Timothée Chalamet (Dune: Part Two) playing Bob Dylan. Nicole Kidman (The Perfect Couple) getting steamy with Harris Dickinson (Blitz) in an erotic thriller. Daniel Craig (Glass Onion: A Knives Out Mystery) leading the latest film from Challengers director Luca Guadagnino, who reteams with the tennis hit's screenwriter Justin Kuritzkes. A Complete Unknown, plus the Australian premieres of both Babygirl and Queer, are just three standouts on the upcoming Westpac Openair Cinema program, but they're indicative of an impressive full lineup. After teasing its 2025 slate throughout November, the Sydney summer favourite has now dropped its complete program. Big screen, big highlight of January and February for Harbour City cinephiles, big movies: when Westpac Openair Cinema returns to Mrs Macquaries Point with its three-storey-high screen to kick off another year, it'll tick all of those boxes. The Chalamet-led A Complete Unknown had already been revealed as the outdoor picture palace's opening-night pick, screening on Thursday, January 9 to start 41 nights of movies under the stars in stunning surroundings — but now it has plenty of company. Maria, with Angelina Jolie (Eternals) as famous soprano Maria Callas, is also on the bill — and, as with A Complete Unknown, Babygirl and Queer, will be playing to Westpac Openair Cinema audiences before releasing in theatres elsewhere in Australia. The 1972 Munich Olympics-set September 5 and and Sweden's The Last Journey fall into the same category, alongside the previously announced Bridget Jones: Mad About the Boy. Spit, the Gettin' Square followup featuring David Wenham (Fake) returning to the role of Johnny Spiteri, will premiere to close out the season on Tuesday, February 18 — but before that, the Pierre Niney (The Book of Solutions)-led latest take on The Count of Monte Cristo will also make its first appearance Down Under, in a session in conjunction with the Alliance Française French Film Festival. Elsewhere, spanning both titles that were named in advance and new additions, audiences can look forward to Paul Mescal (All of Us Strangers) in Gladiator II; the first Wicked movie with Ariana Grande (Don't Look Up) as Glinda and Cynthia Erivo (Pinocchio) as Elphaba; and 2024 Cannes Palme d'Or-winner Anora from Tangerine, The Florida Project and Red Rocket filmmaker Sean Baker. Or, there's My Old Ass, about a teen who receives life advice from her older self — who happens to be played by Aubrey Plaza (Agatha All Along) — and Spanish auteur Pedro Almodóvar's (Parallel Mothers, Pain and Glory) English-language feature debut The Room Next Door, with the iconic director teaming up with Tilda Swinton (Fantasmas), Julianne Moore (May December) and John Turturro (Mr & Mrs Smith). With We Live in Time, audiences can look forward to Florence Pugh (Dune: Part Two) and Andrew Garfield (Under the Banner of Heaven) in a romance from Brooklyn filmmaker John Crowley, which follows a couple's relationship across a decade — and with Nightbitch by The Diary of a Teenage Girl, Can You Ever Forgive Me? and A Beautiful Day in the Neighbourhood director Marielle Heller, viewers can watch Amy Adams (Dear Evan Hansen) playing a stay-at-home mum who turns canine. [caption id="attachment_981883" align="alignnone" width="1920"] Buffet Digital, @patstevenson[/caption] Ralph Fiennes (The Wonderful Story of Henry Sugar) is at the centre of witty papal election thriller Conclave, alongside Citadel's Stanley Tucci, Killers of the Flower Moon's John Lithgow and Spaceman's Isabella Rossellini; Better Man puts Robbie Williams in the spotlight, but is never a mere traditional music biopic; and A Real Pain is helmed by and stars Jesse Eisenberg (Fleishman Is in Trouble), doing the latter opposite Kieran Culkin (Succession). Or, there's musical crime comedy Emilia Perez from Jacques Audiard (A Prophet, Rust and Bone), which won stars Karla Sofia Gascón (Harina), Zoe Saldaña (Special Ops: Lioness) and Selena Gomez (Only Murders in the Building) the 2024 Cannes' Best Actress prize to share — and also Irish rappers Kneecap playing themselves in the delightful film that shares their name. Notting Hill, Dirty Dancing, the original Bridget Jones' Diary and Crazy, Stupid, Love have blasts from the past covered — and, although it's only from earlier in 2024, so does the Sydney-shot The Fall Guy. [caption id="attachment_981867" align="alignnone" width="1920"] Fiora Sacco[/caption] For bites to eat, this year's season will feature a Festival of Food, with Luke Nguyen (Botanic House's Culinary Director), Danielle Alvarez (Chef and Sydney Opera House's Culinary Director of its event venues) and Scott McComas-Williams (Love Tilly Group's Group Executive Chef) curating. Three dining experiences will greet moviegoers. At the casual Luke Nguyen at The Point, Vietnamese fusion menu will be on offer. Summer House Dining by Danielle Alvarez is all about Mediterranean-inspired meals and full-service dining. And at Fabbrica at Chandon Garden, there'll be a pasta bar-style menu. As happens every year, tickets to Westpac Openair Cinema likely to go quickly when they go on sale at 9am AEDT on Monday, December 9. Across the summer of 2018–19, more than 40,000 tickets sold within the first two days of pre-sale, for instance — so put it in your diary ASAP. [caption id="attachment_980238" align="alignnone" width="1920"] Buffet Digital, @patstevenson[/caption] [caption id="attachment_980239" align="alignnone" width="1920"] Buffet Digital, @patstevenson[/caption] [caption id="attachment_978120" align="alignnone" width="1920"] Fiora Sacco[/caption] [caption id="attachment_978121" align="alignnone" width="1920"] Chris Grundy[/caption] Westpac Openair 2025 runs from Thursday, January 9—Tuesday, February 18. Tickets go on sale at 9am AEDT on Monday, December 9, 2024 — head to the event's website for more details.
The face mask is about to enjoy a peak in popularity, after the NSW Government strongly suggested Sydeysiders start wearing face coverings, at a press conference over the weekend. Premier Gladys Berejiklian has outlined four key situations where masks should be worn: if you're in an enclosed space and can't social distance, such as at a supermarket or on public transport; if you're working a customer-facing job, such as hospitality or retail; if you're attending a place of worship; and if you're in an area where there is high levels of community transmission. At this stage, masks aren't compulsory for NSW, but as the state continues to record daily new case numbers in the double digits, many locals are stocking up on those face coverings. And if you want to jump on board, you'll find plenty of locally made options to choose from. You can pick up affordable, one-use face masks from major retailers like Officeworks, Chemist Warehouse, Kmart and Bunnings. Some are offering delivery and click-and-collect options, though you'll need to check individual stores to see what's available and who's got stock. Alternatively, crafty folk Australia-wide are whipping up a variety of reusable cloth masks, available either to purchase in-store, or to buy online and have sent straight to your door. Keep in mind, however, that some may be experiencing slower manufacturing and delivery times thanks to the rush in demand, but most are restocking regularly. Here are a few local options to check out if you're masking up: [caption id="attachment_779425" align="alignnone" width="1920"] Masks from Ford Millinery[/caption] THE ECO MASK This Sydney company is slinging a huge assortment of face masks through its online store, starting from just $15 a pop. You'll find options here for both kids and adults, with designs ranging from bold block colours to lively prints, and new gear landing weekly. Each mask is handmade with two layers of cotton and a top wire to fit to your nose. The Eco Mask's masks are available online for $15 PAPINELLE You'll likely know this Paddington-based label for its luxurious sleepwear designs, but in keeping with the times, it's now having a crack at some swanky face coverings, too. Papinelle has got you protected in style, with washable masks made from silk. They've got adjustable elastic straps, interior filter pockets and even wire bridges to fit your nose. Due to demand, stock is being sent out in batches. Papinelle's masks are available online for $39.95 FORD MILLINERY Chantelle Ford's Sydney-based millinery business has turned its talents to stylish face coverings, even launching new initiative Masks 4 Mates. Shop this fab range of reversible printed fabric masks and five percent of each sale will go straight to charity. The designs are made from washable, pleated cotton and come in three different sizes. Ford Millinery's masks are available online for $29.95 LOVE, LAUGH AND LIGHT COLLECTIVE If you're after some eye-catching designs to wrap your face in, take a squiz at the latest range of masks from Love, Laugh and Light Collective. The medical supply company is stitching brightly hued face masks to order, available in both plain colours and snappy prints. The multi-layer designs are made by hand, each with a mouldable nose guard to ensure minimal facial squishing. Love, Laugh and Light Collective's masks are available online for $25.50–28.50 (single), or $46.55 (two-pack) THE SOCIAL OUTFIT This fashion-focused social enterprise is not only making face masks, but its new initiative B1-G1 will match each mask purchase by donating another to someone in need. The designs are double-layered, with elastic ear ties and wire nose bridging. And there are heaps of fun prints to choose from. The B1-G1 online store is currently waiting on stock, but in the meantime you can find a selection of masks at The Social Outfit's Newtown HQ. The Social Outfit's masks are available online and in-store for $27 BREATHE EASY Newcastle-based company Breathe Easy has your back with its collection of plain cotton washable face masks. Each multi-layer mask features adjustable ear straps and a filter for extra protection. You'll even score four new filter inserts included with any item purchased. Breathe Easy's masks are available online for $39.95 BUNDARRA This Australian clothing manufacturer makes stylish threads featuring artworks by First Nations artists and its extensive line of face masks is no different. Colourful prints from a range of contemporary artists have been transformed into face coverings, each made from three fabric layers and featuring a removable filter. New stock is arriving daily. The company also donates a percentage of all sales to non-profit The MaraWay. Bundarra's masks are available online for $24.95 SCOUT THE LABEL A local designer fashion brand with a conscience, Scout The Label has released a nifty new collection of face masks crafted in various natural fabrics. Each of the four-layer coverings come with an internal filter compartment and adjustable ear elastics to ensure comfy noggins. There are three sizes available, currently with five neutral hues to choose from. Scout The Label's masks are available online for $25–30 [caption id="attachment_779426" align="alignnone" width="1920"] A mask from KITX[/caption] KITX Ethical fashion label KitX has expanded its collection to include a range of reusable face masks made from fabric remnants. There are single-layer and triple-layer varieties on offer, all pleated for comfort and with elastic loops to secure at the ears. Go for a stylish print, or a plain hued version, like the blue hemp number currently in stock. KitX's masks are available in-store and online for $25-35 WHITE RABBIT GALLERY Its main focus has always been celebrating contemporary Chinese art, but the renowned White Rabbit Gallery is now dabbling in the face mask biz as well. The talented Rondah McKellar has been busy crafting a variety of colourful kids and adults masks for sale in the gallery's shop. They're super soft, reversible and feature three layers of fabric in a range of different prints. The larger sizes are currently sold out, but more are set to arrive in the coming days. White Rabbit Gallery's masks are available in-store from $20 (once restocked). To find out more about the status of COVID-19 in NSW, head to the NSW Health website. Top images: Ford Millinery
At the 2024 British Film Festival, when you're not watching movies starring Saoirse Ronan, Andrew Garfield, Florence Pugh and Barry Keoghan, you'll be catching the latest performances from Ralph Fiennes, Jude Law, Pierce Brosnan and Helena Bonham Carter. There's never any lack of big-name talents gracing the screen at Australia's annual celebration of the UK's latest and greatest contributions to cinema, but this year's is particularly jam-packed — so much so that there's not just one feature boasting Ronan among its cast, but two. Blitz, which sees the Foe, Little Women and Ammonite actor team up with 12 Years a Slave, Widows and Small Axe filmmaker Steve McQueen, is the British Film Festival's 2024 opening-night film. Playing Down Under fresh from also launching the London Film Festival, the period drama heads back to World War II, and starts the fest's month-long run from Wednesday, November 6–Sunday, December 8 with one of the year's must-see movies. At the other end of the festival, the also highly anticipated We Live in Time will close out the event's seasons in Sydney, Melbourne, Brisbane, Perth, Adelaide, Canberra, Byron Bay and Ballarat. Pugh (Dune: Part Two) and Garfield (Under the Banner of Heaven) lead the romance from Brooklyn filmmaker John Crowley, which follows a couple's relationship across a decade. The second Ronan-led flick on the full 2024 British Film Festival comes courtesy of page-to-screen adaptation The Outrun, where the four-time Oscar-nominee plays a recovering addict — and there's plenty more highlights on the program from there. Hard Truths sits in the fest's centrepiece slot, reuniting iconic director Mike Leigh (Peterloo) with his Academy Award-nominated Secrets & Lies star Marianne Jean-Baptiste (Surface). Also boasting the coveted pairing of an impressive helmer and an exceptional on-screen talent: Bird from Andrea Arnold (American Honey), which is where Keoghan (Saltburn) pops up. As for Fiennes (The Wonderful Story of Henry Sugar), he stars with Juliette Binoche (The New Look) in The Return, a British spin on Homer's Odyssey — and also in papal thriller Conclave with Citadel's Stanley Tucci, Killers of the Flower Moon's John Lithgow and Spaceman's Isabella Rossellini. Law (Peter Pan & Wendy) plays King Henry VIII opposite Alicia Vikander (Irma Vep) as Katherine Parr in Firebrand, while Brosnan (The Last Rifleman) and Bonham Carter (One Life) feature in romance Four Letters of Love. Other standouts include the century-hopping dark comedy Timestalker from Garth Marenghi's Darkplace alum Alice Lowe, the Gillian Anderson (Scoop)- and Jason Isaacs (Archie)-led The Salt Path, Julia Louis-Dreyfus (You Hurt My Feelings) facing death in Tuesday, and Kelly Macdonald (Operation Mincemeat) and Damian Lewis (Billions) in vampire comedy The Radleys. For music fans, there's a dedicated themed sidebar featuring both Blur: To the End and Blur: Live at Wembley Stadium — one about the band's most-recent chapter, the other a two-hour concert film — as well as the Led Zeppelin-focused The Song Remains the Same and The Rolling Stones-centric The Stones and Brian Jones. This year's British Film Festival is also peering backwards via retrospective sessions of Ratcatcher, the debut feature from You Were Never Really Here's Lynne Ramsay; the Bonham Carter- and Dame Maggie Smith (The Miracle Club)-starring A Room with a View; and classic British historical dramas such as A Man for All Seasons, Heat and Dust, The Lion in Winter and Kenneth Branagh's (A Haunting in Venice) Henry V. British Film Festival 2024 Dates and Venues Wednesday, November 6–Sunday, December 8 — The Astor Theatre, Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino and Pentridge Cinema, Melbourne Wednesday, November 6–Sunday, December 8 — Palace Regent Ballarat Wednesday, November 6–Sunday, December 8 — Palace Electric Cinemas, Canberra Wednesday, November 6–Sunday, December 8 — Palace Barracks and Palace James Street, Brisbane Wednesday, November 6–Sunday, December 8 — Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas, Adelaide Wednesday, November 6–Sunday, December 8 — Palace Raine Square, Luna on SX, Leederville and Windsor, Perth Wednesday, November 6–Sunday, December 8 — Palace Byron Bay Thursday, November 7–Sunday, December 8 — Palace Norton Street, Palace Moore Park, Chauvel Cinema and Palace Central, Sydney The 2024 British Film Festival tours Australia in November and December. For more information and to buy tickets, visit the festival website.
When you're starring in a survivalist drama about humanity's attempts to keep life going 219 years after nuclear bombs destroyed existence as everyone knows it, do you start thinking about how you'd cope in a similar situation? As Fallout's three leads tell Concrete Playground, the answer is yes. But for Walton Goggins, Ella Purnell and Aaron Moten, that question always comes back to their characters — as disparate a trio that anyone could ever imagine trying to eke it out in post-apocalyptic times, ranging from the literally sheltered to the centuries-old and mutated, and also a wannabe soldier in a military where robotic armour is the best protection against a living nightmare. Goggins (I'm a Virgo) helps usher the game-to-screen series, which dropped its eight-episode first season on Prime Video Down Under on Thursday, April 11, into its premise. First he's seen as Cooper Howard, an actor who was once a western star, but is initially introduced getting paid to show up a a child's birthday party. That's where he is, alongside his young daughter Janey (Teagan Meredith, The Calling), when Los Angeles is devastated. Next, what should've been several lifetimes have passed and Goggins is now The Ghoul, with a look to suit his name (including a hole where his nose should be) and the fact that his character is still kicking after so much time. In her latest series with a survivalist angle — see also: her turn as Jackie in Yellowjackets — Purnell plays Lucy MacLean, who wasn't even a twinkle in anyone's eye when life was a picture of retrofuturistic normality for Howard. Her status quo is Vault 33, one of several underground facilities where a blue uniform-clad mission to keep civilisation alive is underway. Her first goal is simply to marry and help perpetuate the species; a wedding to a neighbouring vault dweller, as overseen by her father and Vault 33's leader Hank (Kyle MacLachlan, Lucky Hank), is her initial fate. Soon, however, she's venturing out into wasteland, where there's more going on than she's been taught to believe — and a place that both The Ghoul and Maximus (Aaron Moten, Emancipation) have no choice but to call home. The latter has a clear aim, too, when Fallout begins: becoming a knight for the Brotherhood of Steel, which means donning Pacific Rim and Gundam-esque suits. Even being a squire for a knight would be a step up from being terrorised by his fellow trainees. As brought to streaming by series creators and showrunners Geneva Robertson-Dworet (Captain Marvel) and Graham Wagner (The Office, Silicon Valley) — plus Westworld creators Jonathan Nolan and Lisa Joy as executive producers — Lucy, The Ghoul and Maximus' journeys will see them cross paths, of course, but nothing is simple in the show's hellish realm. Fallout has the three lead performances to make that plain, and both the vibe and the world-building design (plus no shortage of carnage, whether from people doing battle or mutated animals leaping out of toxic waters). [caption id="attachment_950361" align="alignnone" width="1920"] Anna Webber/Getty Images for Prime Video[/caption] Goggins, Purnell and Moten are each sublimely cast. For viewers, enlisting Goggins as The Ghoul is especially perfect, after a three-decade career that spans everything from The Shield, Justified, Sons of Anarchy and The Hateful Eight to Vice Principals and The Righteous Gemstones. No one has the same kind of swagger, or flair with dialogue. He's just as mesmerising when he's stepping into Howard's past, too, where his soft-spoken tones match his own in-person. Purnell's Lucy and Moten's Maximus both navigate coming-of-age stories amid Fallout's dystopian realm, albeit from vastly different beginnings. Plucky from the get-go, Maleficent, Miss Peregrine's Home for Peculiar Children and Sweetbitter's Purnell segues from perennial optimism to toughened-up realism. Haunted from the outset, The Night Of, Mozart in the Jungle and Next's Moten is tasked with searching for somewhere to belong, but stops letting his yearning cloud reality. Fallout is about ascertaining who you want to be — what you're willing to do, and face, and put up with — in such grim times as well, with its main trio constantly unpacking that weighty idea. What does it take to step into Fallout's wasteland, and to bring a gaming series beloved since 1997 to television? How do the show's stars see the heart of its survivalist story? What does the inimitable Goggins look for in a part, and what appealed to him about taking on The Ghoul? We chatted to Goggins, Purnell and Moten about all of the above, and also found out how much they adored the job at hand, how Goggins saw the setup as a "good, the bad and the ugly" situation, and the fact that this marks Moten's first-ever project shot on celluloid. On Whether the Fallout Cast Think About How They'd Respond in the Same Dystopian Situation — and How That Influences Their Take on Their Characters Aaron: "I think sometimes." Ella: "Yeah." Walton: "Yeah." Aaron: "I do think that, I feel like we all have specific details that are different, actually, about that answer, though. Because as Maximus, I'm playing a person who was born and raised in the wasteland, versus a person born and raised in a vault underground, and a person who lived before the bombs happened. So for me, yes, I think there's an essence of 'what would I do in this moment?'. But at the same time, I think Maximus has lived a harsh reality. A major challenge for me is how to change my thought pattern to match one of someone who would have been born and raised in the wasteland. What that means, usually it's about his moral compass; how survival has, I guess, evolved people; and their choices, and their right and wrong parameters. That to me, there's an element of 'what would I do?' — but I usually then am using that as a springboard, and sometimes landing on the 180 opposite then, as of what to do in in a situation." Walton: "I think we would all go about it in a very different way. The thing about the question that sparked a thought in my mind is what I love about this show — I think so often over time, over the last eight decades, shows that dealt with this type of end-of-the-world event, so much of the time is dedicated to showing the end of the world, right. That happens in the first five minutes of this experience. And the moderator last night [at Fallout's London premiere] brought up the fact that there's an inherent kind of hope and optimism even in this bleak landscape — whether that's coming from Lucy, or whether that's built into the show. For me, I was thinking about that today, and I thought last night after she asked it, and I thought 'well, no', because really, the world that we knew is over. So the only thing that we have left to do once you know the deck has been reshuffled is to build. It's about recreating the world. And Maximus brings that up in a in a just a great line in the pilot. And I think at the onset of any great human endeavour, hope or optimism springs eternal — and that's a cool part of this show. I like it. I'm watching it. It's really exciting to me." On Unpacking Fallout's Survivalist Themes Ella: "For me, one of the most exciting parts about the role was you take this very — at the start of the show — privileged, sheltered, innocent, clean (literally) young woman, and put her in this horrible, horrific situation that you would never hope to be in. And you really see her explore the extent of what humans are capable of. She gets to the very brink of her limits. I think that she really gets put through it, and you see this deterioration happening in front of your eyes. And I think she has to dig really deep inside her to find that place of wanting to survive. Because you want to give up. And there has to be a point where you make the choice that 'I am a survivor, I am going to get through this no matter what it takes'. And then that's where the theme of morality and identity come in. I find survival stuff really interesting, just seeing how desperate a human can get — how they pave the way, how they put one foot in front of the other." Walton: "I think the relationship between the two of us [The Ghoul and Lucy], I was thinking about that, too, after that conversation last night. The Ghoul in some way is a metaphor for life and tragedy. And he's saying in our relationship between Lucy and The Ghoul, it's as if he's sadistically saying: 'Come with me. Let me show you what the world is really like. You'll see this and you'll see this'. And that loss of innocence is tragic, but inevitable in life." On What Gets Goggins Excited About a Role, Including Playing Cooper Howard/The Ghoul Walton: "For me, it's just money at this stage of my life. I'm just kidding. I'm joking. That's a very big joke." Ella: "I always wanted someone to answer a question like that." Walton: "It's just money. No, no, no. I've never taken a job for money, actually. I've believed in everything that I've been a part of. I think all of us would say this — I don't want to speak for anyone else, but Jonathan Nolan is number one. Geneva, who's an old friend of mine, and we did Tomb Raider together. Graham, I've been a fan of for a very long time. And so you get that out of the way. And then you look at the story. [caption id="attachment_950363" align="alignnone" width="1920"] JoJo Whilden/Prime Video ©Amazon Content Services LLC[/caption] When I read the first two scripts, I was blown away by my journey, by The Ghoul's journey — but also blown away by Lucy's journey and Maximus' journey. And really saw it as kind of this good, the bad and the ugly, this strange configuration of these three people that come from very, very different backgrounds, and the way in which they meet up. But the thing that got me more than anything is Cooper Howard is two people at different parts of the story, and understanding Cooper Howard — Cooper Howard was a movie star, a western kind of movie star. And he was the perfect protagonist, if you will, or the perfect hero for a time of eternal American optimism, for that specific time and the history in our country. And in some ways, I think The Ghoul is not an anti-hero. I think he's the perfect hero in a cynical fallen world. He is someone who survived for 200 years. And for those of us that were left on the surface, it's a game of struggle, of daily survival. And I think it was the juxtaposition between those two different journeys that was most fascinating to me." On the Responsibility of Bringing Fallout to the Screen Given the Enormous Fandom for the Games Aaron: "I think we feel a great deal. There's a weight to it, for sure. I know that, for myself, it comes from care as well. You cherish the material and you want to do it justice. A big part of acting, ultimately, I think for all of us is about getting yeses sometimes in a world of moving through scripts. And so there's a validation that you do hope to achieve taking on something that is beloved. But at the same time, every day for me — and [turning to Walton and Ella], I don't know if you guys were different — Howard Cummings [Fallout's production designer] and his team, and what they were building and putting together, and the detail that they were just preparing every set, every location, really made a lot of that fall away. It was just such a joy to get such a great playground. It's like being the kid that's nervous to go to school, but then 'ohh man, they've got a swirly slide!'. It really felt like how could I not just jump in and enjoy it and really just go there. Jonah [Jonathan Nolan] as well, helped a lot with that. And getting to shoot on film, just real celluloid, which is the first time for me. But hearing that camera." [caption id="attachment_950367" align="alignnone" width="1920"] JoJo Whilden/Prime Video ©Amazon Content Services LLC[/caption] Walton: "Amazing." Aaron: "Yeah. First time." Walton: "Wow. I never heard that." Aaron: "A life of digital. A life of 'it's rolling, just play'." Walton: "I didn't know that. Wow." Aaron: "It makes us more economical, I think. You hear the rolls start, and you know we just reloaded, we've got seven or eight minutes." Ella: "Yeah." Aaron: "And if action is called, I'm doing it." Ella: "Yeah, more intensely." Aaron: "We're going for it." Ella: "I'd say it's also the anticipation that's the scariest part. I don't know about you guys [turns to Aaron and Walton], but the two weeks leading up to beginning, I think I lost my mind. And then as soon as you start, it's, like you say, you get taken in by the characters and the costumes and the collaboration and the sets — and all of that goes away because it's fun. It's just so fun. We're so lucky." Walton: "Yeah, we really are." Fallout streams via Prime Video from Thursday, April 11, 2024. Read our review. Images: courtesy of Prime Video.
Nine months after Geoffrey Gurrumul Yunupingu's passing, the Indigenous musician has posthumously achieved a historic feat with his final album. Released this week, Djarimirri (Child of the Rainbow) now sits at the top of the Australian charts, becoming the first record in an Indigenous language to do so. A project that took over four years to come to fruition — and was completed only weeks before Yunupingu's death — Djarimirri presents 12 traditional Yolngu songs and harmonised chants with orchestral arrangements, with the Australian Chamber Orchestra and Sydney Symphony Orchestra providing the latter. "This album is a testament to this great Australian and his family, all Yolngu and the greater Aboriginal population," said Skinnyfish Music's Michael Hohnen, Yunupingu's friend, collaborator and producer. "The history he has made taking a true Australian language and heritage to number one proves the strength of the underlying cultural identity of this nation." Born blind on Elcho Island off the coast of Arnhem Land, Yunupingu was already Australia's highest-selling Indigenous artist before Djarimirri's release. His three previous studio albums — 2008's Gurrumul, 2011's Rrakala and 2015's The Gospel Album — all peaked at third position on the ARIA album charts, with Gurrumul earning triple-platinum status and Rrakala also going platinum. A documentary about Yunupingu's life, which premiered at last year's Melbourne International Film Festival and also screened at this year's Berlinale, opens in Australian cinemas on April 25. Image: 6 Seasons Productions.
Balgowlah North Grocer may be relatively small, but it covers all the basics. Open daily until 6.30pm, it's perfectly situated in a small strip of shops on Woodbine Street, so Balgowlah and Seaforth residents can pop in on their way home from work to pick up essentials for dinner. Alongside its moderate range of fresh fruit and veggies, Balgowlah North Grocer also has bread, snacks and drinks. Oh, and good news: if you've realised on the way home that you forgot your partner or housemate's birthday, it sells fresh flowers and indoor plants, too. Images: Leigh Griffiths
A night at the ballet is spectacularly unique — strong bodies moving with masterful technique, bejewelled costumes and magnificent orchestral compositions. The Australian Ballet exemplifies all of this theatre and artistry in the more traditional productions on its program, but it also showcases dance in a way that's wildly different to preconceived ideas of what ballet is and can be. This is particularly true for Instruments of Dance, the triple bill set to hit Sydney Opera House's Joan Sutherland Theatre from Thursday, November 10. To get a look inside this performance, we sat down with Drew Hedditch, a coryphée (a rank above the corps de ballet — pronounced co-ri-fay for anyone who needs it) at The Australian Ballet, before the work headed up to the Harbour City after its Australian debut in Melbourne. Hedditch is fronting up part one — Everywhere We Go — which will be the first time he's taken a leading role with the company. What did the dancer reveal? Reasons aplenty for this show being the one for you if you're green to the scene. [caption id="attachment_869097" align="alignnone" width="1920"] Kate Longley[/caption] PART ONE OF THE TRIFECTA Excitingly, Instruments of Dance brings three resident choreographers — and their bespoke compositions — from the world's top ballet companies to Australian soil. There's Justin Peck from the New York City Ballet, The Royal Ballet's Wayne McGregor and The Australian Ballet's own Alice Topp. "It's not going to be like going to a full-length ballet, where you see the first act and know what you're in for for the next hour and a half," Hedditch assures. "There's definitely no tutus." Canberra-born Hedditch takes centrestage in part one of the eclectic performance, Everywhere We Go. The boundary-pushing piece was conceived by New York City Ballet's resident choreographer Justin Peck in collaboration with Sufjan Stevens, who delivers a score full of his trademark ethereal beauty and surprise. "Justin really has his own style," shares Hedditch. "A sharpness and understated movement of the arms, and then the fast pace of it all. I just keep reiterating to people that he choreographed the latest West Side Story [film] — having seen that, then doing this, I get it." The Australian Ballet is the first company to perform Everywhere We Go outside of the New York City Ballet. "The New York City Ballet has this amazing energy that comes through all of their works," explains Hedditch. "It's an energy and commitment that challenges no one else, it's almost a little bit unrefined at times." It's that Broadway energy that will define the piece. Rapid musical accompaniment from a live orchestra, nautical-striped costumes and the flurry of 25 dancers flowing on and off the stage. "It's really playful, no sets; just a projection on the back that changes like geometric shapes. It's just us and the audience — and that connection." [caption id="attachment_869099" align="alignnone" width="1920"] Kate Longley[/caption] INTERNATIONAL COLLABORATIONS "Sufjan [Stevens] is a complete genius," Hedditch exudes. "The music keeps us on our toes — we're counting five eights of seven into a four, it's ridiculously fast. You can tell that Justin and Sufjan worked hand in hand to make this ballet, and it feels really nice on the body." Everywhere We Go illustrates the creative power of collaboration. In this case, providing new opportunities for both dancers and audiences Down Under. "It allows us to push ourselves to the point where we are playing risky. There's also moments that are just really real and humane, where we can look at each other, crack a smile or play. In a story ballet, you can really live the story and become a part of it. But in this work, without a narrative, you just get to live." [caption id="attachment_869098" align="alignnone" width="1920"] Kate Longley[/caption] ENDURANCE, COMMITMENT AND GETTING ON STAGE Just like anything, with challenge and commitment comes delicious fruit: "We're not going to be able to pull this off unless we dive into that commitment and bring the energy, too," Hedditch states. "To see the dancers that we know and look up to — who did these roles originally — to then perform it is so inspiring." As mentioned, these dancers are athletes at the top of their game. Months of rehearsals, pirouettes and pas de deux practised over and over, new ways of moving studied and then executed. "In the first movement, I don't really leave the stage," he continues. "I had tingling through my arms because they had literally just been going and going. It was day one! The tempo wasn't even at full speed yet. I'd never really felt that, and that's kind of exciting — like, where is this going to go from here? How far can we push this?" What's certain is that by the time Hedditch and the troupe hit the Sydney stage, audiences — both new and seasoned — will be about to witness a thrilling night of ballet that's fresh and focused. "As artists, everyone's willing to mix and collaborate. That's the beauty of it, that's how masterpieces are made." Instruments of Dance takes the stage at Sydney's Joan Sutherland Theatre from Thursday, November 10 till Saturday, November 26. Head to the website for more information and to grab your tickets. Top images: Jeff Busby
"We were just saying, we love an Aussie." When you're My Old Ass writer/director Megan Park and Australia's own Margot Robbie has produced your latest film, it's easy to understand why. Gleaning why she greets Concrete Playground that way isn't hard, either. "We do," adds Maisy Stella, the movie's star. "Yeah, we really, really do," Park chimes back in. Robbie's production company LuckyChap Entertainment, which has I, Tonya, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) and Barbie to its name as well — and, among flicks that don't boast its co-founder on-screen, Promising Young Woman and Saltburn, too — is also onboard for Park's next release after this marvel of a coming-of-age tale. Viewers of My Old Ass have more from Park to look forward to, then. Right now, though, they already have a must-see to enjoy courtesy of her second feature as a filmmaker. Actually, that also applies to her debut. An actor herself, Park initially jumped behind the lens on 2021's excellent Jenna Ortega (Beetlejuice Beetlejuice)-led The Fallout, which plunged into the aftermath of a school tragedy. Now, the former The Secret Life of the American Teenager star has penned and helmed a picture set as its protagonist gets ready to leave her small-town home behind for college. [caption id="attachment_974458" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] For her second movie about teens making sense of their world, too, Park embraces a high-concept setup — and one that heads down a universal path that resonates with viewers of all ages. Have you ever wanted to get life advice from your future self? Or, conversely, to give your younger self some words of wisdom, whether about what not to worry about or who to avoid? Focusing on Nashville's Stella as the just-turned-18 Elliott — and featuring Parks and Recreation, The White Lotus and Agatha All Along favourite Aubrey Plaza as the older version — that's My Old Ass' storyline. If you're wondering how the two Elliotts come to meet, the film uses a mushroom trip to head into magical-realism territory. When they come face to face, Plaza's 39-year-old Elliott has a specific piece of advice for the girl that she once was: stay away from Chad (Wednesday's Percy Hynes White). We all know what happens when you tell someone not to do something, especially a carefree teenager, so of course Stella's Elliott doesn't heed that warning. This is a film, however, that understands the urge to want to send your former self in a certain direction, because it understands what it's like to live with the ups and downs that life takes us on just as firmly. It equally appreciates that it's those ebbs and flows — and joys and hurts as well, so our course for better and for worse — that make us who we are. [caption id="attachment_974462" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] What would Stella do if the Sundance Film Festival-premiering movie's premise became an IRL possibility for her? It depends on which way the advice was flowing. Park is of the same opinion. They'd each be keen to talk to their younger selves, but not their older guises. "I've decided that I reject it. I really reject it. I've been asked this and every time I try to think of something, and I think the reason that I don't have anything is because I would not take the opportunity. I would take the opportunity to meet younger self. But the older, it just feels a little scary to me," Stella tells us. "It gets dicey. See, it goes dark quick. I mean, it really takes a turn," she continues. "Yeah, it's a it's a scary one," agrees Park. "I think I'm going to hard pass on it too, probably. I'd want to go back and meet my younger self." Thinking about these questions is unavoidable after watching My Old Ass, no matter whether you decide that you'd seize or shirk the chance that Elliott is given. Also part of the viewing experience: wishing that Plaza could pop up in your life either way. We also chatted with Park and Stella about where the idea for the film sprang from, what Park was interested in exploring with it, Stella's excitement about playing Elliott, how she approached the character, and working with both Plaza and Robbie. On What Inspired My Old Ass, and What Park Was Interested in Exploring Megan: "I think the themes that I really wanted to explore were grief and time passing, and nostalgia — and motherhood, truthfully, was a big one that I wanted. I was a new mum when I wrote this script, so it was those feelings that were really the entry point into this idea that's so universal, I think, of wanting to talk to your older or younger self. Or regrets. Regret is another big one. I think I'm such an emotionally driven writer that I'm not thinking about necessarily the structure of the story, and what's going to happen and what are people going to take from the movie — I'm just driven from that emotional place, at least I have been so far in the two movies I've written. It's all I really know how to do it. So those were the themes I wanted to explore. And then as I didn't know where it was going, as soon as Elliott came to me, and older Elliott, I just followed that lead and figured out the story as I went." On Stella's Initial Reaction to the Script, and What She Thought That She Could Bring to the Younger Elliott Maisy: "My first reaction to it was just beaming with excitement. It was funny, because I had been auditioning for so long and I really enjoy auditioning, and I really enjoy reading scripts and I read a lot of scripts at that time, and it was just my favourite thing I'd read in forever. And I was immediately met with anxiety. The second I started reading it, the thought of it being taken from me, I was like 'no!'. And it wasn't even mine at all. But the thought of not getting to be a part of this amazing project was so scary to me. So yeah, my initial reaction to it was deeply, deeply moved; really excited and inspired by it; and would have just been so grateful and lucky to have been a part of it. And it worked out for me. I'm very grateful and lucky." [caption id="attachment_974461" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] On the Journey to Realising That Aubrey Plaza Was the Ideal Older Elliott Megan: "Truthfully, I'd written the role for somebody to be much older, like in their late 40s, early 50s. And we cast the film around Maisy, and so we were really stuck on who looks the most like her, who's in that age range and who's available to come to Canada to film the movie. And there just was never anybody that came up that was the right match for the tone of the movie, for energetically with Maisy, for the comedy. It wasn't until there was a list of names that somebody had suggested, and Aubrey was on there. It was like 'wait a second, I'm such a fan of hers' — and I knew Maisy was a fan of hers. She was not even 40 and doesn't look anything like Maisy really, but we were like 'wait a second', and for some reason the energy and the chemistry was just such a connection. And it just made the whole movie make sense in a whole new way for me. I'm close to age to Aubrey and I thought 'wow, I've actually never felt older than hanging out with all the 18 year olds'. And there was something so funny to me about this idea that she thinks she's so old and she's not even 40. And even the title became funnier when it was Aubrey." Maisy: "Yes!" Megan: "So then, luckily we sent it to her, and only her, and she read it and loved it and wanted to be a part of it. So once we got it to her, the stars really aligned quickly, but it was kind of me getting out of my own way and being like 'wait, instead of worrying about who looks the most like Maisy, who fits into the movie?'." Maisy: "Instead of worrying about who's blonde?" Megan: "Yeah, exactly." On Collaboration When You're Playing the Younger Version of a Character While Sharing Scenes with the Older Version Maisy: "It was quick. What happened, I was filming for like two weeks when Aubrey was officially attached. So my younger Elliott was already kind of established. On anything else, if this was any other situation, I would have been meeting Aubrey — and she kind of had to meet me because I was filming. So it was a quick thing, she came for like a week and we just went for it." [caption id="attachment_974460" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] Megan: "She'd been watching dailies and studying Maisy a bit before." Maisy: "And then when we met, I felt Aubrey staring and filming me with her eyes, and getting the mannerisms and physicality. I think that was probably more what we focused on. And also just creating a friendship and a nice connection was probably the most important part, rather than mimicking each other. It felt more enjoyable." Megan: "I remember Aubrey asking me 'do you want me to mimic her? How deep do you want me to go with this?' And I was like 'I feel like that's not the most important part of it. I'd rather we just build the chemistry and the rapport'. And that was totally what I think was the main thing. We just spent the weekend together, talked through stuff." Maisy: "100 percent." Megan: "And it was just about building that chemistry — which, they're both genius actors, they can build chemistry so quickly. That's a skill that I think the best actors can do. And the two of them together were just able to connect so quickly." [caption id="attachment_974459" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] On Having Margot Robbie as a Producer, and How That Helped Shape the Film Megan: "As we were saying, we love an Aussie. Our other producer, Bronte Payne at LuckyChap, is also Australian. It happened really organically. I had a general meeting with the company, with Bronte, who had seen The Fallout — and she really loved the film, and she just wanted to sit and chat. And she was the one, honestly, who was like 'do you have any other ideas?'. And I was like 'I mean, there's this one thing I'm thinking about'. And she was like 'we'd love to hear more about that. We think that's a great idea'. Then she introduced me to the rest of people at the company, Tom [Ackerley, also one of LuckyChap's founders] and Margot and Josey [McNamara, another LuckyChap founder]. And they are just so — it's really hard to find good people in this industry who are really honest and smart and hardworking, and treat everybody, no matter if it's the star of the movie or the PA, they're just so consistent. And they're so grounded and down to earth, and there's a reason why they get so much repeat business with their directors. It's because it's genuine, and they're obviously very smart. So they were incredibly helpful, not only helping me build the script, but every step of the way — they've just been so invaluable and so easygoing. And just lovely, lovely human beings. I'm doing my next film with them, and I hope to work with them over and over again. They're incredible." On Balancing Playing a Carefree 18-Year-Old with Their Whole Life Ahead of Them with Elliott Getting to Take Stock of Her Existence Decades Before Anyone Usually Expects To Maisy: "Preparing-wise, I honestly read the script so many times. That was really my prep, just reading it. I didn't do too much, I didn't practice the deliveries." Megan: "We just talked through the scenes." Maisy: "We'd just talk it through. And on my own time, I had months before I went to film — but after I booked it, I enjoyed reading it so I would obsessively just read it and think about it a lot. I really lived with the concept and with the message. I thought about it a lot. I think was my preparation." [caption id="attachment_974457" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] Megan: "And you believed in it." Maisy: "And I believed in it and I meant it. I really meant it. Everything that Elliott says, I ended up meaning on the day. Even if I was learning from her and trying to mean it, I did end up meaning it." Megan: "Yeah." Maisy: "And with an indie, with the director like you [talks to Megan], where you really like things to feel like you press record and you're just like watching people exist, there's only so much you can do for prep to keep it feeling natural and real and sparky." My Old Ass opened in Australian cinemas on Thursday, September 26, 2024. My Old Ass images: Marni Grossman © Amazon Content Services LLC.
Din Tai Fung is known for their general dumpling prowess, creating cute, Chinese New Year themed animal dumplings and bringing those utterly ridiculous super-sized xiao long bao to Australia. If you didn't get a chance to sit down with a straw and slurp the XL XLB last year, you'll be happy to know they're coming back to Din Tai Fung's World Square venue — as part of an 18-course degustation, no less. The dinner on Monday, August 14 is the second to be announced after the first one booked out quicker than a plate of pork buns could be demolished. The 18-course menu will put twists on Din Tai Fung dishes past and present, and feature a few new wacky creations for good measure. Along with the giant soupy xiao long bao, you can expect Peking duck spring rolls, black truffle pork dumplings (which will use squid ink for a black and white yin-yang look) and three new dessert dumps: green tea, sesame mochi and chocolate banana. Also on the menu will be Hawaiian pizza dumplings, which sound like an abomination — but, hey, we'll give it a go. The full 18 courses is surely akin to a dumpling marathon — but be sure to save room for the pièce de résistance: the giant xiao long bao. For the uninitiated, the xiao long bao is a steamed, soupy dumpling filled with a flavoursome broth and a pork and prawn filling. They usually come in mouth-sized portions but Din Tai Fung will be serving them up at seven times their usual size (hence the need for a straw). Tickets to the degustation are a very reasonable $48, with $10 from each one going to children's mental health charity Be Centre. The first one sold out in less than two hours, so, if you're at all interested, you should nab some as soon as possible.
Can't stop, addicted to the shindig? Then you'll be excited about the latest huge music tour heading Down Under. Get ready to give it away, give it away, give it away now, too — your money, obviously, to see Red Hot Chili Peppers when they hit up Australia and New Zealand in early 2023. The Los Angeles-based rockers have announced that they're bringing their new global stadium tour our way, making six stops across both countries. First up, Anthony Kiedis, Flea, Chad Smith and John Frusciante will hit up Auckland's Mt Smart Stadium and Dunedin's Forsyth Barr Stadium in January, plus Brisbane's Suncorp Stadium. Then, in February, they'll be singing songs to you beneath the marquee at Sydney's Accor Stadium, Melbourne's Marvel Stadium and Perth's Optus Stadium. The band's dreams of Californication are zipping around the planet as part of a hefty tour that kicked off in June in Spain, and will also make its way to London, Paris, Dublin, LA, Chicago, New York and more alongside its Down Under stops. And yes, the Chili Peppers have a record to plug in the process, aka Unlimited Love — their 12th studio album, which dropped back in April. [caption id="attachment_859838" align="alignnone" width="1920"] Clara Balzary[/caption] Both Unlimited Love and the tour mark the return of guitarist Frusciante, who left the Chilis back in 2009, then rejoined the band in 2019. And, the tour will see the group head to this part of the world for the first time since 2019, too — and playing plenty of hits from their almost four-decade run so far, obviously. There's a hefty number of songs to choose from. Since their self-titled first EP in 1984, the band has sold more than 80 million albums, won six Grammys and entered the Rock 'n' Roll Hall of Fame. They've also released tracks spanning 'Under the Bridge', 'Scar Tissue', 'Breaking the Girl', 'By the Way' and 'The Zephyr Song', as well as 'Otherside', 'Soul to Squeeze', 'Around the World', 'My Friends' and 'Suck My Kiss'. Red Hot Chili Peppers will be joined Down Under by someone else who's sold just as many records: Post Malone. Yes, it's a two-for-the-price-of-one kind of tour — two massive music names, that is. Post Malone heads our way fresh from releasing his fourth studio album Twelve Carat Toothache in June. RED HOT CHILI PEPPERS 2023 DOWN UNDER TOUR DATES — WITH POST MALONE: Saturday, January 21 — Mt Smart Stadium, Auckland Thursday, January 26 — Forsyth Barr Stadium, Dunedin Sunday, January 29 — Suncorp Stadium, Brisbane Thursday, February 2 — Accor Stadium, Sydney Tuesday, February 7 — Marvel Stadium, Melbourne Sunday, February 12 — Optus Stadium, Perth Red Hot Chili Peppers and Post Malone are touring Australia and New Zealand in January and February 2023. Tickets for Australian shows go on sale online on Monday, July 11 — at 12pm in Brisbane, 1pm in Melbourne and Perth, and 2pm in Sydney, with pre-sales via Telstra from Wednesday, July 6 and from Live Nation on Friday, July 8. For more information, head to the tour website. Tickets for New Zealand shows go on sale online at 12pm on Monday, July 11, with pre-sales via Vodaphone from Wednesday, July 6 and from Live Nation on Friday, July 8. For more information, head to the tour website. Images: Pavel Suslov / Clara Balzary.
Since first unleashing its specific flavour of festival fun back in 2014, Lost Paradise has become an end-of-year staple — and the Glenworth Valley event returns from December 28, 2018 to January 1, 2019 for another packed year. The fest's fifth annual lineup will see more than 50 acts take to the stage across a huge five days, with artistic experiences, talks, workshops and classes also part of the camping festival. Of course, it's the music that'll tempt festival-goers to make the journey an hour out of Sydney. With The Kooks, Tash Sultana, Joey Bada$$, Pnau, Dune Rats and M.I.A. leading the charge — the latter in her only New South Wales show — there's plenty to get excited about. Attendees will dance their way between four stages, all returning from 2017. Arcadia is where the main action is, Lost Disco will focus on bass, techno and dance music (and eye-catching visuals by 3D mapping artists), and Paradise Club will party on right into the night with DJs and surprise guests. Then there's My Mum's Disco, which not only features a digital jukebox pumping out 15,000 nostalgic beats and guilty pleasures, but sing-alongs and more to accompany the tunes. Think bingo, karaoke and the general feeling that you're hanging out at a mighty huge Aussie backyard shindig. In-between catching live sets and making shapes, Lost Paradise offers patrons a heap of other activities, including three days of chats and sessions at the fest's Shambhala Fields. Everything from African dance and forest bathing to hula hooping and massage is on the agenda, as well as a dedicated yoga and meditation tent. Or, hang out in Hammock Haven, find something to read at the Lost Library, take a ride on an art car, go shopping at the Lost Bazaar bohemian fashion markets or head to the new Holy Cow Chai Tent. It's a carnival-themed space that's all about chilling out over breakfast bowls and — as the name suggests — brewed chai, plus other beverages. Still on the food and drink front, Lost Village boasts communal tables for dining and an array of cuisines for feasting upon. On-site craft beer container bars will serve up craft booze, while Milky Lane and Cold Rock are on the culinary lineup menu alongside dim sum, pizza, Japanese and Southern-Indian street-food, and more. Camping-wise, there's two options: The Glamping Gypsy Fields or The Eco-Tent Village. The former includes luxury toilets and showers, a breakfast cafe, cocktail bar, furnished hangout spaces and a grooming parlour, while the more budget-friendly latter lets you take your pick from tents made out of recyclable cardboard, basic canvas tents and reusable canvas tents with foam mattresses. Here's what you're in for this year: LOST PARADISE 2018 LINEUP: The Kooks Tash Sultana M.I.A Joey Bada$$ Pnau Bicep (Live) Dune Rats Ball Park Music Vera Blue Kink (Live) Winston Surfshirt Peggy Gou Foals (Dj Set) Willaris. K Young Franco Bob Moses Sg Lewis Lime Cordiale Chaos In The Cbd Furnace & The Fundamentals Anna Yotto Human Movement Dom Dolla Cut Snake Cc:Disco! Psychedelic Porn Crumpets Groove City Flava D Genesis Owusu Klp Bontan Krystal Klear Loods Young Monks Pacific Avenue Wallace Thunderfox Milan Ring Clews Majun Bu The Jim Mitchells Rackett Shantan Wantan Ichiban Clypso Motorik Vibe Council Ebony Boadu Lex Deluxe Sportsuncle Ru Matt Ringrose Dibby Dibby Soundsystem Lost Paradise returns to Glenworth Valley from December 28 to January 1. Tickets are on sale now from the festival website. Images: Boaz Nothman, Cai Griffin, Jordan Munns and Nathan Bonnici.
When can you enjoy hot food, delicious drinks and comfy clothes without breaking a sweat? Winter, of course. Now, where can you enjoy all that with a stunning view to boot? From the rooftop bar of the Sydney CBD restaurant Botswana Butchery at its Winter Birthday Blast. The 25 Martin Place venue has made a name for itself by championing only the best produce from across Australia and New Zealand, with an A+ wine list too, thanks to St Hugo, all spread across three levels of 'premium fun dining'. Now it's time for its birthday, and it's throwing a cosy après ski-style party to celebrate. The restaurant's rooftop space will be decorated with winter decorations ranging from fairy lights and fake snow to a life-size gondola, which guests can enjoy alongside a European-inspired menu and drink specials. Said menu includes fleisch knödel (Austrian meat dumpling with cheese sauce), roestie (Swiss potato dish with cream, smoked salmon and caviar), pork schnitzels and more. Then there's the drinks — different offers will be available throughout the event, starting with St Hugo wine flights between August 10 and August 24 followed by cocktails from Malfy Gin (August 24–31) and Glenlivet (August 31–September 1). Here's the best part: Botswana Butchery is giving you the chance to celebrate your own birthday in a similar style. Anyone who books for the Winter Birthday Blast goes into the running to win a package to have their own birthday party on the rooftop, valued at $3000. That sounds like a pretty great party to us. Winter Birthday Blast at Botswana Butchery runs from Thursday, August 10 to Thursday, September 7. For more information and to make a booking, visit the website.
Sydney is expanding its international film production capabilities with a new proposal from the NSW Government for a new production hub in Western Sydney. Open now to Expressions of Interest from industry partners, the $100 million project will expand on the established Disney Studios Australia in Moore Park and the state government's three-year NSW Screen & Digital Games Strategy. Disney Studios Australia has been in operation for decades as Australia's only major film studio, playing a role in the production of international feature films like Mission Impossible 2, Moulin Rouge!, Mad Max: Fury Road, The Great Gatsby, Peter Rabbit, The Fall Guy, Kingdom of the Planet of the Apes and Apex. [caption id="attachment_954854" align="aligncenter" width="1920"] (L-R): Soona (played by Lydia Peckham) and Noa (played by Owen Teague) in 20th Century Studios' KINGDOM OF THE PLANET OF THE APES. Photo courtesy of 20th Century Studios. © 2023 20th Century Studios. All Rights Reserved.[/caption] The EOI will be open to proposals on both private and government-owned land. To support the process, three government-owned sites in Western Sydney (at Bungarribee, Eastern Creek and Prospect) have been identified that respondents may consider when preparing a proposal. EOI submissions will be evaluated against the NSW Government's objectives to strengthen capacity, attract international blockbusters, support local production, create local jobs, and ensure NSW remains the nation's screen powerhouse. [caption id="attachment_952103" align="aligncenter" width="1920"] Ryan Gosling is Colt Seavers in THE FALL GUY, directed by David Leitch[/caption] The EOI process will be open to proposals for those who think they can deliver the critically needed screen infrastructure to support the project's scale – including six sound stages minimum. It will close in May, before being evaluated and considered by the NSW Government. Yesterday, Blacktown City Mayor Brad Bunting said Western Sydney is "well placed" to support the continued growth of Australia's screen industry. "Western Sydney is alive with creativity. Our young and diverse population represents a powerful pipeline of talent and new opportunities for Australia's screen industry," he said. "We have the space, with large-scale productions requiring space for sound stages, workshops and backlots, Western Sydney has the scale and infrastructure needed for projects of that size. It makes sense." This article originally appeared on Rolling Stone AU/NZ. Lead image: 'Mad Max: Fury Road', courtesy of Roadshow.
There's no one way to choose which airline to fly with, or what time to take to the skies. Pure and simple necessity might leave you without options anyway. But if you're the kind of traveller who loves saying cheers to your flight with a wine or beer in your hand, Qantas has poured out some great news just as the holidays are about to hit. That free drink that everyone usually scores from 4pm in economy on the carrier's routes? It's now kicking in at midday. So, effective immediately, travellers flying with Qantas on all domestic and regional flights from 12pm onwards will be offered a complimentary beverage. Your options: a red or white wine, with Aussie drops getting the nod, or a One Fifty Lashes Premium Pale Ale. This is the first time that the Australian airline is bringing forward the opening time for its onboard economy wine bar — which, of course, isn't a part of the plane where everyone hangs out with a drink in their hand, but the name that Qantas has given its vino-slinging offering. Your drink will come with either lunch or snacks, depending on the time that you're flying — or even dinner, because the free beverage still applies after 4pm. Fancy a quiet sip by yourself? Remember that Qantas also now lets you pay for neighbour-free seating, purchasing the middle seat so you have a gap between you and the next person. For more information about Qantas' onboard dining options, head to the airline's website.
Sydneysiders can now sip some of the world's best cocktails from 22 stories up, thanks to the opening of a new cocktail bar inside the A by Adina Hotel. Dean & Nancy on 22 is the latest opening from the team behind Maybe Sammy, Sydney's award-winning cocktail bar previously named one of the top 50 bars in the world. The Hunter Street spot plays on the idea of a hotel bar. Inventive cocktails in line with the theme include the Rolling A Double, combining Havana 3, pineapple shrub coconut water and rhum agricole with a pair of dice. Roll a double on the dice, and you'll receive a free champagne upgrade. Equally as unexpected is the coffee champagne, containing champagne, Mr Black, vodka and peach wine, which is served with house-made vanilla and coffee hand cream on the side. Punters can also enjoy beverage specials during Sunset Aperitivo from 4.30 pm till 5.30pm seven days a week. Inside the hotel, a curved brass staircase leads you up to the venue, where patrons are greeted by a panoramic view of the Sydney cityscape and a decadent 1950s-style hotel bar designed by architect George Livissianis. Livissianis has previously designed the likes of Chin Chin Sydney, The Dolphin Hotel and Maybe Sammy's other recent CBD venture, Sammy Junior. The 120-seat space is full of gold-veined marble tables accompanied by subdued black leather chairs. Each seat offers up show-stopping city views, so no one has to cop the dud spot. As with Maybe Sammy and Sammy Junior, snacking is encouraged at Dean & Nancy's bar. In fact, on the menu created by Executive Chef Jane Strode (Bistrode, Rockpool, Langton's), you'll find a delicate tapioca cracker topped with Siberian caviar and crème fraîche sitting pretty next to an exceptional selection of martinis — choose from a classic with gin or vodka, sakura or Tokyo sazerac. If you're looking for something heavier, larger meals are on hand and include scorched scampi topped with miso butter and dancing bonito flakes and a perfectly roasted spatchcock alongside wombok, kimchi and orange. If you're an early riser looking for breakfast with a view, Dean & Nancy also offer a breakfast menu on the 22nd floor. Choose from classics like avocado toast with Persian feta and heirloom tomatoes or punny-named dishes like the cloudy ricotta hotcake, swing easy eats and Sky'line breakfast plate with chorizo, bacon, mushroom, beans, tomato, hashbrowns, poached egg, buttered spinach and toast. Dean & Nancy on 22 is open for breakfast Monday–Friday from 6.30am till 10.30am and Saturday and Sunday from 7am till 11am. The bar and dining area is open Monday–Sunday from 4.30pm until late. Dinner reservations are available for tables of four to seven guests. There is no capacity for groups over seven. Find out more information on the website. Images: Steven Woodburn
Upstate's pace isn't letting up, with its brand of high-octane fitness studios ready to debut in Sydney. Having swept Melbourne by storm over the last 15 years, Upstate recently launched its first interstate location in Palm Beach on the Gold Coast. Now, Sydneysiders are invited to discover this cult-favourite pilates hub, renowned for its bold, bright and upbeat approach to movement — and the studio is celebrating its opening with free classes all weekend. Touching down in Five Dock on Saturday, September 20, this buzzing Great North Road location is more than just a place to get a solid workout in. Featuring vivid interiors, community-fuelled energy and fitness classes that ensure each session gives you a full-body burn, bringing new vibes to your next sweat session is made easy. Inside the new two-room studio, expect Upstate's signature Hot Mat Room and a dedicated Reformer Pilates space, where a full schedule of classes delivers the dynamic movement guests crave. Choose from Hot Mat Pilates, Hot Power Yoga or Reformer Pilates when amping up, then wind down with restorative classes like Yin and Sound Bath Meditation. Keen to experience the new space? We've got two unlimited three-month memberships to give away to readers. "Five Dock has this amazing mix of local charm and energetic pace — it's a perfect match for our brand," says Upstate Co-Founder and Co-CEO Gail Asbell. "We're thrilled to continue Upstate's journey into Sydney with a studio that reflects everything we stand for: positivity, movement, and connection." Slotting into Five Dock's leafy streets, the latest Upstate location is also set within touching distance of top-notch cafes and lush waterfront havens. This way, getting a pre- or post-workout coffee and snack is but a few steps away. Like most of the brand's studios, it's all about combining fitness with a vibrant lifestyle-driven ethos. "As with every Upstate space, the Five Dock studio has been created to feel empowering, inclusive, and high-vibe," says Asbell. "It's an exciting step forward in our growth, while staying true to our mission of uplifting and energising through movement." Upstate Five Dock will open on Saturday, September 20, at 156 Great North Road, Sydney, and will offer free classes from September 20–21. Visit the website for more information and enter to win a three-month membership.
Australians, it's finally time to drop it like it's hot again — because Snoop Dogg is coming back to our shores. For the first time since 2014, the rapper is hitting stages Down Under as part of this new 'I Wanna Thank Me' tour, which'll be playing arenas in Perth, Sydney, Melbourne, Brisbane and Adelaide in February and March 2023. If this sounds familiar, that's because this tour was initially due to happen in 2022, only to be postponed. Now, Snoop Dogg has locked in the rescheduled dates, complete with extra shows in both Sydney and Melbourne — and adding Adelaide to his tour itinerary. Clearly, fans of the musician/actor/cook book author/wrestling MC/wine brand owner will be breaking out the gin and juice as he raps his way through the RAC Arena, Qudos Bank Arena, Rod Laver Arena, Brisbane Entertainment Centre and Adelaide Entertainment Centre. Snoop will also be inspiring hip hop aficionados to be the life of the party and, if you can remember his time as Snoop Doggy Dog and Snoop Lion across his career, to ask about his name as well. Yes, you can expect to hear singles such as 'What's My Name?', 'Gin and Juice', 'Drop It Like It's Hot' and 'Snoop's Upside Ya Head', as well as tracks from his last few albums — with his 17th record from 2019, I Wanna Thank Me, sharing its moniker with the tour. Since then, he's also dropped two more albums: From tha Streets 2 tha Suites in 2021 and BODR in 2022, with another, Missionary, also in the works. SNOOP DOGG 'I WANNA THANK ME' 2023 AUSTRALIAN TOUR DATES Monday, February 27 — RAC Arena, Perth Wednesday, March 1–Thursday, March 2 — Qudos Bank Arena, Sydney Saturday, March 4–Sunday, March 5 — Rod Laver Arena, Melbourne Tuesday, March 7 — Brisbane Entertainment Centre, Brisbane Wednesday, March 8 — Adelaide Entertainment Centre, Adelaide Snoop Dogg is touring Australia in February and March 2023 — visit the tour website for tickets and further details.
After years of international border closures, and also the shutting down of overseas travel from Australia except for specific approved purposes, seeing the world open back up to tourism country by country is a far more pleasing trend. And, with that in mind, you can now add another destination to your next overseas holiday — yes, that one you've probably spent two years dreaming about now thanks to the pandemic. That location: Bali, which will start welcoming back Australian tourists from Friday, February 4. The Indonesian island will reopen to all international travellers, coinciding with a move to shorten the quarantine period for vaccinated visitors from seven to five days upon arrival. So, if you're now raring for a getaway, you'll still need to factor a stay in isolation into your travels — which likely means spending that time in a bubble hotel. Discussing the reopening, Indonesian Coordinating Minister for Maritime Affairs and Investment Luhut Binsar Pandjaitan said that Bali's quarantine options for international traveler include "bubble quarantine at five hotels for now with a total of 447 rooms, and on live-on-board ships". The move follows an earlier reopening, back in mid-October, but just to some countries — with opening Bali to all tourists now happening to help boost the holiday hotspot's economy. Late in 2021, Virgin started selling flights from Australia to Bali for travel from late March, while Qantas signalled an April date to restart its Bali routes. Australians will obviously need to factor in the various state rules around international travel, too — some helpful, such as Queensland's recent scrapping of quarantine for double-vaccinated international travellers, and some that'll still delay your plans, like Western Australia's decision to indefinitely delay its border reopening. For more information about Bali's reopening plan, head to the Indonesian Government's website.
If your first binge-watch of 2023 was the debut season Black Snow, you might've pressed play to start the year with a new Australian mystery series, then found yourself digging into the thriller's weight as much as its twists and turns. Starring Travis Fimmel (Dune: Prophecy), the homegrown Stan hit follows a Brisbane-based Cold Case Unit detective dispatched across the state to attempt to close disappearances left unsolved for decades. In season one, the Sunshine State's cane fields in its north beckoned, as did an interrogation of the nation's colonial history and the nation's treatment of the Australian South Sea Islander community while Fimmel's James Cormack searched for a 17-year-old girl last seen in 1994. If the end result hadn't proven gripping must-see viewing, season two Black Snow wouldn't have begun its run to kick off 2025. This time around, with episodes dropping weekly rather than arriving in a single batch, the Glass House Mountains backdrop the latest case to cross Cormack's desk. In 2003, Zoe Jacobs (Jana McKinnon, Silver and the Book of Dreams) left her 21st birthday party in the Sunshine Coast hinterland town of Moorevale and hasn't been seen since, but her backpack has just been found locally. Black Snow splits its time between its absent figure and Cormack — not merely jumping between then and now, but giving the former as much of a voice in the show as the latter. This isn't just another missing- or dead-woman show, the type that the first season of Deadloch satirised, then; it's as interested in the character that might simply be a face on a flyer in other series, alongside the social issues that played a part in their disappearance. Setting its action in picturesque Queensland surroundings, the current season also dives into the housing crisis. Before playing the plucky, idealistic Zoe — a twentysomething with big dreams to get out of the only home that she's ever known, to make a difference and to live a life far removed from the existence that her real-estate developer father Leo (Dan Spielman, The Newsreader) has planned for her — McKinnon watched Black Snow's first season as a fan. "To be honest, I was living in Cairns at the time and I saw the first season with my housemates, just as a random audience member, pretty much. And I was so excited about seeing the landscape of Far North Queensland on screen, because I personally hadn't really seen it that much before," she tells Concrete Playground. "And so I just felt really moved by those images of the cane fields — and because they were right in front of my house as well, so it really tied in beautifully with my life that I had there, which was very based in Queensland. I just thought that was really special. And also the representation it gave to Australian South Pacific Islander peoples. I just was a fan of the show. Then I got an audition for the second season and I got really excited about it, and I thought 'I have to be a part of this'." Now, McKinnon is Black Snow's second lead in its second go-around. The Austrian Australian actor was last seen on Aussie screens in fellow Stan series Bad Behaviour (also alongside Spielman), and stars again as a young woman endeavouring to find for her place in the world. McKinnon is drawn to "complex and nuanced characters, and characters that are searching for purpose in life, or for their place in life," she advises. "Because I think as a young woman in the world, it's so interesting how we all navigate the world and society. And I guess I can relate to that in a sense on a personal level. I find it quite interesting." While Fimmel remains its constant, surrounding the Boy Swallows Universe, Raised by Wolves and Vikings alum with other impressive talents has never been a struggle for Black Snow. In addition to McKinnon and Spielman, season two enlists a cast that includes Megan Smart (Class of '07), Alana Mansour (Erotic Stories) and Victoria Haralabidou (Exposure). Adding to a resume that seems to feature almost every Aussie show made in the last few decades — think: Underbelly, of course ("it stands up really well and I'm so proud of it; it was a great experience," Stewart notes), plus Offspring, and also The Secret Life of Us, Blue Heelers, Stingers, City Homicide, Miss Fisher's Murder Mysteries, Newstopia, Tangle, No Activity, Get Krack!n, Five Bedrooms and One Night, too — Kat Stewart also joins the series as politician Julie Cosgrove. One of the few characters seen both in the 2000s and 2020s, she's initially the pro-development Moorevale mayor, then a senator and the Minister for Infrastructure and Planning. Cosgrove's son is also Zoe's ex-boyfriend. Stewart was "really, really thrilled to be a part of it," she shares with Concrete Playground, especially as Black Snow stood out among her past roles. "It's a character unlike anyone I've played before. I've tended to play characters that have no filters or are a bit highly-strung or neurotic, and Julie is completely grounded, completely focused, completely composed and quite ruthless — and that was great fun," she continues. Also a highlight: balancing Julie's very distinctive professional and personal guises. "I think that was a key interest for me, because that was a conflict for much Julie's storyline. She's got to balance her impulses and fierce protective instincts for her son with her ethical concerns and her professional concerns. So, that was a big appeal. And I think that's something that's universal. That's something that lots of parents can understand. I think of Joe Biden right now and what he's done — you want to do anything for your kids, but can you? Should you?" Then there's the fact that this is a topical series — with Julie directly tied to the season's examination of housing insecurity and homelessness, the factors behind both, and the clash between ensuring that people can afford to live in their own communities and attempting to create wealth through development — but "it's not a documentary. First and foremost, it's going to be entertaining. I think it's really smart," Stewart notes. We also chatted with McKinnon and Stewart about playing strong-minded figures, heading back in time, getting energy from the rest of the show's cast, bringing different visions of the Australian landscape to the world and plenty more. On How McKinnon Approached Playing a Character Who's Pondering What It Means (and Takes) to Be Her Own Person Jana: "I think Zoe's a very strong-minded person, and she really knows what she wants to do in life. And she's just trying to find a way, as in how to sell that to her family in the long run — and compromising here and there to wiggle her way through that, through those expectations, I guess. I thought that was really interesting. And showing someone who is so focused on also changing the world and making it a better place, and being so invested in that — and then being thrown by all these other things that that life forces onto her, like grief and just everything that comes with that. I found that a very interesting aspect of Zoe's journey, how she deals with the grief of losing her friend and what that does to her life and the trajectory that she's on." On Stewart's Initial Read on Julie, and What Got Her Excited About the Part Kat: "First and foremost, you look at great writing and a great story. Is this something I would watch? That's kind of my litmus test, and it was a big yes. And I thought 'okay, this is something I can have fun with. This is something a bit different for me'. And I hasten to add it's a fantastic ensemble. So I'm one of a brilliant ensemble. I'm in and out of the two timeframes, 20 years ago and currently. I liked that she's a grown-up character. I play her in her 40s and her 60s, and I love that she's so centred. That just appealed to me. I thought 'there's a stillness here that I can really explore'. And also the fact given the right set of circumstances, we're capable of really surprising actions. And she's a mother as well as a politician, and those roles butted up against each other. So I thought 'yeah, this is interesting'. I thought it'd be good fun — and it was." On What McKinnon First Saw That She Could Bring to Zoe — and How She Prepared to Jump Back to the Early 00s Jana: "I like that she was a bit edgy and had this really strong interest in music, and did the community radio show. And it was all about the bands and the music with her friends. I just thought that was so cool. It was so nice to research all the music myself, because I didn't know all of the bands that she was into, and dig into that aspect of the period. I mean it's 2003, but it's technically period now. It's kind of strange when it's sort of still the time that you're living in, but sort of not. It's uncanny sometimes, like suddenly you're thinking about 'oh, did you have computers at the cash system at the shop or did you not? How did that work?'. And also all the tech at the community radio station, we had to learn all that because it was old tech that we didn't grow up with anymore. So it was really interesting and fun to explore." On How Stewart Got Into the Mindset of a Politician Kat: "I think subliminally we all probably research a bit. We just look at our politicians and how they hold themselves. I went in with a central idea that Julie has — I'm someone who, I don't go into the into a room thinking I'm the most important person in the room. But Julie does, and I put that in my head. I was like 'yep, everyone's looking at me, everyone's interested in me'. That's Julie, I hasten to clarify. And that was a really interesting idea to take on because that's not how I carry myself in my own life. It was just a different head space to be in. It's such a fun job. I love acting. This is a great job." On McKinnon's Balancing Act Charting Zoe's Journey Towards Stark Realisations About Her Community Jana: "Even though she has that very ambitious sense — and she really wants to change the world for a better place — she also can be very righteous, and she can also have blind spots to what's going on in front of her. So for me that was a balancing act. So balancing these really noble ideas and ambitions with what's actually going on in her community around her and what she's blind to, even when it's right in front of her nose — and the injustice that she's unable to see in her own community. I think it's something that a lot of people can relate to. A lot of people want to be good people out in the world, but they forget to do it on their own doorstep. So I thought that was a very complex aspect of the character that I enjoyed exploring." On the New Season Not Only Chronicling a Missing-Person Mystery, But Examining Housing Uncertainty and Insecurity Kat: "That's the beauty of Lucas Taylor's writing, and he did it in the first season, too. He'll give you a ripping yawn with really engrossing characters and plot twists, but he'll sort of Trojan horse in bigger issues as well. But you don't feel like you're eating vegetables. It's done in a really organic, sophisticated way, where you're not really aware of it, but you come away thinking about the larger issues — in this case, it's homelessness, particularly for older women. So I think that's one of the great things about this show and it was the case in the first series. Julie's part in it is interesting, too, because from her point of view, she's bringing wealth to area and she's bringing a lot of people with her. But, we're seeing an exploration of the more personal aspects and implications of that trajectory, and who's been left behind. It's not preachy, but it's a really interesting examination of the issue. It feels like it's a part of the world, but it's not the point of the show. So I think for people who want to see the show, they're going to be grabbed by a great mystery, and great characters, and that's something that is just at the backdrop of it. In a way, it's something that's almost subliminal, but it's there and I think that's sometimes the best way to explore issues, because no one wants to be told what to think." On Joining Black Snow as a New Cast Member for Season Two Jana: "When I came in, I really just felt the love that the Heads of Departments and the crew members that were already on season one — and quite a lot of them were — had for the show. It was really beautiful to come in and start something fresh, but with people that already had that experience of season one, and they were also fond of that experience and also the final product, the show. So it felt really special. I remember that pre-production time where I went in and we had all our costume fittings and everyone was just excited to be back on at the production office. It was really, really nice, honestly." Kat: "It gives you a sense of the parameters and the tone. I think it's really helpful. And I haven't had this situation much. I suppose if you come in as a guest actor in an established show, it's like that, too. It's a good idea to watch a couple of episodes to get a sense of the tone. So I guess I have had that situation before. I think it was really helpful, because I'm very much a character that's one of the ensemble, and so we're in and out. So having that blueprint, even though it's its own show, just in terms of the style of the show and what it is, was actually really, really useful. I had a good sense of what I was stepping into in advance, which is great." On Drawing Energy From the Rest of Show's Impressive Cast Jana: "The beautiful thing was that everyone was so excited to be on the show. No matter where they came from, if that was their first acting job ever or if they were well and truly established actors, everyone was excited to be on the show. I think that really creates a beautiful spirit on set, and was very family-like. And it's just such a gift when you work with people like that, because it elevates the experience, but also elevates your own performance if you're acting opposite people who are really good actors opposite you. So it's just the best thing that can happen to you, really." Kat: "I actually only have one scene with Travis, and it was really interesting, because that one scene was quite an intense, big scene — and he was directing it. That was full on, because it was like 'hello'. I was really excited to work with him because I think he's terrific. I loved him in Boy Swallows Universe, the first series of this, obviously he's in Vikings. But it was a very unusual situation to be in. But I think I had the benefit of watching the first series, so I knew what the character was, and that certainly anchors it. So having seen the series, it gave me an idea of the tone of the show and the parameters and the way it would be shot. But yeah, that was just headfirst. I haven't seen it. I can't wait to see how it turned out." On the Importance of Black Snow Giving Its Missing People as Much Attention as the Search for Them Jana: "It's funny because going into it, for me it was all about creating her life and what that was like. And it wasn't for me to create anything beyond that, really. So to me, it was almost like whatever happens outside of that is not part of my storytelling, because I can't — knowing what happens to her, I can't bring that into my performance as the Zoe before anything happens. So it's kind of like, in that sense as an actor, pretty much like any other character — because it's all about doing justice to the person that they are and bringing them to life. I think it's really special that Black Snow does that, because you also get really invested as an audience member and you really want to know what happens to that person. So I can only hope that that's the same for Zoe and that people are invested in what happened to her." On Season Two Being Set in Queensland's Glass House Mountains Jana: "I think the producers are doing a really good job at picking out these beautiful, very striking pieces of landscape that you know to be Australian, but you don't see them so much. I think that's really special. The biggest block of shooting we did on the Gold Coast. We only had a few bits and bobs that we did at the Sunshine Coast. It was all pieced together. But I remember being there, seeing the Glass House Mountains for the first time, and I was just stunned. I loved it so much. They're very powerful." Kat: "I love being on location, and most of my work's been done in Victoria, Melbourne, which is just luck — and it's worked out well because I've got a young family — but this was great. It's so beautiful, the climate is completely different and the way they've shot it, they've really showcased that part of the world so beautifully. I think it's like a character, really. People say that all the time, but it really is. It's really beautiful. And I can't think of a production that's looked at this particular part of Australia like this." On Whether the Balance of Projects and Diversity of Roles That Stewart Has Enjoyed Is What She Hoped for When She Was Starting Out On-Screen a Quarter-Century Ago Kat: "I don't think I'd ever thought that far ahead. And it's all very strange, you saying 25 years, because I don't look back, either. You're always looking ahead. I know I've been very fortunate. I've been very lucky to work consistently and to work with such great people. And some long-running roles, too, where I really had a chance to develop the life of a character over a long time. That's a special — that's a really great experience to have. So I have been lucky. But having said that, I hope I'll be working for a very long time yet." On What Black Snow's Second Season Taught Its New Stars Jana: "It was just incredible to watch everyone bring their skills to the table on this show, because all the crew and the cast and all the directors were so incredibly skilled and beautiful at their jobs, and it was just such an enriching experience to get to watch them and just be present in that really concentrated and really skilled type of work. And also for me on a personal level, I think I always take inspiration from the characters that I play, and Zoe, with the fire that she has for the world, was definitely a very big inspiration for me as well on a personal level." Kat: "I just want to work on — it's the stuff you hear, but it's true — I just want to work on great scripts with great people. And each time you're building a character from the ground up, each time you sort of start with nothing, and each time you think 'oh god'. You always have to think 'oh, gee, how am I going to do this?'. You just learn things along the way just through doing it. And honestly, I love what I do. It's the coolest thing." Black Snow streams via Stan. Read our review of season one.
For three months from Friday, August 8 to Saturday, November 8, legendary Japanese drinks company Suntory is turning Whisky Thief inside Sydney's Prefecture 48 precinct into ground zero for highballs, international guest bartenders, chefs and exclusive experiences. Suntory Bar features bespoke snacks by award-winning chef Tetsuya Wakuda. It's an exclusive chance to experience his food, with dishes created just for the residency in collaboration with the head chef of Prefecture 48's kaiseki restaurant, Garaku. The menu leans into Japanese technique with a modern edge. You'll find fried oysters with citrus mayonnaise and ikura, tuna tartare with shiso and ponzu and a "Wagyu Hambagu Burger" with Patatas Fritas. It's all designed to pair with Suntory's signature Highballs, but if you're trying the exclusive Tetsuya Wakuda snack, the recommended choice is the Hakushu Highball — a smoky take on the classic, crisp whisky and soda that's huge in Japan. The drinks cover plenty of ground, offering a deep dive into the full Suntory portfolio. You'll find a range of beers, spirits and creative cocktails showcasing Toki Whisky, Roku Gin, Haku Vodka and more. There's also a Haku-inspired Japanese slipper, BOSS Coffee reworked into an Irish coffee, whisky flights, a delicious Minus 196 spritz, and pours of Suntory The Premium Malt's beer. And for something unexpected, try Hibiki Harmony served neat over ice cream - call it a whisky take on an affogato if you will. Over the three-month stint, the bar will also host guest bartenders from around the world. They'll drop in for takeovers, special events and limited-time additions to the menu. The main Suntory Bar is open for walk-ins and bookings, Tuesday to Saturday each week. Suntory Bar is spread over two levels of Prefecture 48, a Japanese dining hub home to restaurants like Ibushi, Garaku and Omakase. The space has been given a full seasonal refresh to channel a modern Japanese garden and will bring the best parts of Japan's dining and drinking culture — including a post-work nomikai (drinking ritual) — to the heart of Sydney. If you're into Japanese spirits, rare collabs or just want a good reason to finish work on time, this one's worth locking in. Suntory Bar runs from Friday, August 8–Saturday, November 8 at Whisky Thief in Prefecture 48, 230 Sussex Street Sydney. It's open Tuesday–Thursday from 5–11pm and Friday–Saturday from 5pm–midnight. For more details and bookings head to the website.
Career-wise, the past decade has been kind to Australian filmmaker Warwick Thornton. It all started back in 2009, when he won the Cannes Film Festival's Camera d'Or — the award for best first feature — for the fantastic Samson and Delilah. Since then, he has explored ghost stories in The Dark Side, and opened the Sydney Film Festival with We Don't Need a Map, a documentary exploring the prominence of the Southern Cross in Australian culture. In 2017, he also directed one of the best, most blistering Australian westerns ever made, Sweet Country. And, more recently, he co-helmed the second six-part season of TV series Mystery Road — which premiered at this year's Berlin Film Festival before hitting screens Down Under. All that hustle and bustle has had an impact, however, as his next project explores. In The Beach, Thornton documents his own quest to step back from his busy life by living alone on an isolated stretch of sand by the shoreline — at Jilirr, on the Dampier Peninsula on the northwest coast of Western Australia. Thornton directs the exquisite-looking documentary, with his son — Robbie Hood and Finke: There and Back filmmaker Dylan River — shooting the entire series. As well as helming, Thornton obviously stars in the six-part series, too. And it's understandably a highly personal affair; "The Beach is one of the most important projects of my life. It's about my life. It is my life," the acclaimed director explains. Accordingly, when the documentary hits NITV, SBS and SBS On Demand on Friday, May 29 — airing on NITV and SBS simultaneously in one big block, and dropping on the broadcaster's streaming platform at the same time — it'll chronicle Thornton's efforts as he lives alone, endeavouring to follow in the footsteps of his ancestors, the Kaytetye people. Solely relying upon the land, he spends his days in scenic surroundings while hunting and gathering for food, with the docuseries observing unobtrusively as he attempts to transform his existence, connect to Country, and nourish both his body and spirit. As the just-released trailer shows, it makes for quite the striking viewing. And, given the current state of the world, immensely timely viewing too. Check out the trailer below: https://www.youtube.com/watch?v=qaMIcuVH83M All six episodes of The Beach will air on NITV and SBS on Friday, May 29, with the docuseries available to stream via SBS On Demand from the same time.
When the National Gallery of Victoria dedicates its blockbuster summer or winter exhibitions to big fashion names, one word usually applies no matter which designer is in the spotlight: stunning. It was true back in 2022 when the Melbourne venue turned its focus to Alexander McQueen, for instance, and also in 2021 when it did the same with Gabrielle Chanel. Expect the same across the summer of 2025–26, when it's Vivienne Westwood's time to shine, plus Rei Kawakubo from Comme des Garçons' moment as well. Heading to NGV International across Sunday, December 7, 2025–Sunday, April 19, 2026, Westwood | Kawakubo is both an Australian and a world first, pairing pieces by both the British talent and the Japanese designer in one massive showcase. No matter which of the duo's works you're looking at, you'll be revelling in rule-breaking, status quo-subverting threads. Some helped define the fashion of the punk movement in the 70s. Others have earned the world's attention at the Met Gala. In-between, items donned by supermodels, seen in films and from collections worn by plenty of well-known names will feature. [caption id="attachment_1011675" align="alignnone" width="1920"] Vivienne Westwood, London (fashion house), Vivienne Westwood (designer). Outfits from the Portrait collection, autumn–winter 1990–91 (detail). 116 Pall Mall, London, March 1990. Photo © John van Hasselt / Sygma via Getty Images. Models: Susie Bick & Denice D. Lewis.[/caption] In total, more than 140 designs are set to display at the NGV. To assemble such a wide range, the gallery has sourced pieces from New York's Metropolitan Museum, The Victoria & Albert Museum, Palais Galliera and the Vivienne Westwood archive, plus its own collection. Over 40 works are new gifts to the gallery from Comme des Garçons especially for Westwood | Kawakubo, as chosen by Kawakubo. Among the full lineup of items: punk ensembles made famous by The Sex Pistols and Siousie Sioux, the wedding gown that Sarah Jessica Parker (And Just Like That...) wore in Sex and the City: The Movie and the tartan dress that Kate Moss stepped into in Westwood's Anglomania collection in the mid 90s — and also a version of Rihanna's petal-heavy 2017 Met Gala outfit, plus pieces from collections that Lady Gaga and Tracee Ellis Ross (Black Mirror) have sported. [caption id="attachment_1011671" align="alignnone" width="1920"] Rhianna wearing Comme des Garçons, Tokyo (fashion house), Rei Kawakubo (designer) at The Met Gala, 2017. Photo © Francois Durand via Getty Images.[/caption] Westwood | Kawakubo will span from taffeta to tweed, vinyl and leather to silk, and corsetry to ruffles and knitwear, then — and much beyond. The exhibition is designed to step through Westwood and Kawakubo's careers across five thematic strands, including the former's punk-era work and the influence of the movement on the latter, their shared needs to rebel against the norm, how the two women have looked either forward or back in their pieces, eschewing objectification and using fashion to make a statement. "This exhibition celebrates two leading female fashion designers from different cultural backgrounds, who both had strong creative spirits and pushed boundaries," explained NGV Director Tony Ellwood, announcing the showcase. "Through more than 140 designs from the NGV Collection and key international loans, Westwood | Kawakubo invites audiences to reflect on the enduring legacies of these groundbreaking designers and contemplate the ways in which fashion can be a vehicle for self-expression and freedom." [caption id="attachment_1011673" align="alignnone" width="1920"] Vivienne Westwood, London (fashion house), Vivienne Westwood (designer) Look 49, from the Anglomania collection, autumn–winter 1993–94. Le Cercle Républicain, Paris, March 1993. Photo © firstVIEW. Model: Kate Moss.[/caption] [caption id="attachment_1011677" align="alignnone" width="1920"] Comme des Garçons, Tokyo (fashion house), Rei Kawakubo (designer) Look 9, from the 2 Dimensions collection, autumn–winter 2012. Paris, 3 March 2012. Image © Comme des Garçons. Model: Henna Lintukangas.[/caption] [caption id="attachment_1011676" align="alignnone" width="1920"] Sarah Jessica Parker wearing a Vivienne Westwood wedding gown on the set of Sex and the City: The Movie, New York City, 12 October 2007. Photo © James Devaney / WireImage via Getty Images.[/caption] [caption id="attachment_1011678" align="alignnone" width="1920"] Comme des Garçons, Tokyo (fashion house), Rei Kawakubo (designer) Look 1, from the Blue Witch collection, spring–summer 2016. Paris, 3 October 2015. Image © Comme des Garçons. Model: Maja Brodin.[/caption] [caption id="attachment_1011674" align="alignnone" width="1920"] World's End, London (fashion house), Vivienne Westwood (designer), Malcolm McLaren (designer) Outfit from the Savage collection, spring–summer 1982. Pillar Hall, Olympia, London, 22 October 1981. Photo © Robyn Beeche.[/caption] [caption id="attachment_1011679" align="alignnone" width="1920"] Comme des Garçons, Tokyo (fashion house), Rei Kawakubo (designer) Look 13, from the Uncertain Future collection, spring–summer 2025. Paris, 28 September 2024. Image © Comme des Garçons. Model: Astrid Wagemakers.[/caption] Westwood | Kawakubo displays from Sunday, December 7, 2025–Sunday, April 19, 2026 at NGV International, St Kilda Road, Melbourne. Head to the gallery website for tickets and more details. Top image: excerpt of Rhianna wearing Comme des Garçons, Tokyo (fashion house), Rei Kawakubo (designer) at The Met Gala, 2017. Photo © Francois Durand via Getty Images.
Dee Why is a sporting beach through and through. It's the site of the annual Ocean Thunder Surfboat competition and was once home to major surfing comp Beachley Classic. Essentially, it's a beach set up for those who want to get active. Just next to it is Long Reef Beach, with the two stretches of sand separated by a shallow lagoon, so there's heaps of space. You'll even find an outdoor table tennis spot, so you don't even need to bring any equipment to get competitive with your crew. There's also a playground for obstacle course-style games as well as barbecues for post-game feasts. Image: Destination NSW
It's the absolute last thing Melbourne needs right now, but just after 9am this morning, Wednesday, September 22, the city was hit by what's reported to be an earthquake. Yep — we're out here deep into Lockdown 6.0, having clocked up over 200 days of stay-at-home orders, and the universe goes and dials up the drama with the literal shifting of tectonic plates. Just who exactly Melbourne pissed off so badly, is yet to be revealed. The experts over at the Seismology Centre shared details of the quake on Twitter, confirming a magnitude 5.3 earthquake hit Gippsland and was felt right across Melbourne, a good 100 kilometres away. The earth shakes lasted about 20 seconds, which proved pretty exciting stuff for this particular writer who hadn't even had their morning coffee yet. The preliminary magnitude 5.3 estimation is yet to be officially confirmed and may be revised. As you can imagine, Twitter fired up instantly following the quake, as people rushed to swap notes on Melbourne's 843576th bad news event of the year. There'll be more information to come as the experts recover from this sneak environmental attack. But in the meantime, here are some winning reactions from the Twitterverse. We'll bring you more information as details unfold on the earthquake event from this morning. Sounds like Melbourne's going to be in need of a good construction industry — Josh Withers (@JoshuaWithers) September 21, 2021 im pretty sure an earthquake is the sixth seal opened during the apocalypse. good news melbourne, just one to go! — Jim Malo (@thejimmalo) September 21, 2021 Statewide earthquake in Vic, 5.6. Whoever is writing this script of the impending apocalypse is getting ridiculously heavy-handed, I mean just fucking introduce a fun love interest or something and give us a breakhttps://t.co/erVIIzC7Ny — Marieke Hardy (@mariekehardy) September 21, 2021 pic.twitter.com/appe69o1u5 — fungbunger (@parsfarce) September 21, 2021 At what point do we accept that God hates Melbourne? — James Colley (@JamColley) September 21, 2021 FACT: Melbourne are 0-1 in VFL/AFL Grand Finals that immediately followed magnitude 6.0+ earthquakes in Victoria pic.twitter.com/7cGOgsMfUY — Michael (@HiReception) September 22, 2021
Let's face it, when life gives you lemons, you don't always feel like lemonade. For some of us, a bad day at work, an unexpected bill or the total wet blanket that is lockdown can see you reaching for something a little more heavy duty than citrus juice. If the standard Netflix and takeout self-soothing strategy has worn thin, we get it. And that's why we've put together a few strategies to try next time life tosses you a curveball. PRIORITISE YOUR SLEEP How many days of the week do you wake up and feel like you've actually had enough sleep? For us, it's minus three. So when everything hits the fan, one thing we like to focus on is getting a good night's sleep. If you have a hard time falling asleep, there are a few habits you can incorporate into your nightly routine to wind down more easily. NSW Health recommends doing an activity that you find relaxing for an hour or so before bed like reading or taking a bath. Or, you could try incorporating a sleep supplement into your routine to assist in de-stressing from the day and to help you hit the hay at a reasonable hour. TAKE A SOCIAL MEDIA BREAK When things have gone awry it can be easy to distract yourself with mindless activities to escape. One way you might do that is by spending hours doomscrolling on social media platforms. And while social media definitely has its positives, it's not like you can control what other people post. Typically, people use social media to make public declarations of wins they've had, and that's great. We love celebrating our friends. But, if you've just had a loss, no matter how big or small, seeing someone nailing life can send you into a tailspin. That's not to say you can't be happy for people in those moments — you absolutely can. But before you login after a tough day, consider checking in with yourself and figure out whether or not you're emotionally prepared to deal with the feelings that may arise while being online. TAKE YOUR VITAMINS When you're not feeling 100 percent, taking active steps to look after your physical health is a great way to lift yourself out of your slump. Getting on top of the basics like good sleep, a balanced diet and drinking plenty of water is key. And, if you want to go even further, we recommend stocking up on vitamins from JSHealth, too. Whether you need something to help with skin health, hormone balance, sleep or stress, JSHealth has an extensive selection of supplements to choose from to help you take care of yourself. Plus, you'll get access to the JSHealth app for free with any order of vitamins — just use your order ID to access recipes, workouts, meditations and more, so you can get yourself back on track. TAKE CONTROL OF YOUR FINANCES When you've had a doozy of a day, it can be useful to shift your focus to things that you actually have control over. One of those things is your cash. And while at times it may feel like your money controls you more than you control it, taking time to sort out your finances (and actually following through with your plan) is possible. It can be useful to think of your money like other parts of your wellbeing. For example, if you want to start running, signing up for a marathon may not be the best place to start. The same applies to your dollarydoos. If you need to pay off some debt, want to bolster your savings or have a desire to start investing, you've gotta make time for it. And like running, if you stick to your plan, you'll get closer to your goal every day. Check out the Australian Government's moneysmart website for free tips on how to make your cash make sense (and cents). GET TRIPLE CLEAN We're all fans of freshly washed sheets, right? Crisp, warm and straight of the line on a sunny day are the top-tier kind. But to boost your mood on a less-than-average day, you've got to step things up a notch and get yourself triple clean. Let us talk you through what we mean. Step one is to strip your bed sheets and give your mattress a makeover with a fresh set of threads. Step two is to strip yourself and get squeaky clean in the shower. Then, it's time for step three — fresh PJs. Yep, time to swap out last night's pizza-stained pants for a fresh pair and soon after you'll be feeling like a million-dollar triple-clean queen. DIY PAMPER NIGHT We've never had a bath that we later regretted — ever. So next time things feel like they're spiraling out of control, consider taking a moment to slow yourself down with an at-home pamper session. One of the great things about a DIY pamper sesh is you get to decide how extra you want it to be. If you feel like going all out, pick up a new face mask, bath salts, a candle and a cheeky bottle of something to take to the tub. Or, if you're more the spontaneous type, dig out that gift pack your Secret Santa gave you last year and actually use it. Whether you want to go all out with a foot scrub and at-home microdermabrasion or are stoked by the idea of a classic bubble bath, the whole point is for it to be relaxing — so don't stress over the set up. You can do a lot with dim lighting, a calming soundtrack and warm water. GET SOME FRESH AIR If you spend a lot of time working indoors, a quick whip around the block can do wonders to your mood after a wonky day. There's no need to rush your walk or worry about getting hardcore exercise in while you enjoy the outdoors, either. It's all about getting a change of scenery and a lil fresh air to take you far away from your desk for a moment. To heighten the experience, you can add your favourite podcast to soundtrack the stroll. Or, if you want to get really in touch with nature, go sans headphones and soak up the natural sounds of your surroundings. MAKE A CONNECTION When we're feeling down in the dumps, it can be hard to reach out to loved ones. It's easy to feel like you'll be terrible company and no-one wants to feel like the party pooper in the pack. But think about how many times you've gladly sat with a friend after a breakup. They weren't exactly the life of the party on those occasions but you still happily made yourself available in their time of need. And guess what? Your friends will absolutely want to do that in return. But, if being around people is a no-go for you in those moments of distress, consider making a connection with yourself, instead. You could do this by by journalling, meditating or engaging mindfully in one of your hobbies. CROSS SOMETHING OFF YOUR LIFE ADMIN LIST We all have a list of tasks we've been meaning to get to but for one reason or another it keeps getting put on the backburner. And even more unfortunately, as time goes on, the list keeps getting longer, too. Whether it's returning an online shopping purchase, consolidating your superannuation funds or finally booking your car in for a service — we've all got a thing or two we could cross off our lists. So next time you're feeling like you're in a funk, consult your mental to-do list and tackle one of its tasks for a lil pick me up. SET A BOUNDARY With work from home now a reality for a lot of us, the boundary between work and play has become increasingly blurry — which makes sense considering a lot of dining tables now double as work desks. With physical spaces melding together like this, it's more important than ever to create a healthy set of boundaries, and stick to them. One way to do that is to set times for when you'll respond to work questions (hot tip: try and stick to your regular work hours). Another boundary you may need to implement is knowing when to say no to social occasions so that you can schedule in essential alone time to recharge. Just remember, if your boundaries impact others (and they often do) it's a good idea to communicate what they are so that others can understand your limitations and respect them without trying to read your mind. CP readers can take advantage of a 15% discount on all JSHealth products by using the code: CPLAYGROUND. Learn more about JSHealth by visiting the website here. Images: Unsplash.
Sue and Russell Parsons opened the Central Coast's gourmet cheese factory eight years ago and in that time it's amassed awards for 12 varieties of cheddar, haloumi, curd cheese and a blue that, we're told, even the most mouldy cheese averse will love. Little Creek Cheese can be found the Old Wyong Milk Factory once stood, which was the first dairy in the country to commercially produce yogurt, and so it also makes a creamy yogurt in the old dairy factory's honour. [caption id="attachment_776741" align="alignnone" width="1920"] Kitti Gould[/caption] You can drop into the factory in Wyong to taste its lemon myrtle and mountain pepper fetta, garlicky labne, or gin-flavoured cheddar (yep) — or any of the other flavours on offer. A 30-minute private tasting with the cheesemaker is $20 per person in which you'll get to sample ten of its cheeses. For a more hands-on tour, book into the Cheese Experience for $110 and you'll get to make your own ricotta and paneer as you learn about the humble beginnings of the artisan cheese factory. Images: Kitti Gould
The dusty expanse of a post-apocalyptic world. Life before everything changed forever. Bunker existence. Giant robotic suits. All of the above are set to feature in Fallout season two — as they did in the show's first season — and Prime Video has just dropped a series of first-look images to give viewers a glimpse at what's in store. After premiering in 2024 and becoming one of the platform's top-three most-watched shows ever, notching up more than 100-million viewers globally, the game-to-screen hit is returning for its second season in December 2025. There's no exact release date yet, and there isn't a trailer so far either, but you can get a peek via the new pictures from upcoming episodes. Yes, this is a blast — as was the news earlier in 2025 that Fallout has already been renewed for a third season. Clearly, if you bring a massively beloved video game to TV in the right way, as season one did, then viewers will come flocking. We all know that that worked for The Last of Us as well, with its second season already airing this year and a third also in the works. For season two of Fallout, audiences can look forward not only to picking up where season one's finale left off, but to venturing through the Mojave wasteland to New Vegas — and to more time spent with stars Ella Purnell (Yellowjackets), Walton Goggins (The White Lotus) and Aaron Moten (Emancipation) as Lucy, The Ghoul and Maximus, respectively. When it dropped its initial eight episodes in 2024, Fallout took its cues from the games that first debuted on computers back in 1997, with three released sequels, a fourth on the way and seven spinoffs all following. The live-action television iteration follows Lucy, a lifelong vault-dweller, who leaves her cosy underground digs to navigate the irradiated wasteland that earth has remained for two centuries after the nuclear apocalypse. Crossing her path: bounty hunter The Ghoul, who has ties to life before the devastation; and Maximus, an aspiring soldier with the Brotherhood of Steel, who don those huge mechanical outfits. In this nightmarish future, a hellscape filled with mutants, wild west vibes and plenty of violence awaits beyond the bunker that the optimistic Lucy, daughter of Hank (Kyle MacLachlan, Overcompensating), who oversees Vault 33, has always called home. Bringing the chaos to life is a behind-the-scenes team featuring Westworld creators Jonathan Nolan and Lisa Joy, as well as Geneva Robertson-Dworet (Captain Marvel) and Graham Wagner (Silicon Valley) as writers and co-showrunners. And yes, Bethesda Game Studios has a hand in it as well. There's no trailer for Fallout season two yet, but you can check out the trailer for season one below: Fallout streams via Prime Video. Season two will arrive in December 2025 — we'll update you with an exact release date when one is announced. Read our review of season one, and our interview with Walton Goggins, Ella Purnell and Aaron Moten. Images: courtesy of Prime Video.
Australia's clash-free, one-day summer festival is back for a fifth year at Parramatta Park. This year, it's bring out flute-playing babe Lizzo ('Truth Hurts and 'Juice') plus Texas-via-California rap collective Brockhampton. If you missed out on tickets to US rapper Lizzo's Sydney Opera House gig (which sold out in minutes) you can still catch her singing tracks from her album Cuz I Love You at the January festival. Modern-day boyband Brockhampton headline the bill, bringing their troupe of rappers, directors, photographers, engineers, producers, graphic designers and DJs to Sydney once again with their catchy pop-led tracks 'Sugar', 'No Halo' and 'Bleach'. Joining Brockhampton and Lizzo is Canadian producer Kaytranada, who's set to drop a new album any day now. Other big names on the lineup include French singer Madeon, UK rapper Octavian and, from the local contingent, hip-hop artist Chillinit and Sydney producer Ninajirachi.
When you've just made two seasons of a time-loop TV show about reckoning with the past, what comes next? For Russian Doll co-creator Leslye Headland, another jump backwards beckons. The Star Wars franchise has been telling tales set not just in a galaxy far, far away but also a long time ago for almost five decades; however, across its 11 movies and five live-action Disney+ TV shows until now, it hasn't ever explored the events of as long a time ago as Headland's The Acolyte brings to the screen. As streaming from Wednesday, June 5, welcome to the High Republic era a century before Star Wars: Episode I — The Phantom Menace — and into a thrilling new angle into one of pop culture's behemoths. Although they each date back further, Star Wars, The Lord of the Rings and Game of Thrones have become the 21st century's holy trilogy of fantasy and sci-fi fare. They've also all been adopting the same approach to keeping their stories going: stepping through the events before the events that they've already relayed to audiences. So went the Star Wars prequels, Rogue One: A Star Wars Story and Andor, plus House of the Dragon and The Lord of the Rings: The Rings of Power. So now goes The Acolyte as well. The key aspect of the latter isn't just that this eight-instalment series gains the space to jettison familiar faces and spin its narrative anew — it's also that it's traversing more of the world that George Lucas first envisaged in the 70s, and what the force means to more than the usual faces and those tied to them. And, it isn't afraid to question the heroes-versus-villains divide that's as engrained in all things Star Wars as lightsabers, having a bad feeling and droids. Taking place in a period of peace and prosperity — well, for some — The Acolyte is still home to heroes. Villains are part of the tale, too. But the idea that the Jedi always fall into the first camp and their enemies can only sit in the second is probed. Similarly queried is the notion that anything in the Star Wars realm, let alone everything, is that binary. The premise: Jedi are being eliminated by a mysterious warrior, a setup that is pushed to the fore immediately and initially aligns its emotional response as audiences since 1977 know to expect. But as gets uttered three episodes in, "this is not about good or bad — it's about power and who gets to wield it". The Acolyte's opening showdown unfolds in the type of cantina that's hardly new to the saga, but the battle itself is. From beneath a mask, a warrior (Amandla Stenberg, Bodies Bodies Bodies) isn't afraid to throw down, throw knives and throw around her ability to use the force, with a Jedi her target. In the aftermath, the robe-adorned head honchos have ex-padawan Osha in their sights. Now working as a meknik, which entails undertaking dangerous spaceship maintenance tasks that robots are legally only supposed to do, she fits the description. Her old Jedi mentor Sol (Lee Jung-jae, Squid Game) isn't so sure, though, especially knowing her past. Get ready to delve into history: throughout episodes set in The Acolyte's present day, Osha's backstory spills its details, plus a glimpse at how the Jedi work when they're the universe's accepted peacekeepers instead of freedom-fighting underdogs. In the season's illuminating third instalment — with Bachelorette and Sleeping with Other People's Headland handing over directing duties to After Yang's Kogonada after the debut two chapters (Cowboy Bebop's Alex Garcia Lopez and SWAT's Hanelle M Culpepper also helm episodes) — the action also leaps back years prior. Diving into to Osha's childhood in a coven that's use of the force isn't approved of by its regular guardians, it sees the show digging deeper into its examination of who is permitted to possess authority and influence. The Acolyte remains a Star Wars mystery as well, with why four Jedi are being singled out by an assassin doing their own master's bidding just one question that needs an answer. Who is pulling the strings behind the campaign against Sol, Indara (Carrie-Anne Moss, The Matrix Resurrections), Torbin (Dean-Charles Chapman, Game of Thrones) and Wookiee master Kelnacca (Joonas Suotamo, who also sported Chewbacca's fur Star Wars: Episode VII — The Force Awakens, Star Wars: Episode VIII — The Last Jedi, Solo: A Star Wars Story and Star Wars: Episode IX — The Rise of Skywalker) is another. As not just Sol but also fellow knight Yord (Charlie Barnett, another Russian Doll alum) and his protege Jecki (Dafne Keen, His Dark Materials) are on the case, only one of these queries receives an answer early. Five years since the franchise started rolling out Disney+ shows in 2019 with The Mandalorian, as followed by The Book of Boba Fett, Obi-Wan Kenobi, Andor and Ahsoka, the results have varied from exceptional to unnecessary. That said, in whichever TV tale has been expanding this galaxy, casting has rarely been an issue. From an impressive ensemble of actors that also features Manny Jacinto (Nine Perfect Strangers), Jodie Turner-Smith (Sex Education) and Rebecca Henderson (You Hurt My Feelings), Stenberg and Lee are The Acolyte's standouts. While they deliver particularly weighty performances when they're together — portrayals that cut to the heart of the thorny power dynamic that the series keeps laying bare — Stenberg, dealing with a twist on the saga's love of family drama and its echoing repercussions, adds an especially layered turn to her growing resume. Andor, with its complexity, grit, passion and spy-thriller vibe, remains hard to top as the best small-screen Star Wars spinoff. It was one of the best new shows of 2022 all round. Still, leaving sifting through why giving your all to attempt to stave off a dystopian nightmare is the most-pivotal quest there is to Andor, The Acolyte is a worthy addition to the realm. As it unpacks the hierarchy of light and dark, the grey areas that lurk between the two extremes and what all of those intermediary shades mean if you're not among those setting the rules, it's never afraid of the reality that life, even here, is messy. The force might be complicated in this one, but the potential for The Acolyte is strong. Check out the trailer for The Acolyte below: The Acolyte streams via Disney+ from Wednesday, June 5, 2o24. Images: ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.
The Grounds doesn't do things in half measures. Whether it's an elaborate Disney-themed takeover of its Alexandria home or its next-level events space at South Eveleigh, the Sydney institution isn't afraid to go big. And that's exactly what it's doing with its Easter celebrations. They're bringing back the giant Easter egg crack — and when they say 'giant' they mean it. Taking over The Grounds of Alexandria on Easter Sunday is the annual Easter Egg Cracking Eggstravaganza, a next-level chocolate party centred around a massive Max & Boon chocolate egg that is smashed open and divvied out among the crowd. It's truly a sight to be seen and a fun, family-friendly way to get into the spirit of things. Tickets are $27 and grant you access to the egg cracking, plus a range of activities for kids and adults alike, including free face painting, live music, roving entertainment and an obligatory appearance from the Easter bunny. The egg crack kicks off at 5pm. Once you've gorged your way through a heap of chocolate, you can balance out your Sunday diet by taking a seat in The Grounds' expansive barbecue area or garden bar for a hearty Easter Sunday dinner. View this post on Instagram A post shared by The Grounds (@thegrounds)
Have you ever wondered if there was a way to salvage the flavour of burnt rice, how to test if an egg is still fresh, how to prevent cheese from going off, or bread from going stale? Unorthodox but incredibly helpful kitchen and cooking tips are a great way to make the cooking experience much quicker and easier, and can be employed in your everyday cooking routine. Here are ten of the most helpful cooking tips that you may not know, but should. 1. Make Garlic Easier to Peel How? By microwaving it for 20 seconds. Zapping garlic in the microwave for a short amount of time is believed to heat the water in the garlic and cause the cells to rupture thus breaking the bond between skin and flesh and causing the skin to slip straight off. It is thought to make the garlic slightly less pungent but apparently doesn't alter it's flavour or texture. 2. Keep Delicate Dishes Warm How? By placing the saucepan on top of a fry pan. Whilst placing a saucepan over a stove on low may suffice for some dishes, delicate sauces or mashed potatoes can easily be burnt and ruin a perfectly good meal. A great trick is to put a cast-iron skillet over a low flame and then place the saucepan on top of this to ensure the heat is evenly spread throughout the meal. 3. Absorb Excess Fat from Soup How? By placing a lettuce leaf on top of it. Placing a lettuce leaf on the surface of a soup is an organic and effective way to defat the liquid, and it is a much easier and cheaper alternative than using gravy separators. The leaf can then easily be thrown away it has absorbed the unwanted fat. 4. Test the Freshness of an Egg How? By placing it in cold water. You can determine the age of an egg (while still encased in it's shell) through the amount of air in it's air pocket simply by placing it inside glass or bowl of cold water and seeing if it floats. If the egg sinks it is fresh, if it tilts slightly up or moves to a semi-horizontal position it is about a week old, but if it moves to a vertical position or floats to the surface of the water it is stale. It's that easy! 5. Avoid Curdled Cream How? By adding baking soda. Have you ever wondered how the age old quandary of cream curdling when you place it over fruit can be avoided? Well wonder no longer, because the solution is as easy as adding a pinch of baking soda to the cream before serving. 6. Keep Cheese Longer How? By wrapping it in a paper towel that's been moistened with vinegar. To avoid losing your cheese to mould, all you have to do is place a paper towel that's been soaked in white wine vinegar at the bottom of an air-tight container and put the cheese on top then keep the container in the fridge. 7. Eradicate Bacon Curling How? By soaking it in cold water before frying. In order to avoid the dreaded bacon curling that occurs when frying it, soak it in cold water for two minutes before frying it and dry well with paper towel. If that doesn't work simply sprinkle some flour over it, and if you still have no luck then try poking some holes in it. 8. Remove the Bitter Taste of Burnt Rice How? By placing a piece of white bread over it. Burnt your rice? Never fear, because all you need to do is place a slice of white bread on top of the rice, close the lid and let it sit for 15 minutes, then vualah, take the bread out and enjoy your non-bitter tasting rice. The bread will apparently absorb the bitter flavour of the rice you burned and restored it's taste back to normal. 9. Tenderize Meat and Speed up Defrosting How? By pouring vinegar over frozen meat. If defrosting meat has always been one of those processes that has baffled you, make life easier for yourself just by adding some vinegar. Pouring a cup of vinegar over the frozen meat lowers it's freezing temperature, making it thaw more quickly, and the acid in the vinegar breaks down connective tissue to increase it's tenderness. 10. Prevent Bread from Going Stale How? By adding a celery stick to the bread bag. By simply adding a piece of celery to a sealed bread bag overnight, you can refresh your bread and make it taste as good as when you first bought it. The bread is supposed to absorb the humidity of the celery, but it's flavour shouldn't change due to the bland taste of the celery.
His soulful voice could stir emotion even if he was speaking gibberish, but Willis Earl Beal's story is also well worth a listen. In display of grassroots ascent all but unheard of these days Beal found fame after he found himself living on the streets of Albuquerque, New Mexico, where he moved from Chicago in 2007 to try land a job. He eventually found one at a motel, and in a moment of Carly Rae Jepsen audaciousness scattered hand drawn flyers listing his phone number and address: "My name is Willis Earl Beal. Call me and I'll sing you a song. Write to me and I'll draw you a picture." Found Magazine called him, interviewed him and featured his flyer on the cover, and three years later his debut album of home recordings, Acousmatic Sourcery, was released. The most interesting thing about this guy though is what he might do next. And that's what you'll get a hint of come January. https://youtube.com/watch?v=0dmeK01Nm48
Still trying to work out how to do New Year's Eve? With Sydney putting on some of the best parties on the planet, deciding is no easy feat. Lucky, one of Sydney's best and buzziest CBD spots, The Morrison is giving you multiple choices. If you're in the mood for something a bit fancy — that isn't going to wipe out your bank account — opt for The Morrison's three-course dinner. For a clean $99, you'll score three courses and a glass of champagne. The feast includes freshly shucked oysters, king crab and caviar lettuce tacos, whole roasted fish of the day, slow cooked pork hock and Sean's dropped pavlova, among other deliciousness. What's more, you'll find yourself inside The Morrison's beautiful, indoor-outdoor Conservatory. When the sky's clear, the enormous retractable roof is whisked away, leaving you with a pretty, pretty ceiling of stars. There are two sittings — 5.30pm for early birds (or those with post-dinner plans) and 9pm for night owls. Meanwhile, for those too jittery about midnight to sit, there'll be a more straightforward party going on in the Main Bar from 7pm. Beloved beatsmith, one half of Wordlife and Motorik crew member, Sydney's own Kato will be manning the decks — so don't think you'll be sitting idly while midnight rolls around. And, for $99, you'll get three hours' worth of drinks and canapes. Plus, you're free to pop out and watch the fireworks at either 9pm or 12pm (or both) — post-midnight re-entry is guaranteed.
With a theme this year of "compulsory" fun, how could the Verge Arts Festival not be full of good times? (Otherwise that’s just false advertising now, isn’t it.) For 10 days the University of Sydney gets all arty on us, served up alongside some theatre, a dash of music and a sprinkling of comedy. If you’re a Sydney Uni student it’ll be hard to avoid, but for the rest of us, you’ll just need to make your way up to those sandstone buildings. There will even be artworks under your feet as you traverse Eastern Avenue on your way to class (or to the event), with the Colour My Campus pavement art project — just make sure you join in and leave a few doodlings. Most happenings will be in the Verge Festival Dome, a circus-syle tent (also on Eastern Avenue). When there isn’t something going on here, you can chill out on a couch and play video games, while pretending to study. Or you could just head to Manning Bar to see what’s on. Events in the program include the Musical Music of Disney, with the Sydney Youth Orchestra playing songs from Disney films to film footage, Harry Potter trivia, a comedy dance extravaganza, theatresports at the Cellar Theatre and even a seance — if you’re that way inclined. Just make sure you don’t miss the opening night party, where you’re encouraged to dress up all scary like and dance the monster mash.
Tropfest is entering its 21st year with a lot to brag about. The grassroots short film festival that started in a Darlinghurst cafe now has thousands of loyal fans in Sydney alone, a reputation that knows few geographical boundaries, and famous friends including Toni Collette, Baz Luhrmann, and Geoffrey Rush. But it's still at heart a generous wee thing, its main two goals being (a) launch the careers of our most talented budding filmmakers, and (b) give around 150,000 Sydneysiders a big old free night of live entertainment, good company, sophisticated boozing, and really great short cinema. This year the 16 finalists have been selected from 700 entries. Each film must in some way include 2013's signature theme 'balloon', but that and the running times are about where the similarities end. This year filmmakers are really reciprocating the love to Tropfest, venturing to far-flung and dangerous locations (settings include a mental asylum and cartel territory in the Mexican desert) and tackling the most vexed of issues. Matt Bird takes on tasers, while Tim Blackburn and Lyndal Moody join forces to chew on a more long-standing bone of contention — the monobrow. Other entries include Katie Wall's soap-within-a-movie short Scene 16, Daniel Reisinger's CA$H COW — A 63% True Story (with guest appearances from Mel and Kochie) and Tropfest third-timer Topher Field's The Hustler. You can also expect to see animation and documentary sitting alongside the omnipresent comedies and dramas. Proper cinephiles will recognise more than a few names from the full list of finalists, but there are plenty of rookies going up for the big prizes too. An interesting fact to note is that five of the 16 finalists shot their films on DSLRs, hence the Nikon DSLR Film category introduced this year. It's amazing what standard technology can do when it's taken beyond the 'auto' button. This year's winner will drive away in a 2012 Toyota Corolla Levin ZR (provided they can see over the $10,000 cash money it's stuffed with), take home the latest Nikon D800 plus $2000 of lenses and accessories, and rub shoulders with cinematic royalty during a week of meetings in LA. Gates open at 11am on screening day, so get in early to secure a spot. From 3 to 6pm there'll be live music from Round the Corner, Meg Mac, Clubfeet, and the winner of Tropscore, with red carpet arrivals rolling in straight after. And if you don't like live entertainment, a communal atmosphere, or 4 Pines brews, SBS will be screening the festival on free-to-air TV at 8.30pm. https://youtube.com/watch?v=FiOWbemZuoU
Located within western Sydney's lively new dining precinct Parramatta Square, Ruse Bar & Brasserie is a European-inspired eatery and wine bar that's plating up some top-notch eats in a gorgeous setting. Taking centre stage in the brasserie is the open basque grill, from which the chefs are serving up the likes of king prawns with saffron aioli, John Dory fillet with charred eggplant and whole King George whiting with salsa rossa. There's also lamb, free range chicken and steaks cooked over cherry wood and charcoal. Plus, the signature shared beef cuts including t-bone, grass fed rib eye and a wagyu tomahawk. If you're looking for something more casual, head outside to the expansive deck and bar area. Here, the menu focuses on pub classics like schnittys, burgers and fish and chips. Outside of the eats, there's a menu of fruity cocktails, including piña coladas, lychee martinis, daiquiris and palomas. Images: Leigh Griffiths
If you thought the days of sipping wine by the beach with your mates were over now that winter is around the corner, think again. Coogee Bay Hotel is bringing the goods this weekend with its annual Wine Affairs Festival, celebrating homegrown Aussie wines and New Zealand drops. On Friday, May 17, an intimate six-course dinner, hosted by Yalumba winemaker Marc Van Halderen, will kick off the festivities. Each dish will be paired with new release wines from Yalumba — one of Australia's oldest wineries in the Barossa Valley — and there'll be live jazz, too. Places are extremely limited for this one, so bookings are essential. Tickets cost $99 per person. Following the opening feast, the Wine Affairs Festival will run across Saturday, May 18 and Sunday, May 19, from midday until sundown. Expect to sip wines from over 20 wineries from around Australia and New Zealand, including Audrey Wilkinson, See Saw, Squealing Pig, De Bortoli and McGuigan Wines, plus more. Plus, you can pair your favourite drops with a selection of delicious cheeses, have fun in the photo booth and sit back and relax to live jazz. And if you don't think you can face the journey home after all that wine tasting, turn your visit into a staycation. Coogee Bay Hotel is offering a special accommodation package for Wine Affairs visitors, which includes breakfast and tokens for the festival. Coogee Bay Hotel's Wine Affairs will take place from May 17–19. To reserve a spot at the intimate Friday dinner, head this way. Entry to the Wine Affairs Festival is free and you can pre-purchase tokens for tastings and bottles over here.
Whether you're embracing being at home, or itching to get out of the house and into a bar as soon as possible, we expect you've experienced many mood changes with every 'new normal' moment. Perhaps you've been unexpectedly thrilled with your baking skills? Mortified with your home hair dye efforts? Proud of your Zoom hosting skills? Each day comes with its own highs and lows, so, we've teamed up with Jimmy Brings to suggest a drink and a snack for the small wins through to the mini meltdowns. Jimmy Brings is known for its 30-minute delivery times, so even when all you're doing is cleaning out the fridge, you can order a spontaneous drink to mark the occasion. Find the iso moment you relate to most, below. UNEXPECTED JOY AT YOUR BREAD BAKING SKILLS Deserves: a mini celebration with Covielle sparkling. In times like these it's all about celebrating the little things. Is your starter bubbling and doubling as it should? Are you proving your dough without having to watch the clock? Sounds like you're nailing it. When you're ready to slice into that crusty loaf, pair it with a selection of deli cheeses, from one of these cheese shops in Sydney, these ones in Melbourne, or from Le Fromage Yard in Brisbane. And make yourself an Aperol spritz with Covielle sparkling, which has a citrus tang and a clean, crisp finish that pairs well with the gooey cheese and that proud grin on your face. UTTER PUZZLE FRUSTRATION WHEN THAT BLUE PIECE DOESN'T SEEM TO FIT Deserves: a comforting bowl of pasta and a Mists & Shadows Chardonnay. You're 300 little blue shapes from completing that masterpiece of dots and swirls, and though you don't remember caring about puzzles before 2020, this is now all you think about. Why. Won't. It. Fit? Just remember, it's the little things that cause us most angst. No, your friends probably don't understand. But, you know what will help? A warming hug in a bowl. Order in a lamb ragu from Tottis or a cacio e pepe DIY pasta kit from Ragazzi, if you're in Sydney. Melburnians, Tipo 00 has its braised duck gnocchi for pick up, and much-loved vegan spot Smith & Daughters is delivering its penne carbonara and vodka-spiked spaghetti. In Brisbane, you can get spaghetti, rigatoni and carbonara to take away from 1889 Enoteca. The white peach and nectarine notes in the Mists & Shadows chardonnay pairs particularly well with lighter pasta dishes. [caption id="attachment_770129" align="alignnone" width="1920"] Tim Mossholder[/caption] BOTCHED ISOLATION HAIRCUT BLUES Deserves: a treat-yourself moment with Heritage House Shiraz. Too scared to embrace the grombre, you decided it was a good idea to touch up those roots yourself and now… well, it's a good thing all those social catch ups come with a 'no video' mode. At least you didn't cut yourself a fringe, or decide now was the time to grow a beard. Console yourself with a treat meal — after all, you've saved all that money avoiding a professional. We suggest ordering Walter's dry-aged steaks, if you're in Brisbane. Or you can get wagyu sirloin steaks and beef fillets from Vic's Meat in Sydney, and Meatsmith can deliver a porterhouse or marinated minute steaks to you by the next day if you're in Melbourne. Get Jimmy to bring you a full-bodied red to match it. The Heritage House Shiraz has rich berry flavours and hints of oak that complement a sirloin or porterhouse served with buttery veggies. [caption id="attachment_770049" align="alignnone" width="1920"] The Creative Exchange[/caption] PURE HAPPINESS AT A SUCCESSFUL VIRTUAL DANCE PARTY Deserves: a cheeky Jolly Trotter Pinot Grigio to set the mood. If you've been tuning into Hot Dub at Home every weekend, you'll know a dance party is all about the details. Balloons? Check. Glitter on your cheeks? Check. A raving outfit ready for that 'Sandstorm' drop? Triple check. When you're in the mood to dance, it doesn't matter if you're in a sweaty club or jumping around the sofa — so to help you get into the spirit, crack open a bottle of pinot grigio. Jolly Trotter is a crowd-pleaser with an orchard fruitiness to it that leans on the dry side. And, because you're planning to recover like a champion, prep an order of bacon and egg rolls for the morning. Sydneysiders can order a BKE roll and coffee combo from Paramount Coffee Project. In Melbourne, Egglab has its full menu available for delivery. And Brisbanites, you can order crispy bacon and fried egg baps from the masters of the humble brekkie roll, Yolk. WHOLE BODY SATISFACTION AT FINALLY CLEANING OUT THE FRIDGE Deserves: Mists & Shadows Cabernet Merlot on the couch, with a chocolatey treat. Look at that: you've organised the dairy to the top shelf and everything. You deserve to put your feet up on the couch (once again) and give yourself a much needed pat on the back. We all made lists during lockdown, but you actually achieved something. May we suggest having your cake and eating it? Our pick would be this decadent baked cheesecake from Attica. But if you're too far from Melbourne and want something you don't have to share, Koi Dessert Bar is delivering its weekly rotation of cakes around Sydney, from mascarpone tiramisu to mango yuzu tarts. And in Brisbane, you could order Gelato Messina's bombe alaska, or just a jar of its housemade dulce de leche. Pair it with Mists & Shadow's South Australian cab merlot that has a smooth mouthfeel and plum and blackcurrant aromas. GIDDY ANTICIPATION FOR YOUR UPCOMING FIVE-GUEST DINNER PARTY Deserves: Kiwi Hawk Sauvignon Blanc, because you're the host who knows the most. There's a reason everyone's looking to you to host the first catch-up dinner: you're the social alpha. You always know the best bars to visit and the newest restaurants in town, so now we're allowed friends over once again, it's your turn to impress with all that local knowledge. Not that you need our help, but if you're in Sydney, stock up at Paddington's Fish Butchery, which also has Mr Niland at Home meals if you're feeling lazy. Pair your seafood feast with a Marlborough savvy-b with a difference — Kiwi Hawk's is crisp and medium-bodied and works well with shellfish and herbaceous salads. In Melbourne, you can buy sashimi platters and green ocean king prawns from restaurant seafood supplier Clamms. And Brisbane's oldest seafood market, The Fish Factory, has plenty of whole fish and freshly shucked oysters to choose from. [caption id="attachment_770050" align="alignnone" width="1920"] Unsplash[/caption] NERVOUS BUTTERFLIES BECAUSE YOU'RE IN LOVE WITH YOUR HOUSEMATE Deserves: a bottle of Arcadian Tryst Shiraz and a couple of bowls of ramen. So you hooked up with your housemate during iso, and you liked it more than you expected. In fact, you want to take this out of the friend zone and into an IRL relationship. That's a ballsy move, so you may want some dutch courage. Better yet, make it a romantic dinner date for your do-you-feel-the-same? chat. First, order a bottle of date-night worthy shiraz from the cool climate Langhorne Creek; its sweet berry flavours, with crushed plum and smoky spices, pairs well with rich food, like the pork broth of a tonkotsu ramen. In Sydney? Order The Darkness from Rising Sun Workshop or RaRa's tonkotsu shio. Global ramen chain Hakata Gensuke is delivering across Melbourne. And Brissy lovers can enjoy Taro Ramen's DIY home packs. Even if things don't pan out, at least you ate good food. Download the Jimmy Brings app and use the code 'CONCRETE' to get $10 off your first order. Offer expires July 30, 2020. Top image: Andrea Piacquadio.
Most of Australia's cinema industry has earmarked July as its relaunch date, aiming to reopen in time for the planned release of Christopher Nolan's Tenet. But if you're a film fan keen for some big-screen fun before that, the country's drive-in theatres are filling the gap — and, given that their whole concept involves folks watching flicks in cars, social distancing is already part of the experience. At the beginning of May, Queensland's Yatala Drive-In welcomed movie buffs and their vehicles back through the doors. After a successful return over the state's Labour Day long weekend, the site halfway between Brisbane and the Gold Coast has worked its way up to screening films seven nights a week across its three fields. Run by the same team behind Brissie's New Farm, Elizabeth and Red Hill cinemas, Yatala is playing a mix of classics and recent releases. Viewers can pick from retro titles like Shrek, Dirty Dancing, The Princess Bride, Jaws and Toy Story, or opt for newer fare such as Jumanji: The Next Level, Bad Boys for Life, The Gentlemen or Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn). In Sydney, Blacktown's Skyline Drive-In quietly relaunched over the weekend of May 23–24, selling out its two sessions quickly. It's now officially reopening for regular showings from today, Thursday, May 28, screening from Thursday–Sunday each week (plus a Monday night session on the Queen's Birthday public holiday, too) — with four flicks playing each night. Films on the bill include The Invisible Man, IT: Chapter Two, Spies in Disguise, Joker, Grease and Knives Out, with horror-themed Friday nights and retro programming on Saturdays also on the agenda. Its diner is also back in business, serving burgers, hot chips, choc tops and other snacks. [caption id="attachment_622465" align="alignnone" width="1920"] Brook James[/caption] Melburnians looking to catch a flick in their car under the stars will need to wait until 11.59pm on Sunday, May 31 — so, Monday June 1, effectively — which is when Victoria's next stage of eased restrictions kick in. Drive-ins will be allowed to reopen then, with Dandenong's Lunar Drive-In relaunching on that date, Village Cinemas Coburg Drive-In doing the same on Wednesday, June 3 and the Dromana Drive-In restarting is projectors on Thursday, June 4. On the various cinemas' lineups: The Fast & the Furious, Shaun The Sheep: Farmageddon, 1917 and Bloodshot at Lunar; Cats, Mad Max: Fury Road, Reservoir Dogs and Pulp Fiction at Coburg; and Sonic the Hedgehog, Back to the Future, Ferris Bueller's Day Off and Muriel's Wedding at Dromana. Each of the reopening drive-ins is implementing additional social-distancing measures, ranging from the provision of hand sanitiser stations to asking attendees to take their rubbish home with them. Online bookings are required in some cases and recommended in others, while bathrooms at some sites are only available in emergencies — and candy bar and diner patron limits are being enforced, with some venues delivering snacks straight to vehicles. For more information about each drive-in, or to book tickets, visit the websites for Yatala in Queensland, Skyline in Sydney, and Lunar, Coburg and Dromana in Melbourne. Top image: Yatala Drive-In and Skyline Blacktown
When the end credits rolled Dune: Part Two when it reached cinemas in February, it clearly wasn't the end of Paul Atreides' story. On the page, in the book franchise started by Frank Herbert in 1965, the tale of sci-fi's spiciest man — and of the planet Arrakis, and the fight to control it — goes on. It will continue on the big screen, too, with a third Dune movie from Denis Villeneuve (Blade Runner 2049) now officially in development. As Variety reports, Villeneuve will work on the futuristic saga's next flick, which will follow 2021 standout Dune: Part One and this year's first sequel. That's all that's locked in right now, though — but here's hoping that it has a smoother path to picture palaces, after Part One was delayed from 2020 due to the pandemic's early days, then Part Two was pushed back from 2023 during Hollywood's strikes. When the next Dune movie will release, if it'll be called Dune Messiah like the second of Herbert's novels, whether Timothée Chalamet (Wonka) will be back as Paul, if he'll be co-starring with Zendaya (Euphoria) again: none of this has been confirmed at the moment. There might be a wait for more Dune, however, with Villeneuve also potentially adapting non-fiction text Nuclear War: A Scenario into a feature (and maybe making his own Oppenheimer as a result). Dune: Part One picked up a heap of 2022 Oscars, including for Australian cinematographer Greig Fraser. Although 2025's Academy Awards are still almost a year away, expect Dune: Part Two to at least notch up nominations again. Also featuring Rebecca Ferguson (Silo), Javier Bardem (The Little Mermaid), Stellan Skarsgård (Andor), Dave Bautista (Guardians of the Galaxy Vol. 3), Oscar Isaac (Spider-Man: Across the Spider-Verse), Christopher Walken (Severance), Florence Pugh (Oppenheimer), Austin Butler (Elvis), Charlotte Rampling (Benedetta), Léa Seydoux (Crimes of the Future), Josh Brolin (Outer Range) and Jason Momoa (Aquaman and the Lost Kingdom) across the two flicks so far, Villeneuve's Dune films to-date follow in David Lynch's footsteps. They also manage what Alejandro Jodorowsky sadly couldn't (see: excellent documentary Jodorowsky's Dune) in the process. Dune Messiah has only made it to the small screen before now, in 2003 miniseries Frank Herbert's Children of Dune that included James McAvoy (His Dark Materials) and Susan Sarandon (Blue Beetle) among its cast — plus Alec Newman (The Boys in the Boat) as Paul. There's obviously no sneak peek at the third Dune film yet, but check out the trailers for Dune: Part One and Dune: Part Two below: The third Dune film doesn't yet have a release date — we'll update you when one is announced. Read our reviews of Dune: Part One and Dune: Part Two, and our interview with cinematographer Greig Fraser.
There's more than just eggs and bacon on the menu for this twist on the classic Sunday brunch. Tornado Wallace, the Melbourne-based DJ you'd typically find on the decks post-11pm, is coming to the Cake Wines Cellar Door to help you explore how context affects how we hear music and taste food. This is not your typical hangover-curing Sunday brunch, ladies and gentleman — this is your weekend's main event. After a sold-out event during Vivid this year, party crew Ear to Ear for is bringing Music for Brunch back to the Redfern bar for a second instalment. This time they'll be serving up brunch boards — with cheese, cured meats, seasonal fruit and olives — as well as a few pizzas and, of course, wine (hello, Pinot Noir for brekky). Entry is $15 and you'll have to purchase food and drinks on top of that. But once you do, you can sit back and relax as Tornado Wallace's softer tunes provide a perfect soundtrack for your brunch — mimosa in hand, of course. If boozy morning gatherings are your thing, be sure to check out Since I Left You's monthly hip hop brunch.
While it seems to be a rite of passage for every school-aged kid to learn how to make paper cranes and aeroplanes, very few children would have ever dreamed they'd make a living out of folding paper. There does, however, seem to be a few notable exceptions to this rule. One such dreamer you might know is the remarkable Australian artist Benja Harney. Harney has transformed his childhood love of playing around with paper into a full-time profession. His incredible paperwork creations have been used for pop-up books, advertising, fashion, illustrations, invitations, and standalone pieces of fine art, with such illustrious clients as Harper's Bazaar, Smirnoff and Sportsgirl forking out the big bucks for Harney's paper structures. With its incredible intimacy, intrinsic simplicity, and remarkable flexibility, paper provides the artist with a unique material for creating works of art. And for Harney the joy of his craft comes from discovering just "how creative one can be with a flat piece of paper". Harney is not alone either. Last year's Sydney Biennale featured the paperwork of Japan's Sachiko Abe, China's Li Hongbo and Belgium's Honore d'O, while in America a number of paper artists have made a name for themselves thanks to their amazing sculptures of such seemingly impossible structures as stained glass windows and the White House. So here are seven of the most intricate and incredible structures ever made out of paper that prove that throwing paper aeroplanes at your maths teacher was perhaps not a total waste of time. A 'Stained Glass' Window - Eric Standley These amazing stained glass windows were created from hundreds of interlocking and overlapping pieces of coloured paper. The American-based artist Eric Standley begins the arduous process of making the windows by firstly drawing a design of the window, and then lasercutting through thousands of layers of paper. These are then layered together to create these marvellous 3D structures. See more of Eric Standley's work here. San Francisco - Matthew Picton London-based artist Matthew Picton has taken his love for all things geography to its fullest realisation with his amazing paper sculptures of major cities, from Venice to Tehran to this remarkable reworking of San Francisco. Not only are Picton's sculptures a masterclass in paperwork but also the paper he selects and crafts has particular significance to the cities he represents. His sculpture of Venice, for instance, is made from pages taken from Thomas Mann's classic novel Death in Venice with the paper then dipped in the infamously dank and disgusting lagoons that line the streets of Venice. See more of Matthew Picton's work here. Cross-Sectioned Animal Head - Lisa Nilsson New York-based paper artist Lisa Nilsson is clearly a woman of exceptional patience and remarkable skill, creating these insanely detailed cross-sections through the nauseatingly slow process of 'quilling', or paper filigree. Quilling requires the artist to individually roll, shape and glue small strips of paper and then combine them together to create a larger piece of art. Marrying this skill with her close study of the anatomical structures of humans and animals, Nilsson has been able to create what is undoubtedly the most fascinating science textbook imaginable. See more of Lisa Nilsson's work here. A Stretchy Person - Li Hongbo Chinese artist Li Hongbo devised a mind-bogglingly complex process of cutting and layering thousands of pieces of paper into an intricate honeycomb structure to create striking sculptures that seem to resemble some sort of horrifying Freudian nightmare. Hongbo's sculptures at first seem to be totally normal, solid structures, resembling white marble or resin; however, when Hongbo pulls at his creations, the faces and bodies become distorted and elongated, providing us with some striking and altogether unique pieces of art. See more of Li Hongbo's work here and here. 'Clothes' - Benja Harney Australia's favourite origami disciple, Benja Harney, has made everything from feathered wings for a Hermes window display to jewellery for a Sportsgirl shoot to an American Indian headdress for indie-pop sensation Sia — all entirely from paper. Perhaps most impressive, however, are these paper dresses that were showcased at the MAC Launch Party at Fashion Week 2010. The interlocking paper structures blew away the high fashion community with their artistic innovation and creative daring. Not only were the dresses remarkably beautiful but also totally functional pieces of clothing. See more of Benja Harney's work here. A Room Like a Cloud - Sachiko Abe Sachiko Abe may well have the easiest job in art. Abe is a performance artist who sits for hours and days at a time cutting paper into fine strips until she is surrounded on all sides in a cocoon of white paper resembling a sort of winter wonderland. The mysterious and elegant Abe never set out to be an artist but instead began her bizarre career while she was interred in a psychiatric hospital. She found the process of shedding paper to be strangely therapeutic and meditative, once stating that "the act of cutting is a constant exercise through which I organise and structure my random thoughts". The ethereal world of paper she creates around her made quite a splash last year when it was on display at the 18th Biennale on Cockatoo Island. See more of Sachiko Abe's work here. Capitol Hill - Jill Sylvia Whether it comes from some form of extreme patriotism or an addiction to papercraft, Jill Sylvia has spent the last few years turning discarded paper ledgers into iconic US buildings. The structures are made by cutting out the negative space from each paper grid and then joining the remaining squares of paper into an intricate connection of columns, walls, archways and domes. Sylvia has thus far created the White House, American Treasury, and Capitol Hill with many more iconic structures allegedly in the works (or paperworks, even). See more of Jill Sylvia's work here.
Eleven years ago, the biggest small-screen fantasy series of the 21st century so far told us that winter is coming. It repeated it over and over again across its eight-season run, in fact. Now, in a different fantasy franchise's longest trailer yet, darkness is coming. And yes, The Lord of the Rings: The Rings of Power does look like it's taking a few cues from Game of Thrones. On the page, JRR Tolkien's saga obviously got there first — but in your streaming queues, it's following George RR Martin's equally beloved series. Actually, that's the case in two ways, given that Prime Video's new Lord of the Rings show will arrive a couple of weeks after Game of Thrones prequel House of the Dragon. There's plenty of room in everyone's lives for both — and now viewers as keen as a hobbit for second breakfast can enjoy their lengthiest look yet at Prime Video's small-screen jaunt through Middle-earth. That not only includes the faces that anchor the series, which covers elves, dwarves and harfoots, aka hobbit ancestors, but also the places. This time, New Zealand's natural splendours stand in for the Elven realms of Lindon and Eregion, the Dwarven realm Khazad-dûm, the Southlands, the Northernmost Wastes, the Sundering Seas and the island kingdom of Númenór. It's now been 21 years since the first of The Lord of the Rings movies had everyone rushing to cinemas, obsessing over hobbits and elves, and saying "precious" too many times. Come September, this time at home, get ready for much of the above to happen all over again. After five years of talking about it, Prime Video's new series The Lord of the Rings: The Rings of Power is mere months away from reaching eyeballs — and the new sneak peek has an epic feel about it. If you're not up to date on The Rings of Power, it features a young Galadriel (Morfydd Clark, Saint Maud) and a young Elrond (Robert Aramayo, The King's Man). As seen in the show's first and second trailers, as well as this new one, it's also set to include elves catching arrows, humans stuck on rafts on stormy seas, cave trolls, raging fires and orc battles. Amazon first announced the show back in 2017, gave it the official go-ahead in mid-2018 and set a premiere date of Friday, September 2, 2022 back in 2021. In-between, it confirmed that it wouldn't just remake Peter Jackson's movies. Rather, the series spends time in Middle-earth's Second Age, bringing that era from the LOTR realm to the screen for the very first time. According to show's official synopsis, The Rings of Power will follow "the heroic legends of the fabled Second Age of Middle-earth's history," with the action set thousands of years before the novels and movies we've all read and watched. The series will also "take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien's pen threatened to cover all the world in darkness." If you're a little rusty on your LOTR lore, the Second Age lasted for 3441 years, and saw the initial rise and fall of Sauron, as well as a spate of wars over the coveted rings. Elves feature prominently, and there's plenty to cover, even if Tolkien's works didn't spend that much time on the period — largely outlining the main events in an appendix to the popular trilogy. Naturally, you can expect Sauron to feature in the new show, and to give its main figures some trouble. "Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth," the official synopsis continues. "From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone," it also advises. In terms of stars, The Rings of Power features an unsurprisingly large cast — and some impressive talent behind the scenes. Among the other actors traversing Middle-earth are Ismael Cruz Córdova (The Undoing) as Arondir, Nazanin Boniadi (Bombshell) as Bronwyn, Owain Arthur (A Confession) as Prince Durin IV, Charlie Vickers (Palm Beach) as Halbrand and Sophia Nomvete (The Tempest) as Princess Disa. There's also Tom Budge (Judy & Punch), Joseph Mawle (Game of Thrones), Cynthia Addai-Robinson (The Accountant), Maxim Baldry (Years and Years), Peter Mullan (Westworld), Benjamin Walker (The Underground Railroad) and comedian Lenny Henry. And, the series is being overseen by showrunners and executive producers JD Payne and Patrick McKay, while filmmaker JA Bayona (A Monster Calls, Jurassic World: Fallen Kingdom) directs the first two episodes. Check out the latest The Rings of Power trailer below: The Lord of the Rings: The Rings of Power will be available to stream via Prime Video from Friday, September 2, 2022. Images: Matt Grace / Ben Rothstein.
Sometimes, for whatever reason, it's not time to go home yet — you just need to kick on just a little while longer. So, where do you go when you want to drink and dine with your pals well into the wee hours? Where can you channel the late (and great) Prince and party like it's 1999? These spots. We've partnered with Heineken to pull together this list of five top kick on venues, which prove the lockout laws haven't dampened Sydney's party spirit. Grab your mates, and a Heineken, and check 'em out.
UPDATE, Monday, March 18, 2024: Asteroid City is available to stream via Netflix, Binge, YouTube Movies, iTunes and Prime Video. In 1954, one of Alfred Hitchcock's greatest thrillers peeked through a rear window. In Wes Anderson's highly stylised, symmetrical and colour-saturated vision of 1955 in Asteroid City, a romance springs almost solely through two fellow holes in the wall. Sitting behind one is actor Midge Campbell (Scarlett Johansson, Black Widow), who visibly recalls Marilyn Monroe. Peering through the opposing space is newly widowed war photographer Augie Steenbeck (Jason Schwartzman, Spider-Man: Across the Spider-Verse), who takes more than a few cues from James Dean. The time isn't just 1955 in the filmmaker's latest stellar masterpiece, but September that year, a month that would end with Dean's death in a car crash. Racing through the movie's eponymous setting — an 87-person slice of post-war midwest Americana with a landscape straight out of a western, the genre that was enjoying its golden age at the time — are cops and robbers speeding and careening in their vehicles. Meticulousness layered upon meticulousness has gleamed like the sun across Anderson's repertoire since 1996's Bottle Rocket launched the writer/director's distinctive aesthetic flair; "Anderson-esque" has long become a term. Helming his 11th feature with Asteroid City, he's as fastidious and methodical in his details upon details as ever — more so, given that each successive movie keeps feeling like Anderson at his most Anderson — but all of those 50s pop-culture shoutouts aren't merely film-loving, winking-and-nodding quirks. Within this picture's world, as based on a story conjured up with Roman Coppola (The French Dispatch), Asteroid City isn't actually a picture. "It is an imaginary drama created expressly for the purposes of this broadcast. The characters are fictional, the text hypothetical, the events an apocryphal fabrication," a Playhouse 90-style host (Bryan Cranston, Better Call Saul) informs. So, it's a fake play turned into a play for a TV presentation, behind-the-scenes glimpses and all. There Anderson is, being his usual ornate and intricate self, and finding multiple manners to explore art, authenticity, and the emotions found in and processed through works of creativity. Those windows that Midge and Augie keep chatting through belong to neighbouring bungalows in the only motel in Asteroid City, the town. (Not only is the setting not actually a city, but the asteroid that caused its famous crater back in 3007 BC is really a meteorite.) Although the pair arrive at the isolated desert spot as strangers, their respective kids in tow, they don't remain that way for long. Midge's daughter Dinah (Grace Edwards, Call Jane) and Augie's son Woodrow (Jake Ryan, Uncut Gems) are among the star attendees at a Junior Stargazer convention, each being feted by the US Military for their scientific inventions. As the kids talk and cultivate crushes, so do the adults. Those windows aren't just one of Asteroid City's several framing devices, either. Visually, Anderson reminds that we're all our own separate boxes, interacting with other separate boxes. He also ponders art's many boxes — screens included, naturally — in a film that dispenses everything from martinis to real estate from boxy vending machines. Each tiny speck of Asteroid City is that elaborate, intelligent and attentively chosen. Amid such diligent minutiae, however, Anderson goes out-of-this-world on emotion. Warm, insightful and funny, his new film features all of his hallmarks — think: the jam-packed starry cast spanning almost every famous face that's ever been in his frames, but adding more just-as-well-known talents; the exquisitely balanced compositions; the playfulness and whimsy of its on-screen world; the deadpan humour; the melancholy — and also contemplates life, death, grief, alienation, loneliness, love, dreams, connection, hope, wonder and what matters when we're all tiny specks existing ever-so-fleetingly in an expansive universe. As the filmmaker's first release made in pandemic times (The French Dispatch was shot in 2018 and 2019, initially due to premiere at Cannes 2020, then delayed to late 2021 when the globe shut down), it's also a clever, canny and brilliantly comic musing on the unexpected shaking up daily life, the ins and outs of quarantine and lockdown, and humanity's coping mechanisms when everything radically shifts and turns. Doing the writing in Asteroid City's boxed-in black-and-white segments: playwright Conrad Earp (Edward Norton, Glass Onion: A Knives Out Mystery), who immediately takes a shine to actor Jones Hall (also Schwartzman), casting him as Augie. Doing the directing: Schubert Green (Adrien Brody, Poker Face), who moves in backstage when his wife Polly (Hong Chau, The Whale) leaves him. Life in monochrome is messy; this is when method acting reigned supreme, too, and Earp and Green's cast have much to draw upon. Of course, while existence within the colourful widescreen sections that represent the play itself might look neat, it's also anything but. As General Gibson (Jeffrey Wright, The Batman) oversees the stargazers — and astronomer Dr Hickenlooper (Tilda Swinton, Three Thousand Years of Longing) has them looking up — there's loss, romance, a teacher (Maya Hawke, Stranger Things) with inquisitive pupils, cowboys a-singing (such as High Desert's Rupert Friend and Pulp's Jarvis Cocker), ashes in Tupperware, a starstruck father-in-law (Tom Hanks, A Man Called Otto) and otherworldly interlopers. Anderson also finds time for Steve Carell (The Patient), Jeff Goldblum (Jurassic World Dominion), Tony Revolori (Servant), Liev Schreiber (A Small Light), Matt Dillon (Proxima), Willem Dafoe (The Northman) and more to pop up. (Much of life's chaos is bodies, faces and lots of them, his films constantly note.) And, with both Margot Robbie (Barbie) and mushroom clouds making an appearance, he even goes all Barbenheimer. (As Christopher Nolan obviously recently demonstrated, the billowing results of atom-bomb tests instantly put human fragility into context.) Asteroid City sports an Anderson retrospective as well, with precocious kids à la Rushmore and Moonrise Kingdom, trains traversing plains like The Darjeeling Limited, family woes as The Royal Tenenbaums perfected, an insular setting akin to The Life Aquatic with Steve Zissou, and The Grand Budapest Hotel and The French Dispatch's nesting structure. Never one to hold back, the present most-aped and -memed director levels up everything, including the crater-sized impact. That Anderson's movies are impeccably styled and scored can now almost go without saying. Back from The French Dispatch, his regular cinematographer Robert D Yeoman and composer Alexandre Desplat make every moment sparkle and twinkle with beauty. That his casts understand the Anderson method is also that self-evident now. Here, wading through yearning, mourning, disappointments and the unknown, Schwartzman and Johansson in particular are astronomically spectacular. Asteroid City assembles all the Anderson pieces that audiences expect exactly so — and repeatedly probes what we see, feel and discover when we surrender to art or anything beyond ourselves, his with its giddy, gleeful, oh-so-gorgeous artifice over naturalism as well. He keeps his audience staring at boxes because, whether windows or Broadway or screens, they reflect living. "You can't wake up if you don't fall asleep," Asteroid City's play actors chant offstage; that you can't appreciate existence's wonders and mysteries if you don't look for them, be it IRL or through the stories and works and pictures that reflect our lives, the film doesn't utter aloud but conveys equally as spiritedly, lovingly and rousingly.
Pedro Almodóvar has made many a fantastic film over the past four decades. In 2019, however, the Spanish director added one of his greatest movies yet to his resume. We're talking about Pain and Glory. If you saw it, you likely loved it. And, if you hadn't already watched your way through the inimitable auteur's back catalogue before then, the Academy Award-nominee should've inspired you to do just that. You've had a couple of years to start your viewing, of course — and plenty of time over the past 12 months, in fact. But whether you still have some gaps or you're fond of the big-screen experience, Dendy Newtown is giving you a chance to check out eight of Almodóvar's standouts in a cinema. Until Wednesday, April 7, you can swoon over his emotionally charged dramas and rove your eyes over his colourful frames. No one makes movies quite like him, as this retrospective shows. Get ready to spend plenty of time staring at two of his favourite actors, too, with Antonio Banderas and Penelope Cruz each popping up regularly in the director's work. On the lineup: Banderas being exceptional in Tie Me Up! Tie Me Down!, Women on the Verge of a Nervous Breakdown, The Skin I Live In and the aforementioned Pain and Glory, plus Cruz at her stellar best in Volver, Broken Embraces and Oscar-winner All About My Mother. Almodóvar's second most recent movie, Julieta, is also on the bill, so you'll be getting an impressive cross-section of his career. As always with Dendy's retrospectives and film seasons, different movies play on different dates and at various times — so head to the cinema's website for the full session details. https://www.youtube.com/watch?v=Jtrl8Ei15AE
Three months have passed in 2023, but Marvel fans have only enjoyed one chance to get their caped-crusader fix so far. The ever-sprawling Marvel Cinematic Universe is reportedly set to keep spreading at a slower rate from now on, in fact; however, both Guardians of the Galaxy Vol. 3 and Secret Invasion are on their way — and soon. The latter joins the MCU's small-screen slate, alongside WandaVision, The Falcon and the Winter Soldier, Loki, Hawkeye, Moon Knight, Ms Marvel and She-Hulk. The focus: Samuel L Jackson's Nick Fury. The Director of SHIELD and creator of the Avengers Initiative acted as the connective tissue between most of the big-screen franchise's early instalments — if Jackson didn't show up in a Marvel movie back then, was it really a Marvel movie? — but it's taken 15 years since first appearing in the post-credits scene of the original Iron Man for him to gain the spotlight in his own adventure. Secret Invasion itself has been in the works for some time, after first being announced back in 2020, and also dropping a debut trailer in 2022. Now, it finally has a release date: Wednesday, June 21. Mark your diaries, then get excited by checking out the show's latest trailer, which goes heavy on the looming war. The six-episode show will reteam with Fury as a battle is imminent with the shapeshifting Skrulls, Maria Hill (Cobie Smulders, How I Met Your Mother) keeps asking help and his popularity within the MCU is waning. Plenty of other familiar faces pop up, too: Australia's own Ben Mendelsohn (Cyrano) returning as Talos after Captain Marvel and Spider-Man: Far From Home, Don Cheadle (The Wonder Years) as War Machine and Martin Freeman (Breeders) as the CIA's Everett Ross. Will their characters really show up? Or will we really be seeing Skrull impersonators? Obviously, that'll only be answered when Secret Invasion arrives. Because every actor ever has to fit into the MCU at some point, the above cast is joined by a few other huge names as well: Olivia Colman (Empire of Light), Emilia Clarke (Last Christmas) and Kingsley Ben-Adir (One Night in Miami). The story clearly ties into Captain Marvel, which is proving a launching pad for more than a few recent and upcoming MCU chapters, such as streaming's Ms Marvel and big-screen release The Marvels — which teams up Captain Marvel (Brie Larson, Just Mercy), Ms Marvel (Iman Vellani) and WandaVision's Monica Rambeau (Teyonah Parris, Candyman), and also arrives this year, in November. Fury, and therefore Jackson, did appear in two episodes of the Agents of SHIELD TV show in 2013 and 2014, so this isn't the character's first small-screen outing. Behind the scenes, Kyle Bradstreet (Mr Robot) created Secret Invasion, and writes and executive produces. Check out the latest trailer for Secret Invasion below: Secret Invasion will stream via Disney+ from Wednesday, June 21. Images: Photo courtesy of Marvel Studios. © 2022 MARVEL.
Everything is a multiverse these days, or so it increasingly seems. Marvel has one, and Doctor Strange in the Multiverse of Madness is currently in cinemas to remind us all of that fact if we somehow forgot after Spider-Man: No Way Home. Rick and Morty loves them as well. Even if the term isn't mentioned explicitly, everything from French delight Petite Maman to The Matrix franchise flirts with similar territory. And yes, the list goes on — but nothing else is quite like Everything Everywhere All At Once. Don't know why that's the case? There's a vast array of reasons, including star Michelle Yeoh getting to play multiple versions of the same character, earning a far worthier showcase of her talents than the likes of Boss Level and Gunpowder Milkshake have provided of late, and also working in a nod to her Crazy Rich Asians-era IRL self as well. Plus, there's the wonderful return to cinema by Ke Huy Quan, aka Indiana Jones and the Temple of Doom's Short Round and The Goonies' Data, who makes a fantastic double-act with Yeoh. Also a highlight: a world where everyone has hot dogs for fingers; another where Ratatouille is real, but with raccoons; and another still that's a sparse realm where life only exists in sentient rocks. Weird, wild and wonderful from its first frame to its last, Everything Everywhere All At Once stands out in a heap of ways — and, if you haven't seen it yet or you're keen to give it a revisit, you can now watch one of the best films of 2022 so far from your couch via digital platforms from Thursday, May 26. Fast-tracking flicks big and small to digital is our new pandemic-era reality, and this gem is the latest to make the leap — while it's still showing in cinemas, too. It looks fabulous on the big screen, but if the ease of checking it out at home suits you better, that's also now an option, as it also has been with The Batman, West Side Story, Dune, The Matrix Resurrections and more in the past few months. Written and directed by the Daniels, aka Swiss Army Man's Daniel Kwan and Daniel Scheinert, Everything Everywhere All At Once really does take its name seriously. Here, almost anything that can happen does, all while laundromat owner Evelyn (Yeoh) just wants to get the tax office off her back, save the family business and make the most of her dad's (James Hong, Turning Red) visit from China. In the middle of a punishing audit by IRS inspector Deirdre Beaubeirdra (Jamie Lee Curtis, Halloween Kills), and already feeling chaotic after her daughter Joy (Stephanie Hsu, Shang-Chi and the Legend of the Ten Rings) brought her girlfriend Becky (Tallie Medel, The Carnivores) home, Evelyn learns that the fate of the universe is at stake. Of course, only she can save everything — and while that setup might sound familiar, this funhouse of a feature never takes the expected path. Check out the trailer for Everything Everywhere All At Once below: Everything Everywhere All At Once is currently screening in Australian cinemas, and is also available to stream online via video on demand — including via YouTube Movies, iTunes and Prime Video. Read our full review.
The DC Extended Universe is dead. With Aquaman and the Lost Kingdom, the comic book-to-screen franchise hardly swims out with a memorable farewell, hasn't washed up on a high and shouldn't have many tearful over its demise. More movies based on the company's superheroes are still on the way. They'll be badged the DC Universe instead, and start largely afresh; 2025's Superman: Legacy will be the first, with Pearl's David Corenswet as the eponymous figure, as directed by new DC Studios co-chairman and co-CEO James Gunn (The Suicide Squad). Aquaman and the Lost Kingdom ends up the 15-feature decade-long current regime about as expected, however: soggily, unable to make the most of its star, and stuck treading water between what it really wants to be and box-ticking saga formula. Led by Jason Momoa (Fast X) — not Adrian Grenier (Clickbait), as Entourage once put out into the world — the first Aquaman knew that it was goofy, playful fun. Its main man, plus filmmaker James Wan (Malignant), didn't splash around self-importance or sink into seriousness in giving DC Comics' aquatic hero his debut self-titled paddle across the silver screen (after Momoa played the same part in Batman v Superman: Dawn of Justice and Justice League). Rather, they made an underwater space opera that was as giddily irreverent as that sounded — and, while it ebbed and flowed between colouring by numbers and getting winningly silly, the latter usually won out. Alas, exuberance loses the same battle in Aquaman and the Lost Kingdom. In a film that sets sail upon a plodding plot and garish CGI, and can't make an octopus spy and Nicole Kidman (Faraway Downs) riding a robot shark entertaining, any sense of spirit is jettisoned overboard. Having spent its existence playing catch-up with the Marvel Cinematic Universe, the DCEU does exactly that for a final time here. It isn't subtle about it; see: calling Aquaman's imprisoned half-brother Orm (Patrick Wilson, Insidious: The Red Door) Loki and ripping off one of the most-famous throwaway MCU moments there is. As with 2023's fellow Ant-Man and the Wasp: Quantumania, there's also such a large debt owed to Star Wars that elements seem to be lifted wholesale from a galaxy far, far away (and from a competing company, although it was still terrible when Disney was plagiarising itself). Just try not to laugh at Jabba the Hutt as a sea creature, as voiced by Martin Short (Only Murders in the Building), introduced reclining in a familiar pose and, of course, surrounded by a school of amphibious ladies. Not intentionally by any means, it's Aquaman and the Lost Kingdom funniest moment. 2018's initial Aquaman used past intergalactic flicks as a diving-off point, too, including Jupiter Ascending, but with its own personality — no trace of which bobs up this time around. Wan helms again, switching to workman-like mode. While he's co-credited on the story with returning screenwriter David Leslie Johnson-McGoldrick (Orphan: First Kill), Momoa and Thomas Pa'a Sibbett (The Last Manhunt), there's little but being dragged out with the prevailing tide and tonal chaos on show. Worse: ideas from abandoned spinoff The Trench, which was first floated as a horror effort about a villainous Atlantean kingdom but later revealed to be a secret Black Manta (Yahya Abdul-Mateen II, Ambulance) movie, get clunkily flushed in. While this should be Saw, Insidious and The Conjuring alum Wan's wheelhouse, Aquaman and the Lost Kingdom feels like the narrative equivalent of pouring the dregs of whatever's in Arthur Curry's liquor cabinet into one tankard. Now king of Atlantis as well as a father to Arthur Jr — the water-controlling Mera has become his wife, too, but that doesn't mean that Amber Heard (The Stand) says more than 50 words — the half-human, half-Atlantean best-known as Aquaman has another tussle with pirate David Kane to face. Bumped up to chief baddie, Black Manta is aided by dark magic manifested in the black trident, as found by a marine biologist (Randall Park, Totally Killer) who's endeavouring to prove that Atlantis exists. Aquaman and the Lost Kingdom's evil threat is also climate change, as exacerbated by its nefarious enemy on his vengeance mission after the events of the first movie. With the human and undersea realms alike beginning to boil, only Aquaman teaming up with Orm will give the planet a chance to survive. Pairing Momoa and Wilson odd-couple comedy-style like they're Hobbs and Shaw would've been one of Aquaman and the Lost Kingdom's best moves if the material was up to it. Their escapade amid the foliage on a volcanic South Pacific island — where the film wants to be a tropical creature feature, and also a Journey to the Centre of the Earth- and Jumanji-esque jaunt — is certainly the most promising visually. But here as across the entire flick, relying upon Momoa's charm to do the heavy lifting appears to be the number-one approach. In some pictures with some stars, that can work. Rom-com Anyone But You manages it thanks to Sydney Sweeney (Reality) and Glen Powell (Top Gun: Maverick), for instance. In Aquaman, Momoa had a mischievous ball and was a delight to watch. What everyone involved in Aquaman and the Lost Kingdom hasn't factored in is that this version of Arthur has swapped underdog roguishness for the overblown kind. Momoa remains visibly enthusiastic as the wettest of the DCEU's world-saving cohort, but Aquaman's cockiness is laid on as thickly as a kelp forest. Although there's no doubting that the movie's star can handle the part, it's a less-engaging, more one-note turn than his last jump into this ocean, and sells him short. Momoa commits, though, with the kind of gusto that Aquaman and the Lost Kingdom lacks virtually everywhere else. What happens when a film that clearly wants to be as ridiculous as it can be, or as dark, clashes with staying within the genre's routine lane? This shipwreck, which ends the franchise it's in and the saga's busiest year — after Shazam! Fury of the Gods, The Flash and Blue Beetle — with one of its worst entries. At least it didn't have to worry about setting up sequels or connecting to other DCEU fare, aka a welcome lifeboat.
