-two characters; when in the country, clearly. Also having a conflicted time are three generations of Di Grasso men: Bert (F Murray Abraham, Guillermo del Toro's Cabinet of Curiosities), who wants to visit his mother's village and flirts with every woman he sees; Dominic (Michael Imperioli, The Many Saints of Newark), a Hollywood hotshot navigating a marital breakdown due to his philandering; and the Stanford-educated Albie (Adam DiMarco, The Order), who's determined for his relationships with women to be everything his grandad's and dad's aren't. And, there's another far-from-content group in the Spillers and the Babcocks, with tech whiz Ethan (Will Sharpe, Defending the Guilty) and his employment-lawyer spouse Harper (Aubrey Plaza, Best Sellers) newly flush with cash after the former sold his company, but begrudgingly accepting a getaway invite from his finance-bro college roommate Cameron (Theo James, The Time Traveller's Wife) and his stay-at-home wife Daphne (Meghann Fahy, The Bold Type). In the superbly written first five episodes of season two, White examines an array of familiar and relatable dynamics among Sicily's tourists, spanning new and long-standing couples, bosses and employees, and fathers and sons. When Portia and Albie cross paths early, it adds strangers potentially tumbling into a vacation romance to the itinerary a well. Delightfully, devilishly detailed characters are one of this show's strengths again, though, as aided by pitch-perfect performances all-round — especially from Coolidge once more, the endlessly cynical and expressive Plaza, and the tumultuous-and-loving-it Abraham. Another of The White Lotus' key drawcards, as paralleled in the new opening credits which play with Renaissance-style paintings: exposing how much emptiness, unhappiness and uncertainty sits behind such privileged lives, even in picturesque surroundings where opulence and relaxation are touted as the only aims. Eating the rich — and why they're eating themselves — is one of film and TV's favourite topics of late, whether Succession is spinning it into a similarly stellar satire across streaming queues, or Parasite and then Triangle of Sadness are winning the Cannes Film Festival's Palme d'Or. The White Lotus has always found extra bite in surveying the high-end holiday industry that relies upon well-to-do tourism, catering to such guests' every whim no matter how demanding or outlandish, too, by contrasting the vast difference between such vacationers and the staff at their beck and call, and acknowledging that true euphoria is never the end result. In season two, the remit broadens to Sicily locals who don't work at the titular resort — not officially, anyway. Sex worker Lucia (Simona Tabasco, The Ties) and aspiring singer Mia (Beatrice Grannò, Security) hang around the hotel to meet and chase both clients and dreams, and to covet the excess around them. All that glitters isn't gold for them, either. All similarly isn't quite what it seems for Palermo-dwelling Brit Quentin (Tom Hollander, The King's Man), who decamped to Sicily decades back and, with his nephew Jack (Leo Woodall, Cherry), rounds out season two's key character list. Through them, The White Lotus' widened scope also encompasses the expat community, as well as the reality behind turning a holiday into your daily life. There's new shades to the show this time around, but its overall insights aren't surprising, of course. Still, White keeps pushing further, cutting both sharply and deep as he takes down and tears apart the fallacy of wealth and lavishness. What's always made The White Lotus so delicious — and such a potent, perceptive, snaky and amusing must-see — isn't just its moneyed misery and messiness, after all, but smartly stripping bare the idea that stacks of cash and scenic settings can buy perfection and satisfaction, even fleetingly, for anyone. Check out the trailer for The White Lotus season two below: The second season of The White Lotus starts streaming Down Under from Monday, October 31 via Binge in Australia and Neon in New Zealand. Read our review of season one. Images: HBO.
If you've always had a fondness for the creepy, kooky, mysterious and spooky, the idea of spending an evening stepping into anything Addams Family-related probably sounds like a dream. Whether you first discovered pop culture's eeriest family via the 90s films, through old episodes of the 60s TV show, in various animated guises over the years — including on the big screen — or thanks to Netflix's Wednesday, that fantasy can now become an IRL reality if you score admission to Wednesday Island. When the streaming platform dropped the full trailer for Wednesday's second season on Thursday, July 10, 2025 Down Under (it was still Wednesday in the US, fittingly), it announced that it was creating a Wednesday experience in Australia. So, on Saturday, August 16, the platform is transforming Cockatoo Island / Wareamah in Sydney Harbour into a fan festival-hosting haven to the show. Now, just a day later, applications are now open to attend — and to be part of a setup that'll make you feel like you're at Nevermore Academy, complete with other activations, performances and more The details remain vague even now that the timer on the pop-up's website has ended its countdown — it was whiling away the seconds until 12am on Friday, July 11, 2025 — but Cockatoo Island will celebrate all things Wednesday for a macabre winter evening. You need to be over 16 to head along. You'll also have to dress the part, too, so you'd best dust off your black-hued and gothic-looking outfits. At present, applications are open for VIP double passes until Sunday, July 20, 2025. Thirty competition winners will score attendance, a merchandise pack, access to an exclusive viewing area, food and drink vouchers to use while they're there, and transport to and from Wednesday Island — via boat from Sydney, and also return economy flights to the Harbour City, and/or one night's accomodation, if you're located outside of metropolitan Sydney. You'll also be able to head along to a pre-festival event. To enter for VIP tickets, you're asked to record a video of up to 30 seconds showing why you need to be hitting up Wednesday Island — and why, like Wednesday, you're an outcast. After that, Wednesday fans will be able to go in the running for general admission tickets between Wednesday, July 23–Sunday, August 3, 2025. What that entails hasn't yet been revealed, but boat transport to and from the island, plus one food and one beverage token, will be included if you're selected. Netflix is also bringing the Wednesday cast to Australia as part of a worldwide promotional tour, but how that will factor into Wednesday Island also hasn't been announced as yet. As for watching the Jenna Ortega (Death of a Unicorn)-led and Tim Burton (Beetlejuice Beetlejuice)-executive produced series when it returns for its second season, you'll be doing that in two batches. Part one arrives on Wednesday, August 6, then part two on Wednesday, September 3. Check out the full trailer for Wednesday season two below: Wednesday Island is taking over Cockatoo Island in Sydney on Saturday, August 16. Head to the pop-up's website to apply for VIP double passes until Sunday, July 20, 2025, or to go in the running for general admission between Wednesday, July 23–Sunday, August 3, 2025 — or just for further information. Wednesday season two arrives in two parts, with part one dropping on Wednesday, August 6, 2025 and part two on Wednesday, September 3, 2025, both via Netflix. Read our full review of Wednesday season one. Images: Bernard Walsh, Helen Sloan and Jonathan Hession/Netflix © 2025.
It's been a crazy year all round, but there's one thing that's tracking along as nicely as ever and that's Apple's plans for its latest iPhone creations. The tech giant has just dropped all the hot little details for its next highly-anticipated iPhone 12 releases; the standard, Mini, Pro and Pro Max. True to form, Apple's new phones come fitted out with its finest suite of features yet, rendering all those before them instantly uncool. We're talking about an all-new design, complete with super speedy A14 Bionic chip, next-level pro camera, 5G and the largest edge-to-edge Super Retina XDR display to ever feature on any iPhone. Here are seven details about the new iPhone 12, served up in handy dot point form for your next debrief with mates. YOU CAN DOWNSIZE YOUR UPGRADE, WITH THE MINI VERSION The standard iPhone 12 clocks in at 6.1 inches from corner to corner, pretty much dwarfing the 5.8 inches of the old iPhone X. But if you'd prefer something that actually fits in your hand, the same features also come neatly packed into the iPhone 12 Mini, which measures at a more manageable 5.4 inches. That now lays claim to being the smallest, lightest and thinnest 5G phone on the market. THERE ARE NEW COLOURS TO CHOOSE FROM Once again, Apple is tempting buyers with a range of fun phone colours, with the iPhone 12 and mini edition available in red, blue, green, black and white aluminium finishes. The Pro and Pro Max keep things a little more subdued, with a choice of gold, graphite, silver or pacific blue. IT CHARGES WIRELESSLY...BUT DOESN'T ACTUALLY COME WITH A CHARGER Yep, Apple's caused a big stir with this one. The new iPhone 12 has been optimised for use with a MagSafe wireless charging system, featuring a special magnet in the back that's designed to work seamlessly with a newly released line of wireless charging devices and other phone accessories. But you'll find exactly none of them included with your new phone purchase. In what's apparently an environmentally friendly move, Apple's not supplying any new chargers or AirPods in its iPhone 12 boxes — instead, it wants buyers to keep using their old gear, or buy new ones separately. IT'S MUCH HARDER TO DESTROY If you're the kind of person that leaves a trail of ruined smartphones in their wake, these new models might have you breathing a little easier. Clumsy hands don't stand much of a chance against the ceramic shield cover, which is infused with nano-ceramic crystals and apparently makes the phones four times more likely to survive a drop than their predecessors. Spills aren't an issue either, with all four models boasting an industry-leading IP68 water resistance rating, protected up to six metres for up to 30 minutes. IT'S A GAMER'S DREAM The main thing you need to know about the new A14 Bionic chip is that it's 50 percent faster than any other smartphone chip out there. Which in short, means the iPhone 12 promises a console-quality gaming experience, without burning through that battery all in one hit. THE PRO CAMERA IS BETTER THAN EVER Phone snaps and Tik Tok videos are about to kick up a few gears, if the new iPhone 12 cameras have anything to do with it. Apple's incorporated night mode for both the wide and ultra-wide cameras, and a host of improvements mean low-light shots will be better than ever. The camera is also the first device in the world to enable an end-to-end Dolby Vision experience, which is a game-changer for smartphone video. IT'S NOT AS PRICEY AS YOU MIGHT HAVE EXPECTED The good news is, you can snap up one of Apple's latest for even less than you forked out for the iPhone X. The Mini starts from $1199, while the standard iPhone 12 will set you back $1349 for a 64GB, moving up to $1599 for the 250GB edition. Up the other end, the cheapest Pro clocks in at $1699 and the Pro Max starts from $1849. You'll be parting with a cool $2369 if you want the 512GB version, though. The iPhone 12 varieties will be available to pre-order from October 16. Head here for the standard and Mini, or here for the Pro editions.
You're immersed in a virtual environment — and sporting the appropriate headgear, of course — when someone tries to get in touch with you back in the real world. What do you do? It's a #firstworldproblem hardly anyone has actually experienced yet, despite affordable VR headsets starting to hit the market; however Facebook has a solution. The social media giant does own Oculus, after all, so it was only a matter of time before they found a way to integrate one with the other. At the Oculus Connect 3 conference this week, Facebook CEO Mark Zuckerberg donned a pair of tech-savvy goggles, entered an augmented reality realm and took a Facebook Messenger video call from his wife, Priscilla Chan. The chat popped up on a device worn on his avatar's wrist, then opened in a window in his field of vision, meaning that he could both talk and keep going about his virtual business. Zuckerberg also unveiled a few more VR bits and pieces, including the ability to take a virtual selfie and share it on Facebook (hey, we already said this kind of thing was only a matter of time). Then there's what's being called "VR emoji", which are exactly what they sound like — if you gesture in an angry or happy way, your avatar's face will change to display your emotional state. Plus, you can also take 360-degree photos of actual, real-world scenes and overlay them with VR avatars of friends who are elsewhere so that you can all hang out, play cards or board games, have a sword fight or watch TV. We mightn't all be donning headsets right this moment, but developments like this show that virtual reality isn't going anywhere. In fact, with Sony's Playstation VR released this month, the field is really just beginning to roll out, so expect plenty more news where this came from. Via Tech Crunch. Image: Oculus.
If your favourite Nutella recipe is to take a household tablespoon and dig straight in, then we don't blame you. The delicious hazelnut spread makes eating chocolate for breakfast an entirely acceptable concept. In fact, Nutella is so fondly-held across the globe that it's prompted its own dedicated festival, a toaster-shaped food truck and an honourary burger from the golden arches. Melbourne's obsession with the stuff even caused a country-wide shortage a few years ago. Nutella lovers now have 185 new ways to enjoy the spread as the brand launches its very own recipe book. The hardback, titled 'Delicious Creations with Nutella', showcases a selection of recipes for every occasion, covering everyday breakfast and afternoon options to celebratory moments like Christmas and Valentine's Day. The recipes inside were inspired by the creations of Aussie and Kiwi home cooks who have been making and sharing their ideas over the past 12 months. Within the book's 185 pages you can find simple no-frills recipes slathering the chocolatey spread on white bread through to more elaborate creations like three-layer cheesecakes, mille-feuille with chantilly mousse and choux pastries. So how do you get your hands on one? Just 2000 copies of 'Delicious Creations with Nutella' are up for grabs between Australian and New Zealand. Until June 28, those who buy a specially-marked jar of Nutella and then enter online will be in the running to score their own copy. Nutella is also bringing the recipes to life in a series of cooking classes around Australia. Cooking schools hosting classes in May and June include Sydney's VIVE Cooking School, Brisbane's Lumiere, Perth's The Little Italian School and Adelaide Chocolate School. For more information about 'Delicious Creations with Nutella' and the brand's series of cooking classes, visit, nutella.com.
Odd Culture, the team behind Woolloomooloo favourite The Old Fitz and Newtown's Odd Culture (one of Sydney's best bars) brought The Duke of Enmore to life with a reboot of massive program of live music, top-notch pub menu and not-your-average pub drinks list. The 1870-built Duke of Enmore boasts an Australiana-meets-American dive bar vibe, with a pool table instead pokies and a moody al fresco beer garden. The main bar features a sleek two-tonne polished-concrete bar top with spotted gum cladding. But the comforting, vaguely daggy pub feel hasn't gone anywhere. On the walls you'll find an array of thrifted paintings, and despite the elevated menu, the dining room is simple and unpretentious. The kitchen centres around woodfire- and charcoal-grilled eats. Salt and vinegar potato gems, garlic cob loaf and suppli with mushroom bolognaise and spicy marinara sauce are all there to kick off your meal, alongside the pub's signature Duke Burger featuring a 200-gram angus patty, double cheese, burger sauce and onion. The drinks list is a tightly edited selection of stellar natural wines, plenty of independent beers including Odd Culture's own Boothy Baby collaboration with 4 Pines, alcoholic slushies and picklebacks. The final element of The Duke is live music. It's the closest boozer to the Enmore Theatre and for pre-gig beers and post-gig debriefs, it's hard to beat and ranks among our list of the best pubs in Sydney. Appears in: The Best Pubs in Sydney Where to Find the Best Steaks in Sydney
Each year for 17 years now, Australian beer lovers have voted on their top craft brews. Only twice has the same tipple won not just for two years in a row, but in three consecutive polls. The first to manage the feat was Feral Brewing Co's Hop Hog from 2012–14. Now, Mountain Culture's Status Quo Pale Ale has also notched up the same achievement, winning from 2022–24. Emerging victorious in the GABS Hottest 100 Aussie Craft Beers poll for 2024, this Mountain Culture sip just keeps living up to its name, clearly. The brew from the New South Wales outfit in the Blue Mountains was anointed 2022's top drop and dubbed 2023's best tipple as well. So, yes, there is indeed a status quo among Australian beer drinkers of late — and it keeps being maintained. This yeasty poll does for beer what Triple J's huge annual music countdown for bangers — and while there's only been two threepeats in the GABS list's history so far, it sure does love repeat winners. In both 2020 and 2021, Canberra's Bentspoke Brewing Co did the honours with its Crankshaft American IPA. In 2022 and 2023, that brew came in third instead, then picked up fourth place in 2024. In second spot this time: Coopers Brewery's Original Pale Ale, taking over from 2017 and 2018 winner Balter Brewing Company, with its Balter XPA notching up third place — slipping down from second in 2022 and 2023. Gage Roads Brewing Co's Single Fin Summer Ale took out fifth spot, followed by Range Brewing's Disco in sixth, Your Mates Brewing Co's Larry in seventh place, Philter Brewing's XPA in eighth, 4 Pines Brewing Company's Japanese Lager in ninth and One Drop Brewing Co's We Jammin' to round out the top ten. Mountain Culture, which is run by husband-and-wife team DJ and Harriet McCready — and has boasted Australian cricketer Pat Cummins as its first investor since November 2024 — also placed 31st with its Cult IPA, 60th with its Be Kind Rewind NEIPA and 87th with its Scenic Route brew. And yes, it had more than a little company. 2024's hottest 100 was whittled down from almost 400 vote-receiving breweries, with 70 different outfits making the list. State by state, Mountain Culture was the best New South Wales brewery, of course, while Coopers was South Australia's top spot, Balter is the highest-ranked Queensland name and Bentspoke flies the flag for the Australian Capital Territory. Bridge Road is Victoria's top representative, while Gage Road and Fox Friday earn that label for Western Australia and Tasmania, respectively. Held by GABS — or the annual festival also known as the Great Australian Beer SpecTAPular, which returns for 2025 this autumn — the countdown is a people's-choice poll decided by booze lovers around the country. If you're thinking "less background, more beer", here's what you've been waiting for: the rundown of the best beverages from the past year that just keep tempting tastebuds. Working your way through the whole 100 isn't just a great way to show your appreciation for locally made brews, either — consider it research for the 2025 countdown. GABS Hottest 100 Aussie Craft Beers of 2024 1. Mountain Culture Beer Co Status Quo 2. Coopers Brewery Original Pale Ale 3. Balter Brewing XPA 4. BentSpoke Brewing Co Crankshaft 5. Gage Roads Brewing Co Single Fin Summer Ale 6. Range Brewing Disco 7. Your Mates Brewing Co Larry 8. Philter Brewing XPA 9. 4 Pines Brewing Company Japanese Lager 10. One Drop Brewing Co We Jammin' 11. Bridge Road Brewers Beechworth Pale Ale 12. Young Henrys Newtowner 13. Stone & Wood Brewing Co Pacific Ale 14. Blackflag Brewing Rage Juicy Pale Ale 15. Pirate Life Brewing South Coast Pale Ale 16. Rocky Ridge Brewing Co Jindong Juicy 17. Capital Brewing Co Coast Ale 18. Bright Brewery Alpine Lager 19. Seeker Brewing Mystic NEIPA 20. Hawkers Beer West Coast IPA 21. Akasha Brewing Co Freshwater Pale Ale 22. Beerfarm Royal Haze 23. The Grifter Brewing Co Pale 24. Burleigh Brewing Co Burleigh Bighead 25. Black Hops Brewing G.O.A.T. 26. Hop Nation Brewing Co J-Juice 27. Blackman's Brewery Juicy Banger IPL 28. KAIJU! Beer KRUSH! Tropical Pale Ale 29. Reckless Brewing Co BX Lager 30. Fox Friday Craft Brewery Hazy IPA 31. Mountain Culture Beer Co Cult IPA 32. Little Creatures Pale Ale 33. Balter Brewing Eazy Hazy 34. Coopers Brewery Sparkling Ale 35. Mountain Goat Beer GOAT Very Enjoyable Beer 36. 10 Toes Brewery Pipeline 37. Better Beer Zero Carb 38. Hiker Brewing Co Horizon 39. Bodriggy Brewing Company Speccy Juice 40. Little Bang Brewing Co Sun Bear 41. Helios Brewing Co Dionysus Oat Cream DIPA 42. Range Brewing Lights + Music 43. CBCo Brewing CBCo Pale Ale 44. Banks Brewing Cake Eater 45. Moon Dog Craft Brewery Old Mate 46. Shout Brewing Co Mullet Pale Ale 47. Capital Brewing Co Capital XPA 48. Bad Shepherd Brewing Co Peanut Butter Porter 49. BentSpoke Brewing Co Barley Griffin 50. Matso's Mango Beer 51. James Squire One Fifty Lashes 52. Heaps Normal Quiet XPA 53. Margaret River Beer Co In The Pines 54. Moffat Beach Brewing Co Passenger Pale Ale 55. Heads of Noosa Brewing Co Japanese Style Lager 56. Green Beacon Brewing Co Wayfarer Tropical Pale Ale 57. Feral Brewing Co Biggie Juice 58. Wolf of the Willows Brewing Wolf PUP Hazy Pale Ale 59. Hawke's Brewing Hawke's Patio Pale 60. Mountain Culture Beer Co Be Kind Rewind 61. Lightning Minds Pale Ale 62. Balter Brewing Hazy IPA 63. Bridge Road Brewers Bling IPA 64. Sunday Road Brewing Cryotherapy 65. Brewmanity Mouth of Melbourne 66. Big Shed Brewing Concern Boozy Fruit 67. Coopers Brewery Australian Lager 68. Balter Brewing Cerveza 69. Capital Brewing Co Hang Loose Juice Hazy IPA 70. Coopers Brewery XPA 71. 4 Pines Brewing Company Pacific Ale 72. Black Hops Brewing East Coast Haze 73. Stomping Ground Brewing Co Gipps St Pale Ale 74. Byron Bay Brewery Premium Lager 75. Range Brewing Dreams 76. The Grifter Brewing Co Serpents Kiss 77. Wayward Brewing Co Hazy Mid 78. Curly Lewis Brewing Co Bondi Hazy Ale 79. Yulli's Brews Amanda Mandarin IPA 80. Hop Nation Brewing Co Rattenhund 81. Gage Roads Brewing Co Hazy As 82. Blackflag Brewing Affinity Tropical Pale 83. Hawke's Brewing Hawke's Lager 84. Future Magic Brewing Co Hazy Shade of Pale 85. Feral Brewing Co Hop Hog 86. Dangerous Ales Crispy Boi Lager 87. Mountain Culture Beer Co Scenic Route 88. 4 Pines Hazy Brewing Company Pale Ale 89. Gage Roads Brewing Co Side Track All Day XPA 90. Pirate Life Brewing Hazy XPA 91. Fox Friday Craft Brewery Pale Ale 92. Lord Nelson Brewery Hotel Three Sheets Pale Ale 93. BentSpoke Brewing Co Sprocket 94. Burleigh Brewing Co Twisted Palm 95. Mountain Goat Beer Tasty Pale Ale 96. Shelter Brewing Co Hazy IPA 97. White Rabbit Dark Ale 98. Jetty Road Pale Ale 99. Dainton Beer Blood Orange NEIPA 100. Bojak Brewing Calypso For more information about the GABS Hottest 100 Aussie Craft Beers of 2024, head to the GABS website.
If there's one recycling exercise that's always fun to do, it's finding a new use for an old bottle. We've seen Jack Daniels flasks transformed into soap dispensers, bottle caps turned into garden sculptures and crates of beer metamorphose into Christmas trees. If summer holiday excesses have left your place overflowing with empty receptacles that once bore much seasonal cheer, here's one simple, ingenious way to take care of them: Bottle Lights. Supplied by quirky gifts company SUCK UK, they transform any bottle into a magical lantern. Priced at just £10 ($18), LED corks are a convenient alternative to candles, which might look enchanting but don't survive the outdoors should any gust of wind come their way. Plus, a host of clever features means particularly slick operation. These include an on/off twist mechanism and rechargeability via USB. One hour's worth of charges provides two-and-half-hours of illumination. So, not only are they pretty, they're also eco-friendly. SUCK recommends brightening up a series of vintage bottles for an unusual lighting effect or selecting a favourite empty and transforming it into a central table-piece. Via Gizmodo.
Soufflé? Good. Pancakes? Good. Soufflé pancakes? A match we're very keen to get behind — and one Sydneysiders can experience for themselves at Gram Cafe's first store on Australian soil. Founded by Takeshi Takata, Gram Cafe opened its first store dedicated to sky-high soufflé pancakes in Osaka back in 2014, before quickly gaining a cult following across Japan (and across the internet). Since then, it has opened more than 60 stores in Asia, Canada and the US. As of February 2020, a Chatswood cafe is among that number, too. To make sure each pancake is as light and fluffy as its Osaka counterparts, the Sydney chefs have been trained by the big boss from Japan. They're whipping up a batter heavy with egg whites, steaming it under metal domes and then cooking it until its golden on the outside and white and fluffy on the inside. Get a stack of three ultra-light pancakes, each with a soufflé consistency and drizzled with syrup. There are eight different flavours to try, including matcha, tiramisu, caramelised banana and honey apple with earl grey cream. Plus, there are a few other brunch items on the menu, too, including french toast, savoury pancakes, parfaits and smoothies. Of course, such aesthetically pleasing food comes in a pretty package, with the cafe itself sporting a luxurious green, grey and gold colour palette, complete with velvet chairs, luscious hanging plants and neon lights.
Coffin Flop fans, rejoice — we don't yet know if world's wildest supremely fictional TV series will make a new appearance when I Think You Should Leave with Tim Robinson returns for season three, but something else just as absurd and wonderful will either way. Will Corncob TV earn another mention? How awkward will this Netflix sketch comedy's namesake get? Which examples of the absolute worst behaviour will it satirise? Do you need to slop up some steaks while watching? How slicked-back is your hair right now? Expect to answer all of this and more on Tuesday, May 30. Baby, baby, baby, that's when one of the best comedies currently being made will return with six new episodes, as led by Detroiters star Tim Robinson. His surreal comic stylings have already gifted viewers hot dog suits, Garfield houses, tense plane encounters and babies who know you used to be a piece shit, and he has plenty more in store as the just-dropped trailer for the third season teases. I Think You Should Leave with Tim Robinson first arrived in 2019 when, on one otherwise normal day, folks sat down on the couch, switched on their televisions, started scrolling through Netflix and came across an instant cult-hit comedy. The best sketch comedy of that year, and one of the best TV shows in general, too, the series' first season was ridiculously easily to binge — and flat-out ridiculous. You don't even need two hours to get through all six episodes but, once you're done, you'll wish that it went for at least twice as long. When season two arrived in 2021, it was just as phenomenal. OTT, hilarious, finding gags about a secret excuse to help men explain away pee stains on their pants, plus quite the loud and lurid shirt, and then a daggy hat — that's this series. Absolutely no one excavates, explores and satirises social discomfort with the gusto, commitment and left-of-centre viewpoint of Robinson, with his skits diving headfirst into excruciating situations, dwelling there and letting them fester. It's no wonder that the former Saturday Night Live comic has a hit on his hands. Just try looking away from his flexible facial expressions alone. That proves the case in the sneak peek, which is filled with multiple fake game shows, adult babies, fedoras, crying and Robinson at his silliest, and will already get you cringing as it's 100-percent designed to do. In season three, Robinson will again be joined by Will Forte (Weird: The Al Yankovic Story), plus everyone from Jason Schwartzman (I Love That for You) and Fred Armisen (Barry) to Ayo Edebiri (The Bear) and Tim Meadows (Poker Face). Sam Richardson (The Afterparty) is also back, once again giving Detroiters devotees a glorious reunion. The series also boasts some big names off-screen, with The Lonely Island (aka Brooklyn Nine-Nine's Andy Samberg and his regular comedy partners Akiva Schaffer and Jorma Taccone) its executive producers. Check out the trailer for I Think You Should Leave with Tim Robinson season three below: I Think You Should Leave with Tim Robinson's third season will be available to stream via Netflix from Tuesday, May 30. Images: Terence Patrick, Netflix.
Great renewal news for fans of Mabel Mora (Selena Gomez, The Dead Don't Die), Oliver Putnam (Martin Short, Schmigadoon!) and Charles-Haden Savage (Steve Martin, It's Complicated) usually means bad news for the folks that the trio know on-screen. Only Murders in the Building viewers get more episodes, but that means more deaths within the hit murder-mystery comedy's narrative. That's exactly the case right now, with the series just wrapping up its Paul Rudd (Ant-Man and the Wasp: Quantumania)- and Meryl Streep (Don't Look Up)-guest starring third season, then revealing that there's more in store — with the show locked in for season four. More instalments, more killings and more amusing antics are all on the way, then, for the series that first got Gomez, Short and Martin sleuthing in 2021's season one (aka one of the best new shows of that year), then followed it up with 2022's season two (aka one of the best returning shows of that year, too) before arriving for its third go-around in 2023. Details of when the series will return, who else will pop up and the like haven't yet been announced, but expect to spend more time in Only Murders in the Building's world. The show started with three residents of the same New York apartment building crossing paths after a murder in their building — hence the title — then bonding over true-crime podcasts. Next, they did what everyone that's jumped on that bandwagon knows they would if they were ever in the same situation, starting their own audio series that's also called Only Murders in the Building. That's how season one kicked off — and continued, proving a warm, funny, smart and savvy series at every step along the way. In the show's second season, another death needed investigating. That time, it was someone the main trio were all known not to be that fond of, so suspicions kept pointing in their direction. Indeed, every season, another death has given aspiring artist Mabel, Broadway producer Oliver and actor Charles-Haden another case to dive into. In season three, that involved looking into who caused Ben Glenroy (Rudd) to shuffle off this mortal coil at the opening night of Oliver's latest show. "Is this really happening again?" asked the theatre figure in the first teaser trailer for season three. "Yes, yes it is" was the answer from Only Murders in the Building's audience then — and still now. "The trio's journey is far from over," US streaming platform Hulu, which produces the show, announced on social media. There's no sneak peek at season four as yet, but you can check out the full trailer for Only Murders in the Building season three below: Only Murders in the Building's streams Down Under via Star on Disney+. Read our full reviews of season one, season two and season three. Images: Hulu.
