Before Damages, Bridesmaids, Bad Neighbours, Bad Neighbours 2 and Platonic, Rose Byrne made her acting debut in the 90s, with Echo Point, Wildside, the OG Heartbreak High and Two Hands among her earliest credits. Physical sends the Australian star a decade further back, and the results have kept proving an insightful and astute gem across three seasons. On paper, the concept was always ace: Byrne, the 80s, aerobics, consumerism, capitalism, body image, mental health, women striving to break through in male-dominated times, and unpacking agency and control. On-screen, Physical instantly strutted into must-watch territory, staying there in 2022's second season and, as streaming since Wednesday, August 2 via Apple TV+, now in 2023's third and final batch of episodes. Created by Annie Weisman after the writer and producer previously pondered domesticity in Desperate Housewives and Suburgatory, Physical bends and flexes with Byrne (Teenage Mutant Ninja Turtles: Mutant Mayhem) as Sheila Rubin. The series' protagonist was a stay-at-home San Diego mother when the first episode dropped in 2021. Not long afterwards, Sheila became an aerobics entrepreneur. Physical's voyage from premiere to swansong has focused on the how, why, costs and consequences of that path — with clear eyes as much as flung-around limbs. Like On Becoming a God in Central Florida and GLOW before it, it isn't an exercise in nostalgia. Although this show looks the part, and gloriously, all thanks to meticulous production design, costume design and cinematography, it also peers backwards unflinchingly. Slipping into a leotard, then getting the blood pumping, isn't merely a quest for fitness for the show's central figure. The late, great Olivia Newton-John mightn't have sung "let's work through our troubles while working up a sweat" (unsurprisingly; it isn't catchy at all), but that's always been the thrust in a series that revels in dark comedy yet shimmers with empathy. Among those tussles: Sheila's opinion of herself, including of her body; her complicated relationship with food; and the self-critical voice in her head, which Physical literalises. Her marriage to Danny (Rory Scovel, Babylon), who talks the progressive talk yet is still happy with her largely on housewife duties, has also had a significant impact on her self-esteem. That's Sheila's status quo at the outset. From there, Physical has kept striding through her ups and downs with humour as well as ambition — covering the self-loathing, the lack of fulfilment, the catharsis that aerobics brings and the professional route that it sets her on. In the show's ten-episode third and final season, its central figure is doing well but wants more, such as national exposure and fame. Sheila has also learned to be kinder to herself, at least as herself, even while juggling being newly single, Danny grappling with their split, sharing custody of their daughter Maya (Grace Kelly Quigley, Killing Time), making the leap to TV and going all-in on the burgeoning wellness industry. But when Hollywood actor Kelly Kilmartin (Zooey Deschanel, Dreamin' Wild) encroaches into her territory, the new scolding tone in Sheila's brain has her voice. Never afraid of complex moves, Physical makes a bold choice in getting Kelly talking inside Sheila's mind. Seasons one and two devoted much of their story to the show's protagonist attempting to conquer her inner reprimands — but season three isn't backpedalling. Rather, it demonstrates that battling with your sense of self is a constant and evolving mission. It shows how easy it is to fall back into old ways of thinking, too, particularly when you're making big and stressful leaps. The fact that change is hard work has long been among Physical's recurring themes, applying whether Sheila is endeavouring to accept herself or reaching towards external goals. Kelly taking up residence in her head also continues the series' exploration of perception, helping to note that how we see the world and the objective reality are rarely the same thing. Physical has always boasted a stellar cast that can flip between laughs and drama as swiftly as the show does, which is often, with Deschanel no exception as a newcomer in this last run. As Kelly, she does triple duty — there's Kelly the person that Sheila somewhat befriends, Kelly in TV personality mode, and Kelly as the manifestation of Sheila's worries and doubts — and welcomely breaks out of her usual quirky, cutesy comfort zone. Five years after New Girl ended, this is Deschanel's best role since. Of course, while Dierdre Friel (Second Act) is a scene-stealer as Sheila's friend and business partner Greta, too, Byrne is never less than a dream. Getting an excellent performance out of Physical's lead is hardly new, as her resume from the 90s onwards attests. Across its 30 episodes — including in season three — the series has earned one Byrne's best portrayals yet, showing off both her comic and dramatic chops, because it keeps stretching and testing its characters. There's nothing routine about anyone in the show's frames, or what comes their way, be it Sheila, Greta, Kelly, Danny, mall owner John Breem (Paul Sparks, The Accidental Wolf), season two's rival instructor Vinnie Green (Murray Bartlett, The Last of Us), or Bunny (Della Saba, Bosch) and Tyler (Lou Taylor Pucci, American Horror Story), aka the reasons that Sheila discovered her exercising calling to begin with. Physical might beam with 80s lighting, colours and outfits, but it refuses to patch over its on-screen figures' flaws, giving its actors — Byrne especially — both meaty and weighty arcs to work through. Embracing imperfect journeys and life's imperfections in general, Physical packs an emotional punch. Its final season faces its own struggle as well, however: the rush to wrap up its tale. That this is the show's last go-around was announced before season three started arriving. Still, the hurried storytelling pace is inescapable; several new plot strands could've filled out whole seasons alone, rather than been crammed into one. That said, like an aerobics convert filling their schedule with class after class, wanting to continue returning to Physical's world has long come easily — this streaming highlight burns with that much energy and potency. Check out the trailer for Physical season three below: Physical is available to stream via Apple TV+.
Just a few short weeks ago, when we were craving comedies to watch, we noted an important fact: that Parks and Recreation's Leslie Knope knows how to handle herself in a pandemic. She's already done so once, in a fifth-season episode of the beloved sitcom — and, while the show came to an end in 2015, viewers are about to see how the Pawnee, Indiana resident copes with the coronavirus. In a one-off special to raise money for US charity Feeding America, the cast of Parks and Recreation are reuniting to tackle COVID-19. And, more importantly, they'll be showing the world how their adored characters are managing at the moment. Adding another scripted instalment to the series, the show's stars will be resuming their on-screen alter egos, courtesy of a brand new episode that follows Leslie's (Amy Poehler) efforts to keep in touch with her friends while everyone is social distancing. The whole gang will be back, including not only Poehler as Leslie and her Making It co-host Nick Offerman as Ron Swanson, but Aubrey Plaza as April Ludgate-Dwyer, Chris Pratt as Andy Dwyer, Aziz Ansari as Tom Haverford, Adam Scott as Ben Wyatt, Jim O'Heir as Jerry/Garry/Larry/Terry Gergich and Retta as Donna Meagle. Although Rashida Jones' Ann Perkins and Rob Lowe's Chris Traeger left the series halfway through its sixth season, they'll be back as well, Variety reports — and you can also expect a few other yet-to-be-revealed guest stars from the show's original run, too. https://twitter.com/parksandrecnbc/status/1253461556102197251 As Poehler reveals in the above video announcing the news, it was all filmed individually from each cast member's home. That means that when this Parks and Rec special hits US screens on Thursday, April 30 (with an airdate Down Under yet to be announced), it'll look a little different to the show's usual episodes. Of course, no Parks fan will mind. Indeed, if you fall into that category, a new episode is literally the best news you could receive right now — so start making waffles, gather all the bacon and eggs you have, and make sure you've got plenty of whisky on hand. A Parks and Recreation Special airs on Thursday, April 30 in the US. There's no word yet about screening details Down Under, but we'll update you when they come to hand. Via Variety.
If you're looking for a fusion of Spanish and Portuguese in a city wine-bar setting, The Union is where you'll find it. At the upstairs restaurant, a considered focus on the freshest local produce awaits. The small plates are prepared simply, to be shared generously with family and friends. It's an unassuming spot, with a hand-scrawled chalkboard menu, bare bulbs and an easy, convivial atmosphere. Your meal could see you dive into tapas classics like patatas bravas, "cheeky" spicy chorizo alongside mint and aioli, and the smoky bite of paprika-doused fried squid. Deliciously, it's not just small plates here. There are plentiful serves of paella — with a choice between a veg-heavy, seafood-forward or classic dubbed The Union Paella — and a set menu complete with carne de porco à alentejana (the happy marriage of pork and clams), green beans swimming in a zesty feta and sherry dressing and all the sides. On Fridays and Saturdays, you'll find "Penrith's smallest bar" in the street-level spot. The team welcomes guests after a casual drink (and maybe a snack via stuffed zucchini flowers or Spanish meatballs) to the intimate space, with live music on Fridays from 6pm. The drinks list heroes Australian and Spanish wines, sherries and house riffs as well as beers — so much to keep you fed, watered and entertained in one teeny-tiny spot.
Whether you're a wine novice or an armchair expert, it's always a joy to expand your beverage-based horizons. Newtown's tiny wine bar and bottle shop Famelia is here to help — offering guests plenty of ways to sample wines from some of Australia's most interesting and inventive producers. The brainchild of Amelia Birch, Famelia is located in an Enmore Road building (the former home of Cittavino) directly across the road from another beloved purveyor of booze, P&V Liquor + Wine Merchants. The list here is kept short and simple, with a rotating list of 12 wines by the glass that changes weekly. Or, if you're looking to share a bottle, you can also browse the full selection from the bottle shop and enjoy it at retail price (plus corkage). Birch and the team are effortlessly approachable, so if you find yourself lost for what to drink, just ask for a recommendation — that's what they're there for. If you're looking beyond wine, Famelia's cocktail list is far from thrown together, with yuzushu and pét-nat spritzes plus mandarin margaritas. And if you're feeling snacky, there are plenty of dips, cheeses and deli meats to taste your way through, weekly desserts and Birch's secret family egg dip. Open Wednesday–Sunday, the bar can host 25 wine lovers inside and an additional eight to ten out on Enmore Road. You can also try before you buy at the bottle shop, with a range of wines open to taste if you're on the hunt for that perfect thing to bring to your dinner party or to pair with tonight's spag bol. Images: Philippa Enid.
If you like your art digital, interactive and immersive, you should make tracks to the Heide Museum of Modern Art, where Terminus: Jess Johnson and Simon Ward is now on display. Open till March 1, 2020, the virtual reality exhibition is a collaboration between New York-based visual artist Jess Johnson and Wellington animator Simon Ward. Johnson's hypnotic drawings have been transformed into five interactive virtual reality works, which make up five distinct realms filled with "alien architecture, humanoid clones and cryptic symbols". Visitors are invited to explore the artworks through a 30-minute 'quest', venturing between the realms. The choose-your-own adventure exhibition includes journeys into the Fleshold Crossing, Known Unknown and Scumm Engine. Plus, there's a towering piece titled Gog & Magog and the psychedelic Tumblewych. Johnson's drawings and textile works will also be on display alongside Terminus — including quilts made with her mother and garments from her 2016 collaboration with Australian fashion brand Romance Was Born. A public program of artist talks and workshops will accompany the exhibition as well. Events include a virtual reality cinema workshop on February 1 — during which participants will create a VR short — a virtual reality symposium on February 8 and a free screening of the cult 1986 film Labyrinth on February 15. Terminus will go on to tour nationally, too. So, if you're not based in Melbourne, keep an eye out for when it'll head to your city. Image: Installation view, Terminus: Jess Johnson and Simon Ward, Heide Museum of Modern Art, Melbourne. Photograph: Christian Capurro
It has been more than two decades since Harry Potter and the Philosopher's Stone first brought its magic into our lives, and muggles still share one particular dream: to attend Hogwarts. Yes, it's a fictional setting. Yes, we all know that. But that still hasn't stopped all manner of places trying to make the school an enchanting reality, from HP-inspired wizarding schools to huge brunches held in Great Hall-like spaces to activewear decked out in house colours. London's Warner Brothers Studio Tour is going one step further as part of its The Making of Harry Potter exhibit: it's letting visitors try on authentic Hogwarts robes. Short of casting a spell to go back in time and star in one of the eight Harry Potter films — or somehow finding your way onto the Fantastic Beasts' set — that's as close as you're going to get to some actual Hogwarts action. The specific tour wizard obsessives will want to take is the Behind the Seams experience, which dives into the costumes created for the movie franchise — all 25,000 of them. Sketches, finished outfits and stories about their creation are all part of this wander through a workshop-like environment, with threads worn by Cedric Diggory, Professor Sprout and even Voldemort on display. That's all great and bewitching, but the main attraction is the chance to pick your house colours and pop on a robe that featured in one of the movies. We'd tell you to BYO wand, but you've probably already thought about that. Anyone finding themselves in London over the next few months can take the Behind the Seams tour between May 23 and July 22, with sessions running daily until June 2 and then every weekend afterwards. Tickets cost £65, which includes the one-hour costume frenzy — but no, you can't wear your Hogwarts garb for the whole hour, sorry — as well as the standard studio tour, complete with a walk through the Forbidden Forest and a wait on Platform 9¾. For more information, visit the Behind the Seams website.
Boasting an expansive skylight, outdoor courtyard and space for 600 people, the University of Technology's campus bar is a popular spot for bands, DJs and themed events. When it's not emptied out for parties, the lively venue serves simple drinks and classic pub food for lunch and dinner, such as mac and cheese balls, chicken wings, nachos and a range of pizzas and loaded fries. There are also pool tables, video games and big screens to entertain you and your mates between sips at the in-house bar or outdoor beer garden. Though the bar is primarily catered to students — with weekly meal specials and 10% off food and drinks for UTS students and staff — members of the public can tag along for gigs and casual drinks. Top image: Jess Gleeson
UPDATE MARCH 23, 2018: If you like smoked meats and good deals, you're going to like LP's latest offering. The Chippendale eatery has just launched a happy hour running from 5–6pm, Tuesday to Friday. The drinks on offer include the usual suspects — $10 glasses of wine, $5 Peroni Reds — and creative concoctions like the Lynchburg Lemonade ($10) made from PS40's smoked lemonade. For food, there's a rotating menu of $10 snacks. Expect smoked and cured delights such as 'nduja toast, Basque anchovies and croquettes stuffed with house-made jamon. Find more info here. If you're not addicted to smoking, then you haven't tried LP's Quality Meats, a European beer hall which carves up the city's best smoked and cured delicacies. Located in a leafy pocket of Chippendale lies LP's secret smokehouse, and you're bound to find it quicker by nose than sight. The venue still retains the charm of its former life as a mechanics — it's one expansive warehouse space with polished concrete floors, tiled walls and high ceilings. Communal tables create aisles across the room and the atmosphere just sings with happy patrons, intoxicated by the promising smells of smoky goodness. The LP in question stands for Luke Powell, the ex-Tetsuya's chef and mastermind behind Mary's famous burgers. He's joined by James Audas of Noma and Tetsuya fame as sommelier and front of house. Don't judge the waiters by their butcher-style tees; this casually clad team are a well-trained, knowledgeable bunch and professional from top to tail. The menu is short and sweet, and particularly short on the sweet items with just one dessert listed. The cured and cold cuts of bierwurst ($14), salami cotto ($14), and mortadella ($14) make a great charcuterie, served on a silver platter with mustard and house-made grissini. There are a host of main-sized menu items, including smoked chicken ($24/$42), lamb belly stuffed with merguez ($36), beef short rib ($48) and smoked sausage ($14), and they all rely on the same tried and true recipe of salt and smoke, a winning combination. At this point of the night even the Young Henrys cider tastes of smoke, but there's no complaining here. The bar has interesting brews on tap — including the Nomad Pale Ale and American Brown Ale BrewCult — and depending on where you sit, you get a great view of the open kitchen and the meat-slicer in motion. Does the single dessert stack up? The proof is in the pudding. While the sad-sounding pouding chômeur (or poor man's pudding) is made from day-old pancake batter, it's surprisingly top-notch. The delicious, crispy, pie-tin pancake soaked in a sticky, jammy sauce is an absolute sensation. With so many first-class elements, LP's Quality Meats is sure to rise to the top. You know what they say: where there's smoke...
The title doesn't lie: when Fleishman Is in Trouble begins, its namesake is indeed struggling. He's also perfectly cast. If you're going to get an actor to play an anxious and unravelling recently divorced man in his forties who's trying to navigate the new status quo that is sharing custody of his kids, having a high-powered ex, and being initiated into the world of dating apps and casual hookups, Jesse Eisenberg is the person to recruit. If his Zombieland character lived happily ever after until he didn't, or his Vivarium character was trapped into a different type of domestic maze, this page-to-screen series would be the end result. That's just Fleishman Is in Trouble's first stroke of genius casting, however, with the Disney+ miniseries supremely smart and astute in choosing its on-screen talent. Arriving at the end of 2022 to become one of that year's best new shows, the eight-part drama has Eisenberg play Toby, a well-regarded hepatologist who is passionate about helping people through medicine. But for over a decade until the summer of 2016, when Fleishman Is in Trouble is set, he's been made to feel inferior about this work. As copious flashbacks illustrate, he's the odd one out among the Upper East Side crowd his theatre talent agent wife — now former — Rachel (Claire Danes, The Essex Serpent) favours because being in the healing business hasn't made him rich enough. She sported the same attitude as well, until she dropped their kids Hannah (Meara Mahoney Gross, Don't Look Up) and Solly (Maxim Swinton, Raymond & Ray) off at Toby's place in the middle of the night without warning, said she was going to a yoga retreat and stopped answering his calls. [caption id="attachment_887795" align="alignnone" width="1920"] Linda Kallerus, FX[/caption] Written to sound like a profile — something that journalist, author and screenwriter Taffy Brodesser-Akner knows well, and has the awards to prove it — Fleishman Is in Trouble chronicles Toby's present woes while reflecting upon his past. It's a messy and relatable story, regardless of whether you've ever suddenly become a full-time single dad working a high-stakes job you're devoted to in a cashed-up world you resent. Fleishman Is in Trouble is a mystery, too, as Toby, his friends and the show's viewers ponder the central question: what's happened to Rachel? That query hangs in almost every word that Eisenberg speaks, but it's also shaped by Toby's perspective. He wants to know where his ex has disappeared to and why she has upended his life, but he's far less interested in how the breakdown of their marriage has affected her, if she's in trouble and how that has contributed to his current dilemma. As narrated by the ever-shrewd Lizzy Caplan (Eisenberg's Now You See Me 2 co-star) as Toby's old college pal-turned-writer and now stay-at-home-mum Libby — one of two old friends, alongside Adam Brody as Seth (no, not The OC character) — Fleishman Is in Trouble dives into the minutiae that makes Toby's new existence such a swirling sea of uncertainty. It's detailed. It's specific. The directing team, which includes Jonathan Dayton and Valerie Faris (Battle of the Sexes) behind the lens of three episodes, Alice Wu (The Half of It) helming one, and Shari Springer Berman and Robert Pulcini (Things Heard & Seen) doing the honours on four, is never short on visual ways to reinforce how Toby's life has been flipped upside down. But at the same time, while honing in on the Fleishman family's situation and troubles, the series also ensures all that detail paints a universal portrait. [caption id="attachment_887796" align="alignnone" width="1920"] Linda Kallerus, FX[/caption] This is a show about discovering that more of your time is gone than you'd realised, and that your youthful hopes have faded and your looming future has receded. It's a series about the push and pull of being an adult, too — from dating, marriage, divorce and parenting to studying, the nine-to-five grind and that fabled work-life balance — that bears down on us all. It's a drama about the cumulative effect of our daily reality, plus the demands and expectations that come with it, whether or not we've started to feel the ebbs, flows and pressure. Everything from class inequality and constant social hustling to the roles that women are forced to play around men earns the show's attention in the process, as layered through a miniseries that's evocatively shot — and, again, meticulously cast. Brodesser-Akner and the Fleishman Is in Trouble team — which also includes Michael Goldbach (On Becoming a God in Central Florida) penning one episode to her seven — have an extra tool at their disposal: capitalising upon the baggage viewers bring to their stars. Why does Eisenberg seem such an apt choice from the get-go? Because he could've wandered off the set of countless other projects and into this one, slipping into Toby's shoes like he's always been wearing them. His casting acts as shorthand, signalling what to anticipate if you've ever seen him frayed and fraught on-screen. (The waxing lyrical about social media, as surrounding an actor who was Oscar-nominated for The Social Network, is as comic as it's meant to be.) [caption id="attachment_887793" align="alignnone" width="1920"] Matthias Clamer, FX[/caption] With Homeland her best-known role of the past decade-plus, Danes' involvement has the same impact from the outset; when Toby describes or remembers Rachel, offering up an image of a woman who is driven, determined, career- rather than motherhood-focused and desperate to succeed at all costs, it feels like an instant fit. His recollection bakes in those traits even in their romance's earliest days, just softer and waiting to solidify. Again, why is this the case? Why is it so easy to accept that Rachel is this clearly defined, and that Toby's take is accurate? Fleishman Is in Trouble wants that question to linger, because how willingly its audience jumps onboard with Toby's perspectives on himself, Rachel and their relationship is as much its focus, and as important, as Rachel's whereabouts. Watching Fleishman Is in Trouble evolve, getting sharper and deeper the more its viewpoint spreads and expands, is one of this exceptional series' many rewards. Watching Eisenberg and Danes unpack the type of personality traits they've frequently portrayed on-screen, the people who boast them, and the stereotypes, judgements, sympathies and hostilities they spark, is both thrilling and mesmerising — and while Eisenberg is excellent, Danes is phenomenal, especially as the show spends more time with Rachel and her struggles. Her masterful casting and the performance that follows cuts to the heart of Fleishman Is in Trouble's commentary on how women are treated if they focus on their professions or don't, or on motherhood or not, or make any move expected of them or rally against those dictated confines. And the fact that My So-Called Life alum Danes, Freaks and Geeks' Caplan and The OC's Brody are so tied to such seminal teen shows from several decades back? Well I guess this is growing up, Fleishman Is in Trouble posits. Check out the trailer for Fleishman Is in Trouble below: Fleishman Is in Trouble streams via Disney+. Top image: JoJo Wilden, FX.
Anyone who's visited the bright lights of Burwood Chinatown will know it's as much a feast for the eyes as it is for the belly. That same neon-powered, eye-popping, multi-coloured aesthetic is also on display at Spicetown Leichhardt, the new multi-cultural dining destination by the Burwood Chinatown team in the Inner West. While the suburb has long been known as Sydney's unofficial Little Italy, Leichhardt will now be a major drawcard for diners with a more pan-global palate, thanks to this hawker-style food court that has reinvigorated the long-dormant Leichhardt Hotel on Norton Street. More than 20 vendors are serving up tasty bites from around the world, from Turkish kebabs to freshly steamed dumplings, Afghani appetisers to Japanese desserts. The former pub, which had been abandoned for more than a decade, is now unrecognisable, thanks to Spicetown's vibrant signature look, also on display at its pop-up market cousin, Spicetown Sefton. A feature unique to Leichhardt's Spicetown, however, is the Cosmos Bar, a mezzanine drinking den overlooking the hustle and bustle of the food court below. With Norton Street already under consideration to become one of Sydney's new Special Entertainment Precincts, the arrival of Spicetown Leichhardt, which operates until 11pm Thursday–Sunday, is a shot in the arm for the area's nightlife as well as its dining scene.
As part of one of the only remaining independent cinema chains, Dendy Newtown offers a unique, somewhat nostalgic, cinema experience. The blockbusters are here if that's what you're after, but the bigger drawcard is the selection of first-run independent films and art titles. Through the Dendy Arts program, productions from MET Opera, National Theatre and National Ballet, among others, are screened. It also holds events throughout the year: advance screenings of new releases, retro screenings of old faves, and film genre festivals. Located in the heart of Newtown makes a visit to Dendy is a great way to either start or end a day of adventures. While everybody's favourite "cheap Tuesday" offer may have disappeared from most cinemas, it is still going strong here and it's not the only offer kicking around. There's two-for-one on Sunday night, plus members and students both get cheaper tickets. If the classic dinner-and-a-movie date is on the agenda, a handful of surrounding food joints also offer ticket combos to complete the formula.
The Federal Court has just ruled that Coles' "Down Down" discount campaign — yes, the one with the jingle — was misleading shoppers, with prices on hundreds of products bumped up briefly before being "discounted" back down to a level still higher than where they had been weeks before. In a judgment delivered by Justice Michael O'Bryan in Melbourne this morning and reported by the Sydney Morning Herald, the court found that of 14 sample products examined in the case brought by the Australian Competition and Consumer Commission (ACCC), 13 had been sold in a misleading manner. The products at the centre of the case were supermarket staples: 2-litre bottles of Coca-Cola, Colgate toothpaste, 900-gram tins of Karicare baby formula, Rexona deodorant, Lurpak butter and Arnott's Shapes biscuits. Here's how it worked. Take the example of Nature's Gift wet dog food: priced at $4 between April 2022 and February 2023, the product jumped to $6 for seven days before Coles introduced a new "Down Down" price of $4.50 — advertised as a discount from $6. Shapes biscuits got the same treatment, going from $5 a packet in 2021 to as much as $6.50 before being marked at $5.50 on promotion. O'Bryan found Coles' price increases were "commercially justifiable" — driven by supplier requests — but said the supermarket needed to have sold the products at the higher "was" price for a full 12 weeks before customers would consider any subsequent discount genuine. Most products were at the higher price for only four. As a result, the judge said, "the discount represented on the tickets was not genuine" and Coles' conduct was "misleading, in contravention of…the Australian Consumer Law." During hearings earlier this year, the Sydney Morning Herald reported that Coles' manager of health products Matthew Hankin admitted the supermarket had worked with a supplier in March 2022 to lift the price of Colgate toothpaste from $5.50 to $7 for four weeks — specifically so it could then market the toothpaste back down to $6 as a Down Down "special." The ACCC's barrister Garry Rich SC put it more pointedly in court, according to 9News: "Why on earth are you telling your customers your prices are going down? They're not." Melbourne University consumer law expert Jeannie Paterson told AAP ahead of the ruling that a finding against Coles could mean "colossal" fines and a rethink of how supermarkets promote pricing. Penalties have not yet been handed down. A near-identical ACCC case against Woolworths over its "Prices Dropped" campaign is still awaiting judgment. The full judgment is available via the Federal Court. Lead image: iStock Like what you see? Subscribe to the Concrete Playground Newsletter to get stories just like these straight to your inbox.
In the age of streaming, DVD commentary tracks are no longer as much a part of the home-viewing process. If you're keen to hear insider details about the making of Sydney-shot 1999 sci-fi great The Matrix and 2025's Melbourne-made horror hit Together, however, SXSW Sydney has you covered. 2025's event has unveiled more details of its Screen Festival program for this year, with the return of its Screen Commentary sessions among the highlights. Costume designer Kym Barrett, who has also worked on everything from Baz Luhrmann's Romeo + Juliet, The Nice Guys, The Shallows, Aquaman and Us to Charlie's Angels, Shang-Chi and the Legend of the Ten Rings and Three Thousand Years of Longing — and on The Matrix Reloaded and The Matrix Revolutions, plus the Wachowskis' Speed Racer, Cloud Atlas and Jupiter Ascending — will talk through her efforts on The Matrix as the film plays. For Together, writer/director Michael Shanks will dig into his debut feature, which also opened 2025's Sydney Film Festival. SXSW Sydney has also announced Screen conference sessions as part of its roster of seminars, workshops and more, with Whitney Fuller, the Development Executive of Jordan Peele's Monkeypaw Productions, one of the big names. Fittingly, Fuller will be part of the festival's Women in Genre panel. Also, producer Liz Watts (The Royal Hotel) and filmmaker Tony Ayres (The Survivors) are teaming up for the What Is an Australian Story? session, while Fantastic Festival Director Lisa Dreyer, Rachel Watt from Watt Social, Yellow Veil Pictures' Joe Yanick and Oscilloscope's Alexandra Fredericks are set to get chatting as well. The panel lineup also spans Jill Kingston from Pacific Shadow Pictures, Enzo Tedeschi and Helen Tuck from Deadhouse Films, and Lake Martin Films' Kate Separovich unpacking all things indie horror from a filmmaking perspective, as well as Invention Studios' Carmen Knox and actor Remy Hii (Arcane) on deciding whether to make the leap to LA. SXSW Sydney's latest screen-centric additions join Paul Feig (Another Simple Favour) hitting the Harbour City as the Screen Festival keynote speaker and its first recipient of the new SXSW Sydney Screen Pioneer Award — and also a 14-hour Freaks and Geeks marathon, plus sessions of Bridesmaids and The Heat, to go along with his time at the fest. There's more to come; however, as similarly announced earlier, viewers will also be able to catch By Design, $POSITIONS, Dead Lover, Zodiac Killer Project, The Last Sacrifice and Bokshi. Among that group, body-swap effort By Design features Juliette Lewis (The Thicket), Mamoudou Athie (Kinds of Kindness) and Robin Tunney (Dear Edward); horror-comedy Dead Lover is a SXSW Austin award-winner; Charlie Shackleton (The Afterlight) digs into a famed serial killer; and everything from comedy to folk horror features. [caption id="attachment_967878" align="alignnone" width="1920"] Jaimi Joy[/caption] [caption id="attachment_923287" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] [caption id="attachment_923317" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] SXSW Sydney 2025, including the SXSW Sydney Screen Festival, runs from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details and tickets. The Matrix image: Ronald Siemoneit/Sygma/Sygma via Getty Images. Together image: Ben King, Neon.
Now is the time to start planning and booking a holiday to Outback Australia. Typically, the best time to visit places like the Red Centre, the Kimberleys and Flinders Ranges is between May and October. It's the Goldilocks period — you avoid both the summer heat and the wet season. It's not too hot or too cold. It's just right. But you can't just book a flight and figure it out once you get there. You'll usually need a guide, a 4WD and a super detailed plan. You can organise all of this yourself, but it's a lot of work. That's why we suggest booking a specially curated tour. It takes all the fuss out of your holiday, allowing you to simply enjoy the ridiculously beautiful natural wonders found throughout the Australian outback. So, read on to find a series of unforgettable trips and tours that can each be booked through Concrete Playground Trips. [caption id="attachment_896631" align="alignnone" width="1920"] Brian Mcmahon (Unsplash)[/caption] LUXURY CAMPING TOUR AROUND KIMBERLEY Western Australia's Kimberley region is a proper bucket list travel destination. You get to see some of Outback Australia's finest sites — think deep gorges, vast white sand beaches and remote waterfalls that are made for swimming under. What better way to experience this iconic natural landscape than by camping around it for 12 days? This unique trip won't just guide you to the best spots, it'll take you there in total style. It includes a helicopter ride over Mitchell Falls, a Geikie Gorge boat cruise and all your camping equipment — big comfy mattress and all. If you've always wanted to explore Kimberley, this is the ultimate way to do it. BOOK IT NOW. [caption id="attachment_891479" align="alignnone" width="1920"] Tobias Keller (Unsplash)[/caption] SIX-DAY CORAL COASTER FROM PERTH TO EXMOUTH (VIA NINGALOO REEF) Go on a proper Western Australia adventure during this week-long trip. From unspoilt beaches to deep red deserts to explore — plus an abundance of wildlife to spot — this will be an unforgettable Australian holiday. You'll also tick a bunch of spectacular destinations off your bucket list — including the Pinnacles, Hutt Lagoon Pink Lake, Murchison Gorge, Kalbarri National Park, The Stromatolites at Shark Bay and Ningaloo Reef. BOOK IT NOW. [caption id="attachment_826027" align="alignnone" width="1920"] Tourism NT[/caption] AUSTRALIAN OUTBACK TOUR FROM DARWIN TO CAIRNS This is an 11-day adventure-filled trip through the most remote parts of Savannah Way. Get ready to explore natural landscapes unlike anything else in the world. You'll travel east through Kakadu, Mataranka, Lorella Springs and Lawn Hill before finishing up in the tropical rainforest on the outskirts of Cairns. Along the way, you'll spot native wildlife in their natural habitat, hike through gorges, discover ancient Aboriginal rock art and swim in pristine natural waterholes (free of crocs, of course). BOOK IT NOW. [caption id="attachment_883581" align="alignnone" width="1920"] Michael Skopal (Unsplash)[/caption] THREE-DAY ADVENTURE IN THE FLINDERS RANGES This small group eco-tour of the famous Flinders Ranges gives guests the opportunity to see the incredible rock formation of Wilpena Pound and the Ranges while learning about local Aboriginal culture. You'll search for the rare yellow-footed rock wallaby, spot kangaroos, emus and wedge-tailed eagles, spy ancient Aboriginal cave paintings, meet the locals and enjoy campfires and camp cooking. BOOK IT NOW. KING'S CANYON HIKING TOUR King's Canyon, famously where the queens from The Adventures of Priscilla, Queen of the Desert hiked in feather-clad bird outfits, is a big bucket list destination — not just for fans of the film. Located between Alice Springs and Yulara, this has to be one of the very best places to go hiking in Australia. Walk along red rock cliffs, through maze-like gorges and around beautiful bushland. The views across the surrounding desert are also just next level, and this big day trip takes you to all the best bits. BOOK IT NOW. DAY TRIP TO LITCHFIELD NATIONAL PARK WATERFALLS If you've ever seen images of people jumping into spectacular natural waterholes and pools in a tourism ad for the Northern Territory, there's a very good chance the footage was shot at Litchfield National Park. Making a visit here is an experience we should all have at some point in our lives. And booking this package will get you right there. You'll be picked up from Darwin and transported to the famous Florence Falls for a day of exploring and swimming in extraordinary (croc-free) waters. BOOK IT NOW. CHAMBER PILLAR AND RAINBOW VALLEY 4WD TRIP Go off-road during this full-day tour around the Rainbow Valley — a remote region in Australia's Red Centre. The small group 4WD experience takes you deep into the Red Centre's beautiful and remote sand hill country in comfort and style. You will discover the history of the early explorers, local First Nations culture and stories, the iconic Simpson Desert and stunning landscapes and rock formations. In between short hikes, you'll be driven around in an air-conditioned 4WD to catch your breath and cool down. BOOK IT NOW. [caption id="attachment_896632" align="alignnone" width="1920"] Tim Davies (Unsplash)[/caption] FOUR-DAY 4WD OUTBACK TOUR OF KAKADU NATIONAL PARK This exclusive 4WD safari adventure takes travellers off-road, discovering some of the most remote parts of Kakadu National Park. Visit spectacular waterfalls, cool off in some of the most beautiful natural plunge pools imaginable and spend each night in comfortable accommodation. Everything is organised for you throughout this Outback Australia tour, including a billabong wetlands cruise that'll take you up and close to some freshwater crocs. BOOK IT NOW. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world. Top image: Simon Maisch (Unsplash)
Start your week right with a morning yoga session in the Royal Botanic Garden. Housed in the Calyx, the attention-grabbing, UFO-shaped public space that landed in the gardens last year. The classes run between 7.30 and 8.30am and cost $20. Offering a sweet escape from the bustle of the city, these Hatha yoga sessions are the perfect way to inject some calm into your Monday morning. Plus, you'll still have enough time to grab a post-session shower and coffee before landing at your office desk all zen-ed out, and ready to tackle the week. If you're one of those yoga buffs who just can't make it out of bed that early, swing by for the lunchtime session (12–12.50pm) instead.
Thinking about work-life balance when January hits is an annual tradition. The Christmas break has been and gone, everyone is making resolutions for the new year, and better dividing your time between your professional and personal realms becomes a goal for most. Come January 2025, the subject will get a bigger push via a hugely anticipated TV returns — and so will how work-life balance can weigh on your mind, or not. Capitalising on perfect timing, Apple TV+ will finally end the wait for more Severance, the sci-fi mindbender where disconnecting from your job come quittin' time — and giving your gig 100-percent of your focus during your daily grind — has become literal in a nightmarish way. At Lumon Industries, employees agree to undertake the titular procedure, which splits their memories between work and home. That tale will continue from Friday, January 17, 2025, a date that no one will want surgically removed from their head between now and then. This news calls for a waffle party, an egg bar or a melon bar. In the upcoming second season of the series — which was one of the best new shows of 2022 — more celebrations must be on the way based on the first sneak peek at new footage from back in June. Apple TV+ has now added to that initial glimpse with a first proper teaser trailer for Severance's second season. It's still brief, putting most of its emphasis on the elevator that Lumon's workers take to its labyrinthine workspace, as well as the verbal agreement that the show's key characters gave to having their recollections severed. If you missed season one, its dive into the kind of scenario that Black Mirror might've dreamed up, and technology that could've been used if Eternal Sunshine of the Spotless Mind was about punching the clock instead of romance, pushed Macrodata Refinement division employee Mark S (Adam Scott, Loot) to the fore. He willingly signed up for severance, all to help process his grief over the death of his wife. And he's happy with the situation until his work BFF Petey (Yul Vazquez, The Outsider) leaves suddenly without saying goodbye, then new staff member Helly (Britt Lower, American Horror Stories) comes in to replace him — and instantly starts questioning the insidious setup, the rules and restrictions needed to keep it in place, and why on earth her "outie" (as the outside versions of Lumon employees are known) agreed to this in the first place. In season two, Mark and his work pals will attempt to dig deeper into the consequences of the severance procedure, and trying to escape it. There isn't much more detail in the trailer, but the mood is disquieting — in typical Severance fashion. Tramell Tillman (Hunters), Zach Cherry (Fallout), Jen Tullock (Perry Mason), Michael Chernus (Carol & the End of the World), Dichen Lachman (Kingdom of the Planet of the Apes), John Turturro (Mr & Mrs Smith), Christopher Walken (Dune: Part Two) and Patricia Arquette (High Desert) also star — and season two newcomer Gwendoline Christie (Wednesday) also pops up in the sneak peek. Ben Stiller (Escape at Dannemora) is back as a director on five episodes, and executive producer across the whole season, with ten episodes on the way. Apple TV+ will drop instalments through until Friday, March 21, 2025. Check out the first trailer for Severance season two below: Severance returns for season two on Friday, January 17, 2025 via Apple TV+.
Think about Byron Bay, and a quiet coastal town with stunning beaches is no longer the only thing that comes to mind. Hemsworths pop up, plus other celebrities. So does the New South Wales spot's stint backdropping TV shows. Fancy leaning into the locale's luxe side? Enter its first-ever five-star hotel, with Hotel Marvell opening its doors on Tuesday, August 1. It boasts Marvell in its name, but Marvel Cinematic Universe fans will have spotted the spelling difference. No, even with Chris Hemsworth virtually synonymous with Byron Bay of late, this new place to stay has nothing to do with superheroes. Instead, this new addition to Marvell Street features 24 rooms and suites, the town's first rooftop bar and pool, and onsite restaurant Bonito. Owners Scott Didier and Scott Emery have gone lavish, aiming to give holidaymakers a one-of-a-kind stay. "Hotel Marvell is designed to offer our guests an extraordinary experience like no other. From the exclusive rooftop bar and pool with breathtaking views to the Bonito restaurant showcasing the finest local ingredients, we have crafted a haven for those seeking refined luxury in Byron Bay," said Emery. "Our passion for Byron Bay and our belief in the potential of this incredible destination inspired us to create Hotel Marvell. We want to offer our guests an unparalleled experience that combines the beauty of the surroundings with the luxury of our accommodations," added Didier. The 24 spots to slumber include 16 hotel rooms, six suites and a pair of two-bedroom rooms, all equipped with private balconies. Guests will sleep on Bemboka & Eadie linens, hit up the mini bar stocked with locally sourced products, make coffee from their in-room Nespresso machine, and take in the Byron Bay vibe and surroundings. Keen on room service? That runs from 11am–8pm. For a dip, head to level three — and for a bite beyond your room, to Bonito, which features chef Minh Le (ex-Spicers Peak Lodge, The Byron at Byron, The Foraging Quail) at the helm. His menu heroes seafood and plant-based cuisine, as well as his own heritage. On offer: organic sourdough with house-cultured miso butter, oysters in a Japanese dressing and Hiromasa kingfish glazed with spiced soy sauce Harley Graham of Harley Graham Architects is responsible for the hotel's look, which skews tropical, warm and colourful — complete with plenty of greenery and a pedestrian laneway. Unsurprisingly, a night at Hotel Marvell doesn't come cheap, starting at $600 per night for a hotel room. If you're keen on a suite, that'll set you back at least $780. Find Hotel Marvell at 4 Marvell Street, Byron Bay from Tuesday, August 1 — head to the hotel's website for further details and to make a reservation. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Ever had that feeling of rustling around in a cupboard on the hunt for a beach towel, only to uncover something that looks suspiciously like a bath mat? Or maybe you're flush with beach towels but just feel like a fancy new one this summer. Whether you're in need of a new towel, are looking to buy one as a Christmas gift or have seen lots of snazzy ones at the beach and simply want to see what's out there, our list will help you out. From geometric shapes, to luxurious linen, towel with hoods and those roundies everyone seems to have nowadays, here's our favourite Australian and New Zealand-made towels and where to get 'em. CLASSIC TOWEL, VERTTY Nope, that's not an artfully folded stack of towels. That's Vertty's reinvention of the humble beach towel into a geometric design object. Not only does their unique design show that you can think outside the box (or, er, rectangle) for even the most everyday beach object, they've incorporated other handy design features like a waterproof pocket, and quick-drying, lighter weight fabric. Plus, it comes in a range of eye-popping colours to make sure summer is just the way you like it. Check out their matching geometric swimwear, too. $79. THE AZTEC ROUNDIE, THE BEACH PEOPLE Round towels. They're a thing. According to The Beach People, they dreamt-up "the original roundie" in the lush Northern Rivers region of NSW. That was back in 2013, and their first collection sold out in weeks. Current towels on offer include this hand-drawn black and white design, as well as other spiffy prints like The Paradis. Others have jumped on the round towel bandwagon — including Basil Bangs, whose round 'Love Rugs' also feature a waterproof pocket and fold down into a carry case with built-in shoulder strap. $110. LUXE TOWEL WATEGOS, SUNNY LIFE It's no secret, we love Sunny Life's beach towels just as much as we love their umbrellas. And for tropical colours that pop on an unmissable beach towel, it's hard to go past this velour-finished number. You'll never lose sight of your spot on a packed summer beach again. Pair it with one of their beach pillows and we reckon you're onto a winning combination. Or, if you're looking for something floating to stretch out on, these guys also do some pretty mean inflatables. Luxe lie-on floating cactus, anyone? $69.95. STONE PRINT TOWEL, MÖVE Here's an unusual one for you. Möve's towels feature lifelike digital prints, like this stone design. They also have one with a print of weathered wooden boards, rippled water, and even landmarks like the Eiffel Tower and Brandenburg Gate. Those ones are a bit cheesy, but the pebble print is mint. Although it might look like you're lying on stones, you'll be a lot comfier — the 100 percent cotton velour towel has a snuggly weight and is soft and absorbent. Their bath towels are worth checking out while you're there, too – they even have a line of towels inspired by architecture, namely the drawings of renaissance master builder Andrea Palladio. Möve ships their towels worldwide. EUR €39.90. LINEN LAGUNA, COAST NEW ZEALAND Step aside, Turkish towels, because we just discovered linen towels — and can't get enough of them. Well, maybe we won't do away with them entirely, but linen is pretty great. Incredibly fast drying, versatile and lightweight in your beach bag, we reckon they might be the next big thing. This towel from Coast New Zealand is available in a range of fetching stripes, and comes all the way from an 100-year-old family mill in Lithuania. There are also these guys in the US who make a plainer linen towel which comes with a compression strap, or the House of Baltic Linen closer to home. NZD $149. THE ECLIPSE LINEN THROW, KATE & KATE This is one hella pretty linen towel. Yes, we're still on about how great linen towels are — and, yep, this throw counts as a towel. Its name is a nod to this multi-functional rectangle's nature. When you're not using it on the sand, it's equally as useful as a lightweight blanket, picnic rug, shawl, tablecloth, throw for your sun-drenched daybed… you get the drift. Designed to fade, they come in a stack of designs including a couple with some pretty nice bronze and metallic details. $159. MARINE TIGER HIDE BEACH TOWEL, MASLIN & CO Well, this was the first time we've come across a beach towel that folds out into the shape of a tiger hide (don't worry, it's 100 percent cotton). Manufactured by Maslin & Co, who take their name from Australia's first nude beach, these guys say they're inspired by nature, the surreal, and beach vagabond culture. You can choose which one's your jam from their collection of different-coloured animal-shaped towels. Plus, they come with either a classic leather short or longer cross-body strap holder, so it's easy to carry your new towel with you wherever you wander. $195-250. EXTRA LARGE RAINBOW POM POM TURKISH TOWEL, I LOVE LINEN Somewhere along the line we're sure our grandmas had a towel like this, brought out for summer beach picnics or to dry off after running through the sprinklers on the lawn. Now our retro towel memories have come back to life (albeit with a little upgrade) thanks to the clever people at I Love Linen. Designed in Melbourne, their towels are hand-woven in Turkey's central region, famous for the quality of its textiles. Retro pom poms, 100 percent cotton, and that distinctive Turkish towel edging. It's comfy, super-absorbent and big enough to be a picnic rug as well as a beach towel. $89.95. SOUTHERN HIGHLANDS TOWEL FOR TWO, PENDLETON A towel wide enough for two — now that's the recipe for a comfy beach session. Whether you've got a beach buddy or just want the extra room to stretch out yourself, this luxurious 100 percent combed cotton number from Pendleton has you sorted. Based in the States' beautiful Pacific Northwest, as well as making a range of other spa and beach towels (and their iconic woollen blankets) the sixth-generation family-owned business has a focus on social responsibility — community, country and planet. USD $79.50. HOODED TOWEL, TURKISH MURKISH A towel and hooded wrap? Why didn't we think of that before? This handy number brings the best of Turkish towels and beachwear together in a classic striped print. Each batch of towels are dyed and loomed by artisans in Turkey. The end product? A modern shape you can wear as well as lie on, served up in a fast-drying blend of bamboo and Buldan cotton from the inner Aegean region of southwest Turkey. $99.95. Top image: The Beach People.
Located along a quiet street in Chippendale, Esstudio Galleria is a hair salon with a difference. The boutique fit-out better resembles an antique shop than a hairdresser, with eclectic furniture and bric-a-brac aplenty — all of which is inspired by French renaissance vibes. Think plush barber chairs set in front of ornate, golden mirrors, old trunks housing hair care accessories and a massive chandelier. Haircuts are tailored to the client and start from $95 for women and $55 for men. Apart from cuts, the salon also offers manicures, makeup application, facials, lash extensions and skin treatments. And it's a Sustainable Salons partner, with 95 percent of its salon waste recycled through the program.
It's fair to say that Brookvale wasn't known for its hospitality scene in the not-too-distant past. But over the last decade, its dilapidated car mechanics and ramshackle warehouses have gradually given way to a new kind of resident – top-notch breweries, distilleries and eateries. With reasonable rents and industrial zoning making this spot along the Northern Beaches attractive to enterprising hospo operators, the sharp minds behind this suburb's culinary rejuvenation have come together to launch The Brookie Trail. While the area's industrial heart remains, there's no denying the locals' passion for their craft. Every stop along this curated journey reveals something new to sip, feast on or explore, while a colourful events program has breathed even more life into the neighbourhood. So, what stops can you expect along the way? Manly Spirits Co., Freshwater Brewing Co., 7th Day Brewery and Goodradigbee Distillers are just a handful of must-visit destinations making up this growing collective of like-minded food and drink purveyors. Yet it's not just tasty pub grub and refreshing beers that make exploring this part of the world a rewarding experience. There's also an ever-evolving entertainment calendar, with live music, pop-up markets, creative workshops and trivia nights on the agenda throughout the week. Best of all, The Brookie Trail has been created with families in mind, so there are a range of activities on offer that get the kids involved. Plus, you're welcome to bring your pup while you enjoy top-notch brews and mouthwatering eats. "Hopping between breweries and distilleries, especially after a morning swim at the Beaches, is hard to beat. It's an exciting time for Brookvale, and we're thrilled to share everything the trail has to offer," said Mike Beresford-Jones, founder of 7th Day Brewery. The Brookie Trail is ready to explore now around Brookvale. Head to the website for details about participating venues and their offerings.
Spoilt as we are by a city of surf and sun, it's no secret we Sydneysiders are prone to a bit of a whinge when the weather starts to turn. Now, don't get us wrong: we love binge-watching Netflix in our snuggies as much as the next guy. But we're here to bust all your best excuses to stay home when it pours with our picks of the ten best things to do on a rainy day (or even a crisp, less-than-outdoorsy one) in Sydney. GET SWEATY AT SKY ZONE There is nothing more gleeful than jumping around with reckless abandon like a child. And by opening its trampoline-lined doors until 10pm on weeknights and midnight on weekends, Sky Zone (75 O'Riordan Street, Alexandria) lets you do just that without jumping on a child. Sydney's first indoor trampoline park sits in Alexandria and brings you foam pits into which to fling yourself, basketball hoops to dunk like Shaq and dodgeball games to join, as well as some pretty intense 'skyfit' classes that channel all that bouncy fun into strategic cardio and muscular workouts. Other places to get sweaty this winter: Enjoy an 80s aerobics workout at Retrosweat, shake what your mama gave you at No Lights No Lycra, or get high and mighty at ClimbFit. GET FULL AT THE FOUR IN HAND No amount of rain can bring you down when you've got a craft beer in one hand and some warming comfort food in the other, so make your way into the back streets of Paddington for award-winning pub grub at the Four in Hand (105 Sutherland Street, Paddington). You don't even need to book into the fancy dining room to enjoy the renowned nose-to-tail experience; the bar offers creative (and surprisingly delicious) dishes like pan-fried duck egg with a rich slab of black pudding and crispy bits of pig's ear ($18), or you can keep things simple with a burger and crunchy chips ($19). If you're celebrating, 48 hours' notice and $35 per head will score you a whole roast pork belly plus trimmings for ten people. Other places to get full on a rainy day: Smash a brilliant burger at the Duck Inn, or go for the razzed-up pub grub at Hart's Pub. GET WATCHING AT THE GOLDEN AGE CINEMA AND BAR Watching Marilyn make Manhattans while sipping on our own is our idea of heaven. The Golden Age Cinema and Bar (80 Commonwealth Street, Surry Hills) has gifted us this fabulous reality by restoring the old screening room of the heritage-listed Paramount Pictures building in Surry Hills and running two screenings a day (tickets $20, Tuesday-Sunday) of old favourites like Some Like It Hot and Casablanca all the way through to critically acclaimed newbies. The teensy art deco cinema is made even cosier by clever cinema snacks such as cinnamon doughnut popcorn and a 'Spielberger' pastrami toastie, which you'll want to wash down with a wintery classic like a Maple Pecan Old Fashioned or a Golden Negroni. Other places to get watching this winter: Catch an arthouse film and a vegetarian feed at Govinda's or enjoy a free cult classic at Smash Cut Cinema. GET SKILLED AT THE ESSENTIAL INGREDIENT Homeware emporium The Essential Ingredient (731-735 Darling Street, Rozelle) boasts an industrial kitchen in which you can learn to create all sorts of deliciousness this winter. From Mexican street food to Moroccan stews to gluten-, dairy- or sugar-free treats, the chef-run cooking school schedule has something for everyone and covers both the total beginner and the Masterchef in making. The classes are relaxed and communal, with everybody pitching in to create the day's feast and then sitting down to devour the tastiness created together. You'll go home with a recipe pack and, no doubt, a basketful of artisanal goodies from the adjoining store. Other places to get skilled this winter: Get pickled with Cornersmith, step outside your comfort zone at Work-Shop; or get trigger happy with Sydney Photographic Workshops. GET LISTENING AT THE OLD 505 The sexy, brooding jazz den that unfolds at 5 Eliza Street, Newtown only gets cosier as the rain outside gets heavier. This intimate artist-run space has transformed (not to mention physically moved) in recent years from an underground secret into a stalwart of the music scene, now operating not only as a fantastic venue but also a centrepoint for local music and theatre communities. You can snuggle up in one of the comfy couches and catch some serious local or international talent, Pinot and tapas in hand. There's no wonder we're drawn here when the skies start to fill: in the words of Duke Ellington, the rain drumming on the roof and the storm raging in the sky are music. Other places to get listening this winter: Get noisy among the vinyl at Black Wire Records. GET BUZZED AT THE LOBO PLANTATION What's more warming than rum? Rum that's been delicately spiced, generously buttered and served piping-hot for you to sip in your comfy lounge chair by candlelight, that's what. Yours awaits in the underground Cuban den that is the Lobo Plantation (209 Clarence Street, Sydney), together with an epic collection of the sugarcane liquor ready to be devoured neat or in cocktail form. Add to that some fiery empanadas prepared by the team at Food Society and spontaneous bursts of flame when the delightfully pyromaniacal bartenders torch their cocktail garnishes and you're all set for a seriously snug evening in from the rain. Other places to get buzzed this winter: Sip on 'Gunther's Gluhwein' at Arcadia Liquors, hug a steaming mug of mulled cider at Mr Falcon's or get technical with a titrated hot toddy at the Eau de Vie Apothecary. GET WIRED AT GOWINGS BAR AND GRILL It's no secret that inclement weather operates as an energy-sucking black hole, so perk yourself back up with the double-coffee double-chocolate caffeine-fest that is Gowings' (49 Market Street, Sydney) renowned affogato ($16 or $24 with a shot of Patron). Creamy dark chocolate ice-cream is sprinkled with crispy Valrhona chocolate pearls and organic prunes, all ready to be drenched in a double shot of Allpress ristretto and, at your choosing, a liberal serve of Patron XO Coffee Tequila. You'll be singing in the rain like Gene Kelly by the time you're through with this little number. Other places to get wired this winter: Check out the brew bar at the Paramount Coffee Project, indulge in High Coffee at the Intercontinental or learn to distinguish origins at the Campos Coffee Cupping Room. GET PAMPERED AT CHI SPA Head in from the cold and spoil yourself with a hot stone treatment at CHI at the Sydney Shangri-La (Level 2, 176 Cumberland Street, Sydney). CHI massages and treatments are based on authentic natural healing methods drawn from traditional Asian cultures and feature local botanical ingredients like lemon myrtle and eucalyptus. The signature hot stone massage ($175) involves the placement of heated basalt stones on key points in the body to relieve tension, improve circulation and rebalance the body and mind. The indulgent treatment ends with a light oil massage, a refreshing facial spray and a warming cup of T2 tea. Other places to get pampered this winter: Snuggle into a natural clay and hot oil massage at the Park Hyatt, indulge with a honey exfoliation and yoghurt cocoon at Endota Day Spa or experience a Moroccan hammam-inspired ritual at the Darling Hotel. GET CULTURED AT WHITE RABBIT GALLERY Step inside White Rabbit Gallery (30 Balfour Street, Chippendale) for some warm, dry kulcha. Check out their bold, rotating major exhibitions, alongside the gallery's super eclectic permanent collection — the upper floors are crammed with more colourful art communicating the stories of 21st-century China. Plus, there's a tea room calling you to rest your weary, art-appreciating legs. Other places to get cultured this winter: Experience some of Australia's best theatre talent at Belvoir St Theatre, absorb yourself in grassroots urban arts at the Red Rattler or get some laughs at the Giant Dwarf. GET SMART AT DARLO BAR Every Wednesday from 8pm, keep your head with 'Texas Chainsaw Trivia' at Darlo Bar (306 Liverpool Street, Darlinghurst). Hosted by rambunctious Darlinghurst locals Coffin Ed and Jay Katz of FBi Naked City fame, trivia here involves three rounds of eccentric questions, spot quizzes and novelty segments. The winning team at the end of each round scores drinks for the table, with the ultimate champion going home at the end of the night with a hamper of animal-themed DVDs such as The World's Scariest Bears (don't ask us) and a couple of bottles of wine. Good fun to be had by all. Other places to get smart this winter: Win the heads or tails pot at the Four in Hand or snuggle into the Dove and Olive for their Tuesday triv.
New Shanghai's genre-busting soupy and crispy pan fried pork buns have achieved a certain level of fame. No one else in these parts does their dumplings quite like it. The crystal prawn dumplings and crab xiao long bao are also not to sniffed at. The striking interiors of their restaurants aim to take you back to the 1930s Shanghai streets, with a live dumpling making theatre where diners can watch the chefs in action. New Shanghai is also at Chatswood Lemon Grove, Bondi Junction and Ashfield.
As it continues in a push to produce more inclusive exercise gear, Lululemon has this week launched a new range of workout hijabs across selected international stores. The performance and lifestyle hijabs come in two styles available to buy now across New Zealand and Australia, with a third set to launch later this year. Each hijab is made using the buttery soft, sweat-wicking fabric Lululemon is famous for and offers a series of adjustable fits suited to the gym, a home workout or just those humid days of summer. The pin-free Performance Hijab ($55 AUD/$65 NZD) comes in both black and blue, and features an adjustable drawstring so it stays fitted into place while the user is working out — perfect for runners and HIIT lovers. The more traditional Scarf-Style Hijab ($49 AUD/$55 NZD) comes in soft jersey fabric and can be worn tied, twisted or tucked depending on preference. This one might be more suited to lower intensity styles, like pilates and walks. Lastly, the OTM Pull On Hijab ($49 AUD/$55 NZD) which is set to launch later this year, also has an over the head design and can be worn wrapped around the shoulders or tucked into the front of the shirt. Luluelmon certainly isn't the first activewear company to produce a hijab suited to exercise: Adidas has an option available to purchase online with its famous three stripe logo and Nike also has a monochromatic range. Under Armour also has an option with built-in headphone access. It would be great to see more brands follow suit, including locally made and designed options. The Lululemon performance hijab range launched Monday, June 6 and can be found now in select stores across Australia and New Zealand. For more information, head to the website.
"I think if someone like Bong says 'I'd like to work with you' once and then again, you just say yes," Daniel Henshall tells Concrete Playground. In the past decade, Bong Joon-ho has directed three films: Parasite, picking up the Palme d'Or at Cannes and four Oscars in the process, plus two pictures featuring an Australian actor who initially came to fame in Snowtown, aka one of the nation's most-haunting movies. In Okja, Bong and Henshall's first collaboration, the former tasked the latter with playing an animal-rights activist in a sci-fi action-adventure about battling the meat industry. Reteaming with the writer/director for Mickey 17, Henshall now portrays the righthand man to a wannabe dictator — an egomaniacal politician with clear real-life parallels — who is attempting to set up his own space colony, and cares little for the lives, human and other, that are lost in doing so. "I think I read it after I'd already said yes," Henshall continues. "So I was already on my way to doing it before I got to really appreciate how brilliant and bizarre and epic and fun this film is. I think it's really funny, this one." He's right: while there's darkness in every Bong picture, and the filmmaker's career-long cinematic exploration of exploitation in its many guises continues in Mickey 17, this is a comedy as much as it's a science-fiction flick. Adapting Edward Ashton's novel Mickey7, Bong ensures that humour flavours what's otherwise a bleak premise, with the movie's namesake (Robert Pattinson, The Batman) unwittingly signing up to die again and again and again — enough so he's lived at least 17 lives, hence the title — to assist the sinister Kenneth Marshall's (Mark Ruffalo, Poor Things) designs on an intergalactic empire march forward. This is a tale about expendables — a term that applies literally in Mickey 17, but could've been used to describe much else across Bong's filmography, be how a serial killer regards his victims in Memories of Murder, the way people considered lower-class in Snowpiercer and Parasite are treated, or the animals in the food chain in Okja. Mickey's job, which he didn't read the paperwork for before agreeing, is basically a human guinea pig and crash-test dummy. Death comes with the gig, as does being cloned each time that he says farewell. There's one key rule, however: there can only be one of Mickey, or of any expendable, at a time. Multiples are expressly forbidden. When the 17th Mickey is left for dead on Niflheim, the icy planet that Marshall is endeavouring to make his own, but survives, Mickey 18 is generated. Keeping the fact that there's two of them a secret; navigating his other self's different personality; fighting with himself over his security-agent girlfriend Nasha (Naomi Ackie, Blink Twice); feuding with frenemy Timo (Steven Yeun, Beef); avoiding scientists Dorothy (Patsy Ferran, Miss Austen) and Arkady (Cameron Britton, The Umbrella Academy); being stuck at the whims of Marshall and his sauce-loving wife Ylfa (Toni Collette, Juror No 2); communicating with Niflheim's indigenous creatures, which are nicknamed 'creepers': that's all now on Mickey's plate. Rarely far from Marshall's side, Henshall's Preston is the type of person who'll do anything for the man that he's pledged his allegiance to, including helping to shape his boss' image as fervently as he's constantly stroking his ego. Unlike Mickey of any number and his job, Preston is participating willingly. How did Henshall respond when Bong thought of him for the part? "The first reaction was 'this is more bonkers I'd ever experienced of his work'," he advises. "Parasite is proper bonkers, but this film was bizarre and excellent and unique and funny and humane and violent and scary, and all within this genre. And it was all the things that he brings to his work, all the commentary and the satirical nature of his work. I thought 'oh man, this is such a wonderful, delicious soup'. And Preston is a wonderful ingredient in that soup. What a strange character in this world, right? And from what he had said briefly about the character, it just seemed like a lot of fun — a lot of fun." [caption id="attachment_994744" align="alignnone" width="1920"] Alex Vaughn[/caption] Henshall can thank Snowtown for plenty in his career. His performance as John Bunting in his first-ever film role — beforehand, single episodes of All Saints and Rescue Special Ops, plus a main part in soap Out of the Blue are on his resume — is that unforgettable, and everything from fellow Aussie movies These Final Hours, The Babadook, Acute Misfortune, Measure for Measure, A Sunburnt Christmas, The Royal Hotel and How to Make Gravy (which we chatted with him about in 2024) through to international productions Ghost in the Shell and Skin have followed. So too have TV roles at home in Bloom, Lambs of God, Clickbait, Mystery Road: Origin, Savage River and The Newsreader, and overseas in TURN and Defending Jacob. He can directly credit Justin Kurzel's debut crime drama based on the real-life South Australian murders for being cast in both Okja and Mickey 17, though, after Bong was on the Cannes Film Festival Camera d'Or jury in 2011 when Snowtown played at the prestigious festival, then approached Henshall after seeing the movie. How did that first meeting with the filmmaker lead to not one but two performances in front of Bong's lens? Having collaborated with him twice now, why does Henshall think that the South Korean director is so drawn to digging into humanity's penchant for exploitation? What energy did acting alongside Mickey 17's cast, with many of his co-stars turning in such distinctive portrayals, give him for his own performance? Alongside what gets him excited about a new project, what he makes of his career so far and more, our conversation with Henshall spanned all of these topics. On How Snowtown Led to Okja, and Then to Mickey 17 "So Bong was the head juror of the Camera d'Or back in 2011, which is a prize given to the what the jury deem is the best first film by a debut filmmaker at the Cannes Film Festival — and Snowtown played there. And so after the first screening of Snowtown, Bong waited around and he was very sweet, and came up and said hello, and gave me a card and said 'yeah, it'd be great to work with you'. There's a bit of protocol there that says they can't say much about the film or howthey responded to it, just because of the secrecy of the ballot at the end of the week and who wins what, but he said 'I'd like to work with you, very lovely to meet you' — and then he went on his way, and it was very lovely. I went back to an event at Screen Australia, I think, and Jennifer Kent — the writer/director of The Babadook and The Nightingale — was there. She with there with her producer, as she was selling The Babadook to get some international money before making it. And she taught me at acting school. She came up to me and she said 'I heard you met someone today'. And I said 'oh yeah, yeah' — and I was going through my mind who I may have met that she was so excited about. And I said 'oh yeah, there's this beautiful man from Korea'. And she was like 'yeah, I know who he is: director Bong Joon-ho'. And I was like 'oh yeah, yeah'. And she's like 'you don't know who he is, do you?'. And I'm like 'oh, no, no' — and she's like 'you're an idiot, you need to watch this, this, this, this, this and this'. And I was like 'okay, I will, I will'. [caption id="attachment_994759" align="alignnone" width="1920"] Okja, Netflix[/caption] So I went home when Cannes finished and I watched the films. And I was very happy that I didn't know who he was when I met him, because I think I would have been very shy because the films were incredible. Anyway, I was a bit naive. It was the first thing I'd ever been to outside of Australia to do with work, and I thought it was a nice gesture and nothing more. So years go by and we get a phone call, and he'd like to meet for me to work on Okja. I was on a plane the next day. He said 'I'm in LA, I'd love to meet you. I've got this film. I think you'd be great in it'. I'm like 'can I get there quicker?'. So I got on a plane and we met, and I think he'd already cast me in his mind, but he just was doing an energy check. He wanted to see, just to see, I think — he doesn't just cast the people he thinks are going to be great in the film, I think energetically he wants to put together an ensemble of people, not just in front of the camera but behind the camera, who are going to work best to make the film come to life. And I think he knew from meeting me that that might be a good thing. So, obviously you don't know until you do it, but I guess he trusted his intuition. And not long after that I got offered Okja. And then, I get a call out of the blue while I haven't had much work — it's 2022, I haven't had much work or I'm in-between jobs, and I think a couple of things have been pushed, and I'm about to go to start a job on a film. And I get this call from his American producer Dooho Choi, who was a friend of mine because we worked together on Okja, and he says 'hey, Bong wants to work with you again'. I thought he was joking and just having a laugh, and he was like 'no, no, I'm in London and you need to get here'. And I was like 'oh'. So then that happened, and I went to London a couple of months later and I got to do the thing — again. So I'm feeling very blessed and very grateful that I that I got to do it, not just once but twice, because I felt a lot more comfortable the second time working with him in the way that he works. And, of course, with the brilliant people that he brings together to make his very unique, excellent films. So I felt like part of the family the second time. There's a lot of co-collaborators that he worked with again, so I got to be part of that family again and we got to reunite and work together again, and I felt a lot more comfortable in my skin this time." On the Theme of Exploitation Continuing to Recur Across Bong's Career, Including in Okja and Mickey 17 "I think he's a very socially aware guy. I can't speak to what his reasons are, really — he's a very open and lovely human, but I haven't talked in-depth with him about how he came to do [this], because, as you say, there are themes that he, in every one of his films, these themes sort of show up. And I haven't really had a chance to talk in depth about that with him. So that, I couldn't speak to that, other than I think he sees the absurdity in humanity, and while it moves him to, I assume, sadness at times, he just sees the hilarity in the indifference. And I think what he's trying to do — and again this is my take on it — I think what he's trying to do is to show us there's a better way through the absurdity. I think that means a lot to him. I mean, he came out of — again, you'd have to speak to him, but this is my assumption knowing a little about the history — he came out of a military dictatorship, like in 1988 that was thrown over in Korea, and Korea came into this sort of industrial boom, which made people start having a bit more equity across the board and more finances to consume things. And he is the result of that, in that he can now comment on his experience through his art. And he does it so uniquely and so brilliantly. But I think the thing is, it's a lofty goal, but I think the hope when you make something and you spend so long doing it and you commit your life to doing it is to show people that there is a better way. That we can — because there are good people in every one of his films, right? And a lot of the darkness, he shows through absurdity. And you're right, there are some really dark moments in this film in the way that we treat the original habitants, the aliens, of this planet Niflheim, and the way that we treat the expendable, Rob Patterson's characters — character or characters — and the class system within this this spaceship. He's constantly making fun, not just of the people who are being awful, but the people down the scale. So I think that's the goal. Again, this is just me surmising. But that's what I receive when I see his work outside of the work that I've been involved in myself, is that you're pointing out to us that there's a better way — and look how silly we are as a race when ego and hubris and self-interest gets involved. And community is much better together rather than at odds." On Being Part of Such a Stacked Cast — and the Energy That His Co-Stars' Committed Performances Gave Henshall for His Own "It's so much fun, because those guys are so committed to what they're doing and what they're being asked to do by Bong, that it helps inform what you're supposed to do and where you're supposed to be as the character, and how you're supposed to respond to something — whether that be physically, emotionally or verbally. And so when people are giving you so much; I mean, Rob gives so much, Mark gives so much, Toni gives so much, Naomi gives so much. Everybody was coming to work wanting desperately to make this work. And everybody has such a different energy level. Everybody is such a unique, standout character for their moments. The scientists with Cameron Britton and Patsy Ferran, at odds with each other, that classic dynamic. Steven Yeun — Steven Yeun blew me away. Again, everybody's giving their personal story so much value. And our commitment that when you step into that soup or that mesh, you feel it, the energies are pushing and pulling you, and you know what you're there to do, what you're supposed to do there, what you've been asked to do and your intentions. So to play those intentions within that sort of tête-à-tête coming at you and you're responding to it, it's so much fun. You're in such good hands with the crew and Bong behind the camera. I can only speak positively about it. It's just so much fun. Even though he's very prescriptive and he has the film in his head — he only shoots the frames that he's going to use in the edit. So that might interrupt your speech or that might interrupt the dialogue. You only might get a chance to respond at one certain moment. You don't get to play the whole scene out on camera. And he knows exactly what he needs for that, so he might direct you in a certain fashion, and he'll show you the storyboard, and so you get an idea of what you're supposed to be physically — but within that he wants you to play and find something that's not within the storyboard, but you have to just hit those mark physically. And when you're getting the response from that you're getting from Rob — I just remember when doing the read-through and Rob was doing that voice, and I'm like 'this is so great, this is going to be so much fun to work opposite'. And then Mark was finding his voice, and I'm like 'these energies are just wild and within the Bong universe — I can't wait'." On What Excites Henshall About Getting to Skew in a Lighter Direction, Even If There's Still Darkness Evident, Than Projects Like Snowtown, The Royal Hotel and Acute Misfortune. "It doesn't have to be a dark turn for me to get excited to do the work, to flesh out of character. I think that's just the stuff that I've been lucky enough to have been thrown, and I really enjoyed investigating why men like those roles from those films that you mention, to question and investigate why these guys are the way they are and then try to portray that as best I can. But anything on any spectrum excites me. The thing with Preston in this film, Bong's world, there's always a sense of playfulness and absurdity and commentary, and you don't necessarily play that but you lean into the idea of it — and that's really exciting. And I cherish to be able to flesh something like that out in his world. Anything that comes along that is lighter or more comedic, too, that's a different type of challenge and a different type of investigation and curiosity. That's really fun to do, too, depending on who you're working with and the story and the context of the character within that story. But working with him — and his characters are arch at times, and you're fulfilling certain tropes within the story for him, but there's a menace to Preston. And an underlying nastiness, an ugliness that I think comes from an ideology that's dark, but it's portrayed in this sort of very humorous observation of people who can be like that, that end up working for or being part of a belief system. In Preston's terms, it's in with this sort of corporation church, and there are some uglier elements there that we don't delve into but are quite obvious if you look at them hard enough. And that's really fun and it's zany — you know, he's wearing a £2000 suit on a spaceship. Why does he look like that? Where did that come from? Who is he? Bong said to me, the first time we met and talked about this film and this character, he said 'I want you to be shiny and smell like shampoo. You've got no hair, but I want you to be shiny and smell like shampoo'. So that excites me. What does that mean? That's very fun, and inspires the imagination and your curiosity. And then at one point, he said to me 'you think you're Mick Jagger. Nobody knows this. You don't show it. But that's what's happening internally for you'. And again, whatever that means, that's a really fun, exciting thing to play within the context of the dynamics between Mark's character, my character, Toni's character, Rob's character. What a fun direction. What a fun note to give. And then there's the intentions, I think he's trying to influence heavily without offending someone who is obviously very intimidated and insecure but has a great deal of power. And I think he's trying to get in the ear of Marshall as best he can by inflating his ego so as to serve his own mission, which I think is to further his position. So there's a menace and a malice there, and an intention that isn't very light — especially when we're talking about the loss of life, whether it be creeper or human, to get to a certain place. And then you justify that because you have a certain belief in a certain, in god, but it's done in this very sort of absurd way. So all of that excites me." On What Henshall Looks for in a New Project at This Stage of His Career "Well, the people, really. I've been very fortunate to work with some really great people — not just incredible artists or practitioners or craftspeople, but good humans. And I've been taken to some really exciting places that, had I not been in this industry, had I not chosen this career, I wouldn't have gone to. And also the people that are in these places, I wouldn't have met. It's not just fellow film and TV folks — it's people that you meet on the ground wherever you are. So that's been incredible. What excites me about a new project is the possibility of new friendships and new collaborations, and also the possibility to apply everything that you've learnt from the past experiences. Every job is similar in context in many ways and you can rely on those things, but the variables are different — it's a different crew, perhaps, or different people that you don't know yet how they work, what makes them tick, how best to fit into the job, how best to form a relationship with them to get the best out of you and them. That's all very exciting and terrifying. Is it going to work? Who knows? We don't know until we're doing it and then when we're doing it, you can't really go back and do it again. I know you get the time to do multiple takes, but to really know someone you have to sort of do the time with them, whether it be a director or cinematographer, a crew member, or an actor, writer, producer. Many things. [caption id="attachment_983107" align="alignnone" width="1920"] How to Make Gravy, Jasin Boland[/caption] So that's all exciting. And to employ all the things that you've relied on in the past and then push yourself into new challenges — that could be location, that could be many things. The role, the people you're working with, opposite, as an actor, it's all new and exciting. So I enjoy that challenge. Also, obviously, the depth of the scripts and the role that you get to play — and what part of your experience do you get to employ or get to use? Hopefully it's something fresh. And as you grow, you have new experiences and new perspectives, so you get to play things differently, I suppose. [caption id="attachment_994760" align="alignnone" width="1920"] Okja, Netflix[/caption] And the opportunity to be working. Just working. It doesn't happen for all actors, as you know, and it's a very fickle thing. And you can be working a lot and then you don't work for a while or you don't work at all. So there's the joy of working, which I adore. And I adore what I do, so I really love all that. The chance to play something different, as you sort of intimated. Some of the stuff that I've done in the past has been very dark. I think more recently, I've done stuff that's been less dark. I've played less-troubled people or people who have exorcised some of the darker parts of themselves, have been better human beings, I'd say — or more-loving human beings. So that's been really fun. I played something quite comical recently, that's been really fun. I'm just enjoying the different parts of myself that I get to peruse, too, then put in place with whatever character presents. But yeah, the people and the challenge of the work and all the different variables, that's what excites me. I think it's a multi-faceted answer." [caption id="attachment_994745" align="alignnone" width="1920"] Alex Vaughn[/caption] On What Henshall Makes of His Journey as an Actor So Far "I think I'm incredibly fortunate to have worked with the people that I've worked with and worked on some of the projects I've worked on. I've been taken all around the world. I've met some of the great, really great people, not just as practitioners but as humans. I've gotten to work on projects with director Bong. I've gotten to work with Justin Kurzel. I've gotten to work with Emma Freeman. Kitty Green. I've gotten to work on a television show in America for four years. I've gotten to play some really sinister people with some major issues, both mentally, physically and emotionally, and that's been an incredible exploration of perspective. And I've learnt a lot from that. I've learnt a lot from the people that I've worked with, young and old. It's just been brilliant. I feel very fortunate. I feel very fortunate that I can continue to do it. I feel very lucky. And I hope it continues, because I really enjoy it." Mickey 17 opened in cinemas Down Under on Thursday, March 6, 2025.
Around 9000 cattle are still run at the historic Goonoo Goonoo Station, just 25 minutes south of Tamworth. But in recent years, this gem has become best known for its boutique accommodation and award-winning on-site dining offering, Glasshouse Restaurant. The buildings that once made up the station village (many dating back as far as the 1840s) have been expertly restored in a massive project, which has delivered a spectacular event destination and unique holiday spot. Of the nine transformed heritage buildings, The Homestead is the largest. It sleeps up to ten guests and includes a private pool, billiard room and epic views of the undulating landscape from every sitting room and sunchair. What to do when you're not reclining or dining at the station? Visit local landmarks like the Big Guitar, the Australian Country Music Hall of Fame or the Tamworth Regional Gallery. And if boot-scootin' is your group's jam, line up your trip with the next Tamworth Country Music Festival (January 13–22, 2023). Top images: Destination NSW
We've all seen films where star-crossed lovers ride the rollercoaster of romance. And we've all seen films where aspiring artists weather the ups and downs of chasing their dreams. Starting with a series of awkward encounters, and focusing on a struggling actress and a jazz pianist, La La Land offers both. But the thing that makes writer-director Damien Chazelle's musical follow-up to his breakout hit Whiplash shine isn't the familiar path it wanders down. Rather, it's how it takes audiences on that journey. When Mia (Emma Stone) and Sebastian (Ryan Gosling) first meet on the streets of Los Angeles, they're hurling ire at each other in traffic. When they finally get the chance to chat at a party, there's teasing in the air, with a romantic connection soon blooming. As their relationship continues, Sebastian inspires Mia to break free of the soul-crushing audition cycle and write her own one-woman play. In turn, he keeps working towards opening a jazz club, while also taking up the opportunity to pursue something more lucrative and concrete. So far, so straightforward. But all isn't fair when you're simultaneously trying to find love, seek your chosen career and carve out a fulfilling life. While it might not feature J.K. Simmons screaming "not my tempo" a la Whiplash, Chazelle's latest effort certainly doesn't shy away from the costs and consequences of trying to succeed. Nor does the film pull its punches when personal and professional matters fail to align. Instead, erupting with gorgeous colour and energetic choreography one moment, then taking time to brood and contemplate the next, La La Land offers a delicate balance of dreaming big while realising that not every wish can or will come true. Moreover, it does so while celebrating the Hollywood musical genre, and at the same time fashioning its trademarks and style into something bittersweet and melancholy. The traditions of grand song-and-dance flicks gets their time in the spotlight, though in truth they're only one part of the story. As characters shuffle through the streets and float through the air in '50s-style numbers, churn out '80s covers, play contemporary jazz, and croon mournful ballads, audiences will find themselves swept along the entire musical and emotional spectrum. For that, a fair share of the credit should go to co-stars Stone and Gosling. In their third on-screen pairing after Crazy, Stupid, Love and Gangster Squad, both are in stellar, swoon-worthy form. Whether they're belting out a tune, tapping their toes, or quietly expressing the feelings that lurk beneath, the duo navigate the melange that comprises La La Land with the same flair and thoughtfulness as their director, while sharing in his not-to-be-underestimated task. After all, at the heart of the luminous and lively film sits a stark truth: fantasising is easy, but embracing reality is hard. It's no surprise that the movie that results is clearly crafted with this in mind as it soars high but dives deep, evoking affectionate wonder, heartfelt tears and the knowledge that life usually lurks somewhere in between.
Another historic Sydney boozer has been given the makeover treatment. With more than 140 years under its belt, Surry Hills' Keg & Brew Hotel reopens its doors this week, launching into the sunny season with a brand-new look (and rooftop) courtesy of a $10 million revamp. At the hands of owners The Good Beer Company (who also own Paddo's Four In Hand Hotel, Randwick's Duke of Gloucester (DOG) Hotel and The Commodore Hotel on the lower north shore), the former Foveaux Street terrace house has copped a complete overhaul, however a few heritage touches and its historic facade kept intact. It's the second time the group has renovated the venue, having also given it a spruce when it took over the pub in 2014. Head in from today — Thursday, October 3 — and you'll be first met by the ground floor public bar, which still has a solid pub menu of burgers, parmas and steaks, and over 30 taps with rotating craft and mainstream beers. Another 20 beer taps feature throughout the rest of the pub. One level up, the former guest rooms have been transformed into a new 70-seat restaurant and second bar (which will open next month), while above that lies a series of function spaces with room for up to 120 punters. [caption id="attachment_744424" align="alignnone" width="1920"] The new rooftop.[/caption] But perhaps the biggest pull for the impending summer months is the Keg & Brew's new openair rooftop, which not only has its own bar and pizza oven, but some ripper city views, too. Surprisingly, Surry Hills doesn't have too many rooftop bars — save the ones at The Dolphin and The Horse — so we're sure this will become a go-to for cocktail jugs on balmy days and nights to come. This is the second The Keg & Brew is just the latest in a string of recent big-dollar pub revamps in Sydney. Lower north shore gem The Oaks is reopening this month following an ambitious top-to-bottom makeover and in Erskineville, the pub formerly known as The Swanson was recently reincarnated as The Kurrajong. The new-look Keg & Brew Hotel is now open at 26 Foveaux Street, Surry Hills from 10am each day.
French cuisine has a track record of being reserved for fine-dressed diners with deep pockets and fancy palates, but this fancy-yet-approachable venue in Rozelle is setting out to change the stereotype. Having opened its doors in the harbourside suburb in November, Chez Blue is set to become a hotspot for French cuisine in Sydney. Based in The Sackville Hotel and with Mark Williamson (former chef at Bistro Moncur) in charge of the kitchen, Chez Blue offers a certain French flair previously not available at the local institution. On the menu you can play it safe with the classics (steak frites, croque monsieur, chicken leg roulade and snapper fillet with clams) or veer off the well-tasted path with adventurous items like chicken liver pâté with a brûléed top to crack, a scallop tartare and a fried tripe dish. Or, bring a hungry group to tackle larger items like the one-kilogram O'Connor rib eye served with béarnaise sauce. On the drinks front, it's as good as you'd hope. An exceedingly French wine list is joined by an equally luxe cocktail list — picture sipping on the Delicious Sour, made with Calvados, Pommeau de Normandie, peach wine and a splash of citrus, or the specialty croissant-washed martini, made with Four Pillars gin that is croissant-washed in-house then combined with vermouth, vanilla, cinnamon and allspice oil. And, on Tuesday, you can save a few dollars by bringing your own favourite bottle of wine. The BYO deal is only available from 5pm and includes $25 corkage. Chez Blue is a part of the Solotel family, so event hosting is its bread and butter (second only to its actual bread and butter). Check the website to get the details on its hosting capacities, but it's a fine choice for any special occasion. Images: Steven Woodburn
Annandale feels more like a village than a city suburb. Wandering its busy Booth Street, you'll find DIY stores, buzzing cafes and colourful gift shops, all independently owned and community minded — if you can't find what you need in store, you'll be directed to a neighbouring shop that's equally passionate about local produce and supporting other local makers. And when you're on foot, you can pick up freshly baked pasties, natural wine and a hardy pot plant, all without having to travel far between stores. To celebrate the local-first spirit of Annandale, we've teamed up with American Express to bring you a list of stores you should visit next time you're in the area. So whether you're buying bread, booze or birthday presents, you can shop small with your Amex Card.
Excellent movie, apt title. Since premiering at the 2022 South by Southwest Film Festival, Everything Everywhere All At Once has lived up to its name. The Michelle Yeoh-starring action-comedy was a global hit in cinemas. It was a well-deserved audience favourite, too. And, it's utterly beloved by awards bodies. The latest accolades showering it with affection? The 2023 Oscars, which has just given the film a year-best haul of 11 nominations. Everything Everywhere All At Once scored Academy Award nods for almost everything it could, in fact, in a year that broke the record for the most Asian acting nominees ever. Yeoh pops up for Best Actress and made history doing so, as the first nominee in the category who identifies as Asian. Her co-stars Ke Huy Quan and Stephanie Hsu were also recognised, in the Best Supporting Actor and Best Supporting Actress fields respectively. And, for the Brendan Fraser-led drama The Whale, Hong Chau also received a nomination in the latter category. Similarly making history: the infectious song 'Naatu Naatu' from explosive action-musical RRR, which became the first tune from an Indian feature to get recognition in the field. Yes, that's a baffling statistic given India's prolific film industry. While Everything Everywhere All At Once leads the contenders overall, it has plenty of company. German war drama All Quiet on the Western Front and Irish comedy The Banshees of Inisherin each picked up nine nominations, while the Australian-made Elvis nabbed eight, Steven Spielberg's The Fabelmans scored seven, the Cate Blanchett-led Tár and high-flying Tom Cruise vehicle Top Gun: Maverick received six each, and Marvel sequel Black Panther: Wakanda Forever collected five. Naturally, Blanchett received her eighth Oscar nomination for Tár. No, fellow Australian Baz Luhrmann wasn't nominated for Best Director for Elvis. But many of the Elvis Presley biopic's nods were for behind-the-scenes categories, which means nominations for the likes of cinematographer Mandy Walker, plus costume and production designer Catherine Martin. Among the other highlights, Normal People favourite Paul Mescal received his first Oscar nomination for father-daughter drama Aftersun; the always-excellent Brian Tyree Henry earned some love for his thoughtful turn in Causeway; Andrea Riseborough capitalised upon celebrity support to score a look-in for To Leslie; and movies with scene-stealing donkeys had the Academy braying with love, thanks to The Banshees of Inisherin's nominations and a Best International Feature Film nod for EO. Also, gorgeous Irish drama The Quiet Girl was recognised in the same field, and wonderful documentary Fire of Love is among the doco contenders. And, the new Oscar-nominee with the best name? It's Best Animated Short competitor My Year of Dicks. That said, the Academy couldn't find room for far too many other exceptional films — and the people behind them — in 2023's batch of nominees. That includes completely leaving out phenomenal South Korean thriller Decision to Leave in all fields, deciding that female filmmakers weren't worthy of any Best Director nominations this year, ignoring Viola Davis for The Woman King and Danielle Deadwyler for Till (and Black actors in the lead acting categories overall), overlooking Moonage Daydream for Best Documentary, and only giving RRR that one nod for Best Song. The Oscars will announce this year's winners on Monday, March 13, Australian and New Zealand time, with Jimmy Kimmel hosting. Here's the full list of nominations: OSCAR NOMINEES 2023 BEST MOTION PICTURE All Quiet on the Western Front Avatar: The Way of Water The Banshees of Inisherin Elvis Everything Everywhere All At Once The Fabelmans Tár Top Gun: Maverick Triangle of Sadness Women Talking BEST DIRECTOR Martin McDonagh, The Banshees of Inisherin Daniel Kwan and Daniel Scheinert, Everything Everywhere All At Once Steven Spielberg, The Fabelmans Todd Field, Tár Ruben Östlund, Triangle of Sadness PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Cate Blanchett, Tár Ana de Armas, Blonde Andrea Riseborough, To Leslie Michelle Williams, The Fabelmans Michelle Yeoh, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A LEADING ROLE Austin Butler, Elvis Colin Farrell, The Banshees of Inisherin Brendan Fraser, The Whale Paul Mescal, Aftersun Bill Nighy, Living PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Angela Bassett, Black Panther: Wakanda Forever Hong Chau, The Whale Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All At Once Stephanie Hsu, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Brendan Gleeson, The Banshees of Inisherin Brian Tyree Henry, Causeway Judd Hirsch, The Fabelmans Barry Keoghan, The Banshees of Inisherin Ke Huy Quan, Everything Everywhere All At Once BEST ORIGINAL SCREENPLAY The Banshees of Inisherin, Martin McDonagh Everything Everywhere All At Once, Daniel Kwan and Daniel Scheinert The Fabelmans, Steven Spielberg and Tony Kushner Tár, Todd Field Triangle of Sadness, Ruben Östlund BEST ADAPTED SCREENPLAY All Quiet on the Western Front, Edward Berger, Lesley Paterson and Ian Stokell Glass Onion: A Knives Out Mystery, Rian Johnson Living — Written by Kazuo Ishiguro Top Gun: Maverick, screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; story by Peter Craig and Justin Marks Women Talking, Sarah Polley BEST INTERNATIONAL FEATURE FILM All Quiet on the Western Front Argentina, 1985 Close EO The Quiet Girl BEST ANIMATED FEATURE Guillermo del Toro's Pinocchio Marcel the Shell With Shoes On Puss in Boots: The Last Wish The Sea Beast Turning Red BEST DOCUMENTARY FEATURE All That Breathes All the Beauty and the Bloodshed Fire of Love A House Made of Splinters Navalny BEST ORIGINAL SCORE All Quiet on the Western Front, Volker Bertelmann Babylon, Justin Hurwitz The Banshees of Inisherin, Carter Burwell Everything Everywhere All At Once, Son Lux The Fabelmans, John Williams BEST ORIGINAL SONG 'Applause', Tell It Like a Woman (Diane Warren) 'Hold My Hand', Top Gun: Maverick (Lady Gaga and BloodPop) 'Lift Me Up', Black Panther: Wakanda Forever (music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; lyrics by Tems and Ryan Coogler) 'Naatu Naatu', RRR (music by MM Keeravaani, lyrics by Chandrabose) 'This Is a Life', Everything Everywhere All At Once (music by Ryan Lott, David Byrne and Mitski, lyrics by Ryan Lott and David Byrne) BEST CINEMATOGRAPHY All Quiet on the Western Front, James Friend Bardo, False Chronicle of a Handful of Truths, Darius Khondji Elvis, Mandy Walker Empire of Light, Roger Deakins Tár, Florian Hoffmeister BEST FILM EDITING The Banshees of Inisherin, Mikkel EG Nielsen Elvis, Matt Villa and Jonathan Redmond Everything Everywhere All At Once, Paul Rogers Tár, Monika Willi Top Gun: Maverick, Eddie Hamilton BEST PRODUCTION DESIGN All Quiet on the Western Front, Christian M. Goldbeck and Ernestine Hipper Avatar: The Way of Water, Dylan Cole, Ben Procter and Vanessa Cole Babylon, Florencia Martin and Anthony Carlino Elvis, Catherine Martin, Karen Murphy and Bev Dunn The Fabelmans, Rick Carter and Karen O'Hara BEST VISUAL EFFECTS All Quiet on the Western Front, Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar Avatar: The Way of Water, Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett The Batman, Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy Black Panther: Wakanda Forever, Geoffrey Baumann, Craig Hammack, R Christopher White and Dan Sudick Top Gun: Maverick, Ryan Tudhope, Seth Hill, Bryan Litson and Scott R Fisher BEST COSTUME DESIGN Babylon, Mary Zophres Black Panther: Wakanda Forever, Ruth Carter Elvis, Catherine Martin Everything Everywhere All At Once, Shirley Kurata Mrs Harris Goes to Paris, Jenny Beavan BEST MAKEUP AND HAIRSTYLING All Quiet on the Western Front, Heike Merker and Linda Eisenhamerová The Batman, Naomi Donne, Mike Marino and Mike Fontaine Black Panther: Wakanda Forever, Camille Friend and Joel Harlow Elvis, Mark Coulier, Jason Baird and Aldo Signoretti The Whale, Adrien Morot, Judy Chin and Anne Marie Bradley BEST SOUND All Quiet on the Western Front, Viktor Prásil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte Avatar: The Way of Water, Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges The Batman, Stuart Wilson, William Files, Douglas Murray and Andy Nelson Elvis, David Lee, Wayne Pashley, Andy Nelson and Michael Keller Top Gun: Maverick, Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor BEST DOCUMENTARY SHORT SUBJECT The Elephant Whisperers Haulout How Do You Measure a Year? The Martha Mitchell Effect Stranger at the Gate BEST ANIMATED SHORT FILM The Boy, the Mole, the Fox and the Horse The Flying Sailor Ice Merchants My Year of Dicks An Ostrich Told Me the World Is Fake and I Think I Believe It BEST LIVE ACTION SHORT FILM An Irish Goodbye Ivalu Le Pupille Night Ride The Red Suitcase
The last bastion of the phone-free two hours, the theatre, might be about to crumble. Melbourne's Malthouse Theatre this week announced that they'll be trialling special seating for social media users, internationally dubbed 'tweet seats', at select shows. Carlton indie theatre La Mama is already all over it, having set aside four tweet seats per show for their upcoming work RAT, and they're even free. Considering we've been live tweeting everything else — from films to talks, concerts and dinners — is the distinction around theatre an artificial one that's been destined to fall away? And is there any benefit to be gained from allowing us to whip out our phones mid-show? The Malthouse announcement has met with some backlash, even on Twitter. Popular opinion is, if you're live tweeting a performance, you're living the kind of hollowed-out half-life that means you may as well stay home and plug into the Matrix. But this is a personal value judgement and not a reason, practically or conceptually, against allowing others to make Twitter a part of their theatre experience. I struggle to express coherent thoughts for half an hour after a film or movie, let alone have any desire to do so while it unfolds and trade away the sense of immersion that comes with live performance. But that's just me, and that's just the shows I've seen. How about a small show built to feed off real-time responses? How about a big, bombastic opera that can't count on the nosebleed section being highly engaged? The LA Times technology blog attributes the first instance of live theatre tweeting to a 2009 staging of Gilbert and Sullivan's HMS Pinafore in Kansas — and it was a more constructive affair than you might assume. Audience members in the 100 special seats of the final performance could access tweets from the show's artistic director about the production, scenery and story unfurling on stage while tweeting their own questions and comments. It was an aid to their enjoyment of the piece, not unlike an audio tour of an art exhibit. Or the special features on a DVD. Or a post-show Q&A, during the show. It's since become common in the US and UK, mainly for ballets, operas and symphony concerts. With conditions tightly controlled — you don't want to distract the real-life cast and crew who need darkness to do their jobs properly — and the agreement of the individual creative team, theatre might continue to become a road more tweeted. But then there's this argument from Alex Roe, artistic director of New York's Metropolitan Playhouse, perhaps the most focused takedown of how your tweeting might affect other people's enjoyment: "Part of the whole theatrical experience is the thought of being present in the company of the rest of the audience and the actors," Roe said to NPR. "To me, the thought of encouraging people to tweet during a performance is necessarily a violation of that agreement." That might just be the tweet-seat deal-breaker.
Green Square is about to get a whole new set of threads. Today, the City of Sydney Council has announced the five finalists in its Design Green Square competition. A total of 144 Australian and international designers submitted entries envisioning a new look for the burgeoning area, which is the nation's largest urban development and one of Sydney's fastest growing spots. Each submission was required to feature a new aquatic centre and a revamped Gunyama Park, incorporating synthetic playing fields, a children's playground and an outdoor fitness circuit. "We asked for a sustainable design that mingled swimming, running, training and spectating and could also be a place for nearby residents to relax and enjoy themselves," Lord Mayor Clover Moore said. "Architects and designers lodged their entries anonymously and were judged by experts in architecture and design. This proved very successful in a similar competition last year in which two young Sydney architects won the right to design Green Square Library and Plaza... I’m pleased to see that five Sydney architects have been chosen as finalists. This speaks volumes about the creativity and talent of the design community in our city." And the finalists are... DESIGN 109 - ANDREW BURNS ARCHITECT Howzat? An old-school white picket fence — a nostalgic reference to old school cricket matches — encircles a smooth, lawn-heavy oval shape, making a break with the Green Square grid and clearly indicating that this is the spot to leave your work worries far behind. DESIGN 126 - CULLINAN IVANOV PARTNERSHIP This design lets nature take over. Existing layers of concrete and asphalt are peeled back, allowing the area's original wetlands to rejuvenate. While they're busy growing, the blended aesthetic of this design provides an ancient setting for cutting-edge facilities. DESIGN 213 - CHROFI & McGREGOR COXALL Spend a day in the wild without the inconvenience of leaving the big smoke. Appearing somewhat like a 19th century landscape painting, this design envisions a trio of pools sunk beneath a vast, open space where migratory birds fly, wetlands species thrive, the sky views are uncluttered and fences are almost unseen. DESIGN 230 - ANDREW BURGES ARCHITECTS This one brings a touch of Bondi to the inner city. A fun combination of natural and manmade elements, the aquatic centre appears as a series of urban beach and harbour pools. Boardwalks provide a novel avenue for visitor access, while protecting the fragile wetlands environment. DESIGN 234 - TYP-TOP STUDIO (ANDREW DALY AND KEVIN LIU) This design is one for the fitness enthusiasts. A group of stacked, interleaved buildings transforms your daily workout into one seamless experience — run straight from the fitness circuit into the pool. Furthermore, the pools themselves will be interlinked and (get this) rearrangeable, offering varied depths and areas to meet different needs. The winner will be announced later this year. For more City of Sydney developments check out their proposed Amsterdam-inspired bike hub, new bike lane and $25 million creative space.
Sydneysiders don't let a little cold or rain stop them from heading to the pub to catch up with mates. If you ask us, the biggest factor that'll make or break a drinking sesh is the food — whether it's a pre-game feast or some cheeky snacks to keep the good vibes going. From locally sourced produce to Mediterranean-inspired bites and juicy burgers, the menus at these beloved pubs cater to all palates. With the help of Solotel, we've rounded up five Inner West mainstays that offer impressive dishes to pair with your drinks, so your next get-together can continue well into the night.
Just six months after opening, JŌJI — the sleek Japanese-inspired rooftop bar and diner perched above the Cartier flagship on Pitt and King streets — is entering a new chapter. Its expansive fifth-floor space has launched a sharp new sushi menu, a broader à la carte offering and a stacked calendar of weekly happenings, from DJ-backed bottomless lunches to live music and midweek entertainment. The culinary revamp is headlined by a considered new sushi selection led by Head Chef Kihoon Kim, who has worked at celebrated omakase restaurants across Korea, Japan and Sydney, including Bay Nine, Besuto and Saké. His precise, elegant style is showcased in new signatures, including a delicate king salmon maki with midori salsa, cucumber and avocado. The new sushi selection sits alongside a larger-format à la carte menu by Executive Chef Erik Ortolani (ex-Itō), whose additions include share plates like miso-glazed Murray cod with dashi butter and thick-cut duck katsu sandos. As part of its expanded entertainment offer, JŌJI has launched Social Saturdays. This reimagining of the classic bottomless brunch includes a shared chef's menu and 90 minutes of free-flowing French rosé or beer, soundtracked by a rotating lineup of live DJs and musicians. Tickets are $120, and there's a $30 cocktail upgrade option if that's more your thing. JŌJI won't wait until the weekend to get the party started, though. Live music on Wednesday nights sets the mood for stylish midweek get-togethers. City workers won't be left out, thanks to the new Shibui Lunch: a $65 set menu available Wednesday to Friday, perfect for the power lunch crowd. "Since opening, JŌJI has been filled with an incredible crowd of regulars whose energy gives the space its soul," says Ibrahim Moubadder, co-founder of ESCA Group. "Watching how people moved through the space made me want to build something even more immersive. So six months in, we're evolving the menu, adding elegant, delicious dishes including sushi and more, determined to making JŌJI one of the best Japanese dining experiences in Sydney — a place where you can come for the best drinks, the music, a dance or an unforgettable meal, all in one electric setting." Find JŌJI on Level 5, 388 George Street, Sydney CBD. For more information, head to the venue's website.
Market City's Asian food hall, 1909 Dining Precinct, has gained some great international eateries since opening in March — including global hot-pot chain The Dolar Shop, famed Chongqing noodle bar Mr Meng and DIY Korean barbecue joint Kogi. These are now joined by a 160-seat Northern Chinese eatery, Beijing Impression. It's the second Sydney outpost for the brand, with the first located in Ashfield and much loved by locals. Founded in Beijing in 2014 by Tong Han, the restaurant chain has since expanded to 21 locations across China, Japan and Sydney. True to its Beijing roots, the Peking duck is the go-to dish here. It takes two days to prep and is served three ways: whole roasted with crispy skin, in a duck and vegetable soup with glass noodles or as duck pancakes with sweet bean sauce, sliced spring onion and cucumber. Other traditional dishes include the vinegary braised boneless pork feet and honeycomb briquette — fried black rice soaked in fruit and brandy, which is lit on fire at the table. The new restaurant will have CBD-exclusive menu items, too, including fish head juice pancakes and Catch the Five Heads, a sweetened pudding shaped like mahjong tiles. The fit-out falls in line with the brand's existing venues and takes its inspiration from Beijing in autumn. Think warm timber accents, deep tones and foliage aplenty — including real pomegranate and maple trees at the entrance. For larger gatherings, there are also six rooms that accommodate up to 12 people each. Beijing Impression offers a legit taste of the Chinese capital and is a welcomed addition to this budding precinct. Images: Anna Kucera
For those following a vegan diet, plenty of obvious items are off the menu: meat, dairy products and eggs in particular. So is anything made with gelatine, given that the substance is derived from collagen from animal body parts — which rules out many a sweet treat, too. Gummy and jelly lollies are definitely usually made with gelatine; however, with its newest release, The Natural Confectionery Co is giving vegans an animal product-free alternative. Already known for completely avoiding artificial colours, flavours and sweeteners, plus high-fructose corn syrup as well, the company is now launching a gelatine-free, vegan-, vegetarian- and flexitarian-friendly version of its fruity jelly lollies. If that's your next snack taken care of, you'll find packs of Vegan Fruity Flavoured Jellies in supermarkets from mid-August — starting with Coles and independent stores, then hitting Woolworths from mid-September. They'll cost you $4 for a 200-gram packet, which boasts five varieties of lollies inside: apple, blackcurrant, peach, pineapple and raspberry. The new addition to The Natural Confectionery Co's range comes in response to demand. "We couldn't ignore the requests from Aussies asking for a vegan-friendly option," explains Lauren Fildes, the Cadbury-owned company's Marketing Director for Candy, Biscuits and Meals. If you're a fan of the brand's other types of lollies — its snakes, fruity chews and sour worms, for example — you'll have to cross your fingers that they eventually get a vegan version as well. [caption id="attachment_779206" align="aligncenter" width="1920"] Peter O'Connor via Flickr[/caption] Find The Natural Confectionery Co's Vegan Fruity Flavoured Jellies in Coles and independent supermarkets from mid-August, and in Woolworths from mid-September — costing $4 for a 200-gram pack.
New year, new murder in the building — in the fictional Arconia in New York, that is. That's what's in store for fans of Only Murders in the Building, the true-crime comedy that proved one of 2021's surprises and delights. Knowing they're onto a good thing, Hulu in the US quickly renewed the hit series, and now it's coming back in June with another killing to solve. If you missed the first season in 2021, it takes a great idea and turns it into an amusing murder-mystery gem. If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then Only Murders in the Building is definitely the series for you. The show focuses three New Yorkers who basically follow that same process. Here, actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) are all obsessed with a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva). They find themselves unexpectedly bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. [caption id="attachment_824354" align="alignnone" width="1920"] Craig Blankenhorn/Hulu[/caption] That's how the first season panned out. Think Knives Out, but a sitcom and also a little goofier. Now, as the just-dropped first trailer for the show's second season shows, Charles-Haden, Oliver and Mabel are weathering the fallout from the last batch of episodes — namely, season one's big finale — and they have another murder to investigate (and another podcast season to chat about it on, obviously). Complicating their efforts this time around are a trio of factors: their public implication in the death in question; the fact that there's now a competing podcast about them and this new murder; the suspicions of their neighbours, who think they're guilty. Exactly how that'll play out won't be known until Tuesday, June 28, when Only Murders in the Building returns — but, whatever happens, both Cara Delevingne and Amy Schumer will be involved, with the pair joining the cast as guest stars. Check out the trailer for Only Murders in the Building season two below: Only Murders in the Building's second season will start streaming Down Under via Star on Disney+ on Tuesday, June 28. Read our full review of the show's first season. Images: Craig Blankenhorn/Hulu.
Building upon ECSTATICA — the 2026 Sydney Gay and Lesbian Mardi Gras Festival's rallying call — Pride Month returns with a series of community events outside the traditional festival season. Marking the anniversary of the first Mardi Gras in June 1978, this month-long experience is not only a fab chance to celebrate queer joy, it also helps raise essential funds to support Mardi Gras' future. Held on Sunday, June 21, Après-Gras: The Winter Mardi Gras Fundraiser is Pride Month's headline-grabbing event, taking over The Beresford with an afternoon to evening après-ski party. Designed to be equal parts cosy and chaotic, drag shows, a best-dressed competition and raffle prizes dovetail with a stacked lineup of guest stars performing for your pleasure, including Velvet Inferno, Marcia Hines and Brendan Maclean, with Julian Hamilton and SUPER DISCO Club on the decks. "We set out this year to create more ways for our communities to connect with Sydney Gay and Lesbian Mardi Gras beyond the festival season — reaching new audiences, celebrating queer culture year-round, and creating spaces where people feel seen, connected and proud," said Sydney Gay and Lesbian Mardi Gras co-chairs, Kathy Pavlich and Mits Delisle. Next, it's time to ramp up your midweek festivities, with the Paddo RSL playing host for the Mardi Gras Trivia Night on Wednesday, June 24. Bringing the community together for friendly competitiveness on the anniversary of the first Mardi Gras, teams of four to six pals will put their queer knowledge to the test, with quick-fire topics on the night spanning queer history, pop culture, iconic Mardi Gras moments and loads more. Earlier in the month, Mardi Gras fave Ultra Violet takes over City Recital Hall for a special winter instalment. Running from 6pm–late on Saturday, June 13, Winter Violet will spread across three incredible stages, with headliner Ladyhawke delivering an unmissable DJ set. Meanwhile, the likes of Charlie Villas, Mama De Leche and La Foxy Fuzz will serve up high-energy performances featuring underground house, Latin rhythms and disco funk. "Pride Month is one of the most important times in our calendar," says Sydney Gay and Lesbian Mardi Gras CEO, Jesse Matheson. "With the 50th anniversary fast approaching, Après-Gras, Mardi Gras Anniversary Trivia, and Winter Violet are a chance for our community to come together, celebrate queer joy and help power the future of Mardi Gras." Mardi Gras Pride Month is happening across various dates and locations in Sydney throughout June 2026. Head to the website for more information. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox. Images: Supplied.
After closing its doors in 2016, Sydney's Theatre Royal will finally reopen on Thursday, December 2. The show doing the honours: Jagged Little Pill the Musical. And, while that's fabulous news as it is, giving the city another venue to host big productions is even more exciting. The 1200-seat Theatre Royal is one of Australia's oldest theatres, dating back to the 1870s. But most Sydneysiders will know it in its current form, which reopened in the 1970s and was designed by famed Australian architect Harry Seidler. It was built as a replacement for the old theatre, as that was demolished when the MLC Centre was erected — and, before sitting idle for the past five years, it's played host to everything from the Australian-premiere season of Cats to a three-year season of The Phantom of the Opera. While the reborn venue will launch with Broadway's hit Alanis Morissette musical, that's not the only big-name show set to tread its boards in the coming months. In January, for Sydney Festival, Theatre Royal will play host to Girl from the North Country — which features the songs of Bob Dylan. Then, from April, it'll be filled with the song-and-dance that is four-time Tony Award-winner An American in Paris. As announced back in 2020, the NSW Government has signed over a 55-year lease to global company Trafalgar Entertainment (TE), handing over the keys to the space together with Dexus (owner of the MLC building) with hopes of encouraging more big-name musical productions to the harbour city. While Sydney nabbed the 2021 production of Hamilton, it lost Harry Potter and the Cursed Child to Melbourne, which one theatre producer put down to Sydney's "lack of a mid-to-large size venue". Jointly run by famed British theatre impresarios Sir Howard Panter and Dame Rosemary Squire, TE is promising to change this with its "Sydney gets it first" approach to programming of "first-class productions" — which is proving true with Jagged Little Pill and Girl from the North Country. Known for producing award-winning musicals and shows, such as The King and I, The Rocky Horror Show and War House, which have performed at London's West End and Melbourne's National Theatre, the company is also transforming Theatre Royal into a live-streaming content hub. In terms of physical changes during the multimillion-dollar refurbishment, TE has kept true to Seidler's original designs, while also increasing capacity from 1100 to 1200 via a redesign that's added an extra row of seats. The venue now sports a two-tiered setup, with no seat within the auditorium any more than 23 metres from the stage. Red and gold still feature heavily, colour-wise. There's also a new circular glass entrance space decked out with floor-to-ceiling windows, for views of King Street from the internal theatre foyer — and vice versa, including being able to see Theatre Royal's ribbed ceiling and geometrically precise hanging Mercator sculpture, as designed by Italian structural engineer Pier Luigi Nervi and American sculptor Charles O Perry respectively. And, there's a new Theatre Royal sign, as crafted and produced by Newcastle-based Owen Signs. The Theatre Royal reopens at 108 King Street, Sydney from Thursday, December 2. For more information, head to the theatre's website. Images: Pierre Toussant.
The Bay Run is one of Sydney's most idyllic stretches of tarmac, skirting the inner-west's waterfront through suburbs like Leichhardt, Drummoyne, Russell Lea and Rozelle. Yet a just-released announcement is set to make Callan Park in Lilyfield an even more popular destination along the route, thanks to a brand-new $3.8 million swimming spot — the Callan Park Tidal Baths. Whether you're rising early to beat your course record or taking a stroll with friends (keep to the left, please), you'll soon be welcome to cool off with a dip. Made possible by a partnership between the NSW Government and the Inner West Council, the project was first explored in 2018, with long-held plans for the Iron Cove foreshore finally getting the go-ahead. Included in the design, the future Callan Park Tidal Baths will feature an accessible pathway and ramp alongside a generous fixed jetty, pontoon and shark net. Closely integrated with the surrounding parkland, the aim is to deliver a family-oriented recreation facility ripe for safe and accessible swimming for the whole community. "The iconic Bay Run and surrounding parklands are already a community hub for family fun, sport, relaxation and exercise, so adding a swim spot where people can cool off in summer will be the perfect addition to an already thriving public space," says Minister for Planning and Public Spaces Paul Scully. So, when can you slide into your togs? Once the final approvals are in place, construction on the Callan Park Tidal Baths is expected to take around six months. That means you should be able to enjoy a post-run swim by the time summer in 2026 comes around. In the meantime, Greater Sydney Parklands is preparing a Callan Park Foreshore Master Plan for community consultation in the coming months. "The Callan Park Tidal Baths will be a spectacular addition to the Bay Run, which is already one of the best-used recreation facilities in Sydney," says Inner West Council Mayor Darcy Byrne. "This swim site is the next step in the incredible rehabilitation of the Parramatta River and will attract swimmers and families from all over the Inner West to take a dip in Callan Park." The Callan Park Tidal Baths are expected to open by summer 2026. Head to the website for more information. Image: NSW Inner West Council
Located along Hassall Street, just steps from Parramatta Train Station, this local mainstay is an obvious choice for a casual midweek meal, after-work drinks (aim for happy hour between 5–7pm when selected beers, wines and spirits are just $5.20) or to kick on after an event at Bankwest Stadium. The expansive pub offers both a beer garden and a sports bar, with live games played throughout the bar and on the three-metre outdoor LED screen to boot. From the kitchen, it's slinging all the pub grub, from schnittys, parmas and burgers to beer-battered fish and chips and buffalo wings, and from Monday–Thursday, you can grab lunch with a beer or wine for just $17. And you can really kick-on late night here, with the bar open until 6am on Fridays and 4am on Saturdays.
Good news gaming fiends: Melbourne's first hotel games-inspired room is now available for you to live out all your gamer dreams. View Melbourne has created a 35-square-metre room that's custom-made for gaming, providing guests with everything they need for the ultimate game night. It's essentially a fully loaded paradise for gamers and, yes, it's as good as it sounds. The PC corner includes an MSI MEG Trident X2 computer, dual 27-inch 170Hz Esports gaming monitors, a full Elgato streaming setup and a game library that boasts an extensive collection that's continuously updated. The setup also includes an Xbox controller, MSI gaming headset, mouse, keyboard and a Logitech speaker system. Meanwhile, the couch and main television are perfectly set up for all kinds of console gaming, from intense solo sessions to epic four-player parties. The main machine is a Nintendo Switch hooked up to a 55-inch Samsung TV complete with Apple TV, accompanied by four Nintendo Switch pro controllers. On the games front, all the Nintendo faves are available, including the big Mario titles, Super Smash Bros. Ultimate, Pokémon: Let's Go Pikachu and The Legend of Zelda: Tears of the Kingdom. Plus, guests also have access to a huge catalogue of NES, Super NES, Game Boy, Game Boy Colour, Game Boy Advance, Sega Genesis and Nintendo 64 games, all of which are available to play via the Switch. Now, let's talk perks. The room comes with bottomless popcorn, which you'll make in the room yourself; a whole fridge filled with energy drinks, soft drinks, beer and wine; various spirits; and a fully stocked snack bar with an array of gamer faves (yes, even Cheetos). The popcorn is complimentary, but you'll pay for everything else that you eat and drink. The room is full of gamer memorabilia without feeling crowded, and the customisable RGB lighting adds a cool touch (don't worry, you can turn it off if it isn't your thing). Up to five people can stay in the room, so it's the perfect space for epic Mario Party sessions. The setup includes a king bed which can transform into two singles, a sofa bed, and the option to add a portable bed. The room is inclusive for two guests, with each additional adult costing $40 per night. Kids under 12 stay free if they're using existing bedding. For those looking to stream, the high-speed internet and Elgato gear, and even a ring light are there for a seamless experience. And if you're in Melbourne for business, the PC corner doubles as a workspace. In short, the room is a cool blend of nice hotel amenities and a gamer's dream setup, offering a fresh, fun way to stay in Melbourne if you're visiting — or a dream staycation if you just want to live out your 12-year-old kid fantasy. Find View Melbourne at 562 St Kilda Road, Melbourne — and head to the View Melbourne website for bookings.
If you're under the impression that Bundaberg is only good for sugarcane and rum, you're sorely mistaken. While it's true that the Bundaberg region is responsible for much of Australia's agricultural industry, in recent years the area's endless output of fresh produce has also led to a rise in local farm-to-table restaurants, with some of Australia's top cooking talent setting up shop in the area. Meanwhile, thanks to the region's prime position along Queensland's coastline, the area boasts a host of natural landmarks that comfortably go toe-to-toe with Australia's best-known destinations. It's also only a four-hour drive from Brisbane. Read on to find some of our favourite places to eat, drink and play in Bundaberg. [caption id="attachment_749802" align="alignnone" width="1920"] Pocket Storehouse by Paul Beutel[/caption] EAT Bundaberg might still be a country town at heart, but it's got more than a few awesome dining experiences that give it a cosmopolitan touch. The Windmill Cafe Bargara is a must-visit stop when you're in the mood for some of the region's best coffee, which is made with fresh filtered rainwater. The menu offers all your favourite breakfast and lunch classics, alongside plenty of vegan and vegetarian options. Plus, it has an in-house gelateria serving 25 sweet flavours that are best enjoyed on a stroll along the coastline. Back in Bundaberg city is another headline restaurant: Water Street Kitchen. Led by chef Alex Cameron and his partner Jen Cameron, the meals are delicately put together using ingredients produced on a range of local farms. Having initially run a successful catering company, the duo decided it was time to put a face to their creations, opening their cosy restaurant in 2017 and quickly becoming one of the city's most acclaimed fine-dining destinations. [caption id="attachment_752093" align="alignnone" width="1920"] Paul Beutel[/caption] Once you start craving another coffee, Alowishus Delicious is a fine choice, having taken home top honours from the 2018, 2019 and 2020 Countrywide Cafe of the Year awards. And when it's finally time to make dinner plans, head down to the H2O Restaurant & Bar. You'll find high-quality modern Australian dishes, with a striking view of the Burnett River to match. [caption id="attachment_749822" align="alignnone" width="1920"] Kalki Moon by Paul Beutel[/caption] DRINK Bundaberg's reputation for rum certainly precedes it, but the Kalki Moon Distilling & Brewing Company has built its legacy within the world of gin. As the first Queensland distillery to win first prize for its London-style gin at the Australian Distilled Spirits Competition, Kalki Moon has also received a range of commendations from around the globe. Be sure to stop by the distillery's cellar door for a free guided tour and samples of its handcrafted tipples, and to pick up some souvenirs to take back home. Across town at the Ohana Cider House and Tropical Winery you'll discover some delightful drinks that wouldn't be out of place at any big-city bar. Having taken a holiday to Hawaii and fallen in love with the tropical climate, founders Zoe Young and Josh Phillips left behind their desk jobs in Perth to buy a piece of Bundaberg land, where they established their much-loved tropical winery. Since then, they've gone on to release ciders ranging from dry apple to pineapple and strawberry, as well as produce some of the region's top vino. Ohana Cider and Tropical Winery by Paul BeutelIf you can't wait to get your hands on some more Bundaberg-made wine, your next stop has to be the Hill of Promise Winery, located 40-minutes south of Bundaberg in the township of Childers. Here, winemaker Terry Byrne carries on the traditions of his Sicilian family, who moved to the region in the early 1900s, by making fortified reds to sparkling whites and Italian classics like limoncello. For an expertly made cocktail, Bert's is the place to be. Honouring the life of local aviator Bert Hinkler — who achieved a flurry of Australian flying records — the 1920s-themed bar ensures his pioneering spirit lives on. There are pizzas and share plates, plus a lengthy list of cocktails and aperitifs, including specialities like French pear martinis. [caption id="attachment_749819" align="alignnone" width="1920"] Lady Musgrave Island[/caption] DO The Bundaberg region is alive with natural wonders that draw visitors from all over the world. One of the most unique is the Mon Repos Nightly Turtle Encounter, a once-in-a-lifetime experience that'll leave you feeling like David Attenborough in the making. During Bundaberg turtle season, which runs from November to March, you can experience turtle conservation first-hand on the only ranger-guided turtle encounter on the east coast. Between November and January, you can witness mother turtles emerge from the deep blue and make their way up the beach to nest under the moonlight. Later in the season (late-January to late-March), you'll be able to look on as adorable hatchlings emerge from their sandy nests and scurry down to the beach. Next, dedicate some time to exploring the Southern Great Barrier Reef. Bundaberg is perfectly positioned at the first and most accessible point of the reef, and coral cays Lady Musgrave Island and Lady Elliot Island are the best places to experience the pristine waters and diverse marine life that the region is famous for (and, no doubt, why you're there). To explore Lady Musgrave Island and spend a day snorkelling with turtles, manta rays, tropical fish and other sea life, book a day trip with Lady Musgrave Experience. Your day tour includes transportation on a luxury catamaran from the Bundaberg coast, plus morning tea, lunch and afternoon tea. [caption id="attachment_749818" align="alignnone" width="1920"] Lady Musgrave Island by Melissa Findley/Bundaberg Tourism[/caption] Just to the south is the picturesque Lady Elliot Island, which showcases some breathtakingly beautiful lagoons, as well as the last coral cay amid the Southern Great Barrier Reef. You can access the island for a day trip via a scenic flight with Lady Elliot Island Eco Resort or, if you want to stay a little longer, book a night's stay in one of its cosy glamping tents. Naturally, it wouldn't be a trip to Bundaberg without a stop in at the Bundaberg Rum Distillery. You'll get to roam the sprawling museum and learn the secrets behind what it takes to be a master blender. A visit to The Bundaberg Rum Distillery guides you through a state-of-the-art facility before you take a break at the bar. [caption id="attachment_749815" align="alignnone" width="1920"] Bundaberg Rum Distillery[/caption] The Bundaberg Region has activities for outdoorsy types aplenty, there are endless hikes to embark upon within the Cania Gorge National Park and Mount Walsh National Park. For something with a little less action, the white-sand beaches of Elliot Heads are just 20 kilometres from Bundaberg city, making it the perfect spot to catch Queensland's famous sun. [caption id="attachment_749827" align="alignnone" width="1920"] Kellys Beach Resort[/caption] STAY Situated overlooking the black volcanic beaches of the Queensland coast, C Bargara Resort is a luxe stay for weekenders looking to make the most of their time in Bundaberg. The resort sports a collection of bright apartments and penthouses, plus a sleek swimming pool with a sundeck. For something more back-to-basics, Kellys Beach Resort's charming self-contained eco villas are set against a backdrop of tropical gardens, while there are also tennis courts, a spa and a sauna for maximum relaxation. Bundaberg has plenty of great camping spots, too. The Burrum Coast National Park showcases an oceanfront camping area along Kinkuna Beach, while the Cordalba National Park places you among some of the state's best hiking trails deep within the eucalypt woodland. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world. Top image: Lady Musgrave Island by Darren Jew/Tourism and Events Queensland.
The Australian Centre for the Moving Image might be all about celebrating screen art — peering at films and TV shows, stepping into virtual reality and showcasing the talents that've made such a huge impact, for instance — but that doesn't mean that the Melbourne-based venue doesn't appreciate nature. The world around us can look stunning projected as large as a cinema can allow. David Attenborough has turned his documentaries about the planet into their own spectacular genre, too. And the natural realm can provide experimental artists with quite the playground to ponder, as Marshmallow Laser Feast: Works of Nature is exploring. This world-premiere exhibition sees art collective Marshmallow Laser Feast unveil a showcase of works that muse on trees, black holes, cells, breathing, space, science and more. Hitting ACMI from Thursday November 23, 2023–Sunday, April 14, 2024, Works of Nature spans five major pieces that aim to deeply contemplate and appreciate humanity's role in nature, and just nature overall. And, these aren't tiny pieces — these large digital works aim to inspire awe in both their size and content. This is the London-based MLF's first major showcase in Australia, adding a stint Down Under to appearances at the Sundance and Tribeca film festivals, the Istanbul Design Biennial, Lisbon Triennial and the V&A and Design Museum in their hometown. [caption id="attachment_917014" align="alignnone" width="1920"] Marshmallow Laser Feast, 'Distortions in Spacetime', 2018, courtesy of the artists[/caption] That impressive history is matched by a significant lineup of names involved with MLF's immersive Works of Nature pieces. Cate Blanchett (The New Boy) lends her narration, director Terrence Malick (A Hidden Life) executive produces, while Radiohead's Jonny Greenwood (Licorice Pizza) and fellow acclaimed composer Jóhann Jóhannsson (Last and First Men) are among the talents providing music — the latter's work continuing to entrance after his passing in 2018. Daisy Lafarge provides poetry, while Jon Hopkins, Meredith Monk and Howard Skempton also contribute tunes. Whether you're a Melburnian or have a trip to the Victoria capital in your future, you'll be able to see the meditative Evolver, which uses Blanchett's voice to journey through the human body, breath, the origins of cells and the cosmos — and Distortions in Spacetime, which heads to a black hole's edge. Or, there's the large-scale Sanctuary of the Unseen Forest, a video installation about the Amazon's kapok trees. Thanks to The Tides Within Us, oxygen is in focus again via six static pictures. And with We Live in an Ocean of Air, MLF examine how that last word in the piece's moniker connects life on earth. [caption id="attachment_917018" align="alignnone" width="1920"] Marshmallow Laser Feast, 'We Live in an Ocean of Air', courtesy of the artists.[/caption] Marshmallow Laser Feast: Works of Nature is running at the Australian Centre of the Moving Image until Sunday, April 14. For more information or to book tickets, visit the website. Top image: Marshmallow Laser Feast, 'Distortions in Spacetime', 2018, courtesy of the artists.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from October's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL CATHERINE CALLED BIRDY When you've catapulted to fame as a fierce child queen in the biggest fantasy TV series of the past two decades, and you're next about to play perhaps the best-known teenage girl from a video-game franchise across the same period — so, when you're in-between starring in Game of Thrones and the television adaptation of the The Last of Us, that is — how do you fill the time? You make a magnificent medieval comedy that's also a coming-of-age film, a frank but irreverent look at history's treatment of women, and the third feature directed by Lena Dunham. That's the path that Bella Ramsey has charted, and she's as much of a delight in the marvellous Catherine Called Birdy as she was in the role that made sure everyone with a screen to stare at knows who she is. The energy that made such an impact as GoT's Lyanna Mormont bursts through here, too, albeit in a cheekier, scampier, bawdier and more humorous mode. That's what this version of Karen Cushman's 1994 novel calls for, and gets — and the end result is an utter charmer. The eponymous Lady Catherine, who prefers to be called Birdy, is the 14-year-old daughter of Lord Rollo (Andrew Scott, The Pursuit of Love) and Lady Aislinn (Billie Piper, I Hate Suzie), and is accustomed to spending her days inciting mischief around their Lincolnshire manor — much to her nurse Morwenna's (Lesley Sharp, Fate: The Winx Saga) dismay. But the family is now broke thanks to Rollo's poor handling of their finances, and only marrying off the reluctant Birdy looms as a solution to their money troubles. It's the done thing in the 13th century, but Dunham directs this tale with a firmly 21st-century mindset and spirit as her titular character does whatever she can to avoid basically being sold off to whichever gentleman of means has the most lucrative offer. The movie's thoroughly modern vibe and outlook doesn't just come through in its narrative, themes and lively lead performance, or its witty narration and all-round attitude, but with smatterings of pop songs on the soundtrack — Piper's own 'Honey to the Bee' included. If Girls was set eight centuries back, was about a teen, and also featured Joe Alwyn (Conversations with Friends) as a favourite uncle, this'd be the dream end result. Catherine Called Birdy streams via Prime Video. GUILLERMO DEL TORO'S CABINET OF CURIOSITIES Whether he's dallying with vampires, haunted houses, creepy carnivals, eerie orphanages, rampaging kaiju or romantic amphibious creatures, Guillermo del Toro has thoroughly proven himself an avid collector. You don't amass a resume like his without actively endeavouring to curate an on-screen compendium — with his movies stuffed full of ideas, themes, motifs and images that just keep fascinating the acclaimed filmmaker. So far, the proof has beamed into theatres for cinema-goers to revel in; however, new TV horror anthology Guillermo del Toro's Cabinet of Curiosities is a natural addition to his filmography. Across eight chapters helmed by eight other directors — including The Babadook and The Nightingale's Jennifer Kent, Mandy's Panos Cosmatos, A Girl Walks Home Alone at Night and Mona Lisa and the Blood Moon's Ana Lily Amirpour, and Cube's Vincenzo Natali — del Toro keeps compiling, curating and and dissecting the unsettling, unnerving, mysterious and curious, whether Cabinet of Curiosities is getting grim and cautionary, stomach-churningly gory and grotesque, sporting soulful restraint, unleashing a stunning display of phantasmagoria or delighting in being off-kilter. Boasting a cast spanning everyone from Harry Potter's Rupert Grint and I'm Your Man's Dan Stevens to Mythic Quest and Moon Knight's F Murray Abraham and RoboCop's Peter Weller, there are no disappointing drawers in this Alfred Hitchcock Presents-meets-The Twilight Zone series; the tone varies, but del Toro and his colleagues are committed to contemplating what scares us and why. In Lot 36 by Guillermo Navarro, cinematographer on six of del Toro's features, that means a dark rumination on xenophobia — and while Amirpour's The Outside is noticeably lighter than its counterparts, squeezing out a satirical, The Stuff-esque, Christmas-set satire on consumerism, conformity and beauty, it too is sinister and disquieting. Other standouts include the show's two most grisly episodes: Natali's Graveyard Rats and David Prior's (The Empty Man) The Autopsy, both of which have descriptive titles. Or, there's Cosmatos's The Viewing, a wild, dazzling, synth-scored trip in the best possible way — and Kent's The Murmuring, reuniting her with The Babadook's Essie Davis for another stirring and striking haunted-house tale about grief and motherhood. Guillermo del Toro's Cabinet of Curiosities is available to stream via Netflix. Read our full review. THE FIRE WITHIN: A REQUIEM FOR KATIA AND MAURICE KRAFFT The twin film phenomenon strikes again — so if The Fire Within: A Requiem for Katia and Maurice Krafft gives you a hefty dose of déjà vu, there's a reason for that. You may indeed have seen a movie about the French volcanologists already this year, and with a similar title, all courtesy of big-screen release Fire of Love. If you did catch that also-stunning flick, then you've glimpsed plenty of the imagery showcased here as well. Keep it all coming, please. However many documentaries that however many filmmakers want to craft about the Kraffts, their lives, work and impact — and using their sublime footage from decades spent surveying lofty and dangerous peaks, too — audiences should lap each and every one up. Of course, this particular doco hails from the great Werner Herzog (Fireball: Visitors from Darker Worlds), who already showed Katia and Maurice ample love in 2016's Into the Inferno, so it was always going to be a must-see. Narrated with his distinctive tones and inimitable perspective on existence, The Fire Within: A Requiem for Katia and Maurice Krafft truly feels like the movie that the iconic German director (and one-time Parks and Recreation star) was born to create. Whether undulating hypnotically with red lava flows or inciting gut-wrenching terror with towering, billowing grey explosions projecting into the heavens, the imagery captured by Katia and Maurice is mesmerising, revealing and astonishing — no matter how many times you watch it. It's little wonder, then, that Herzog states from the outset that his aim with The Fire Within isn't to give the world another Krafft biography (because plenty of those already exist) but to do justice and pay tribute to their recorded materials. His voiceover still provides the necessary basic details for first-timers to the pair's story, however, including beginning with visuals from the 1991 Mount Unzen eruption in Japan that claimed their lives. But Herzog knows what anyone who's ever come across the Kraffts before knows, and everyone watching this movie quickly learns: that their otherworldly footage makes a helluva impact all by itself, including inspiring thoughts about nature, humanity, how humbled the latter is by the former, the earth's longevity, life's oh-so-brief run, passion and the importance of doing something you love. Herzog's own observations are a fantastic bonus, though. The Fire Within: A Requiem for Katia and Maurice Krafft streams via Docplay. THE MIDNIGHT CLUB New year, new spooky season, new Mike Flanagan series. Yes, that's as great a tradition as any. It hasn't quite happened every 12 months since 2018's The Haunting of Hill House — 2019 is the outlier — but 2020's The Haunting of Bly Manor, 2021's Midnight Mass and now 2022's The Midnight Club have kept the trend going, serving up a fresh dose of frights from the filmmaker also behind Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep. Co-created with Bly Manor alum Leah Fong, The Midnight Club offers a bit of a departure, however, this time going down the teen-centric route. Happily nodding to The Breakfast Club but shifting to a decade later and an evening hour, the series hails from the books by author Christopher Pike, and takes its name from a group of cancer patients getting treatment at a fancy hospice centre. After dark, they secretly meet to share spooky stories, and try to freak each other out. But there's another caveat attached to their tale-telling: whichever one of the terminally ill teens passes away first, they have to promise to try to contact the rest of the cohort from the other side to let them know what it's like. While The Midnight Club's moniker directs its focus away from its setting, another eerie abode is at the heart of the show — so, yes, it's classic Flanagan. Also thoroughly in the writer/director's wheelhouse: pairing chills, thrills, bumps and jumps with fleshed-out characters, and musing on the power of horror, the terrors of mortality and the inevitably of death in tandem. The cast should all use the series as a launchpad, too, especially Iman Benson (#BlackAF, Alexa & Katie) as Ilonka, the newest arrival at Brightcliffe Home. After being diagnosed with thyroid cancer just as she's preparing to go to college, the bright student finds the hospice online, researches its past and is determined to use it as a path to actually having a living future. If the narrative was that straightforward, there wouldn't be a series, though — and if you're hanging out for Flanagan's 2023 effort The Fall of the House of Usher, this'll fill the gap nicely. The Midnight Club streams via Netflix. WEREWOLF BY NIGHT Running for 53 minutes, Werewolf by Night is more a standalone Marvel Cinematic Universe special than a movie. It's the first release of its type for the sprawling comic book-to-screen behemoth, and it makes the case for more like it. In fact, if you've been feeling fatigued by average big-screen MCU releases lately, it also makes the case for more variety and experimentation in the Marvel blockbuster realm in general — because when the usual mould gets tinkered with in a significant way, and not just with a goofy vibe like Thor: Love and Thunder, something special like this can result. The mood is all horror, in a glorious throwback way, complete with gorgeous black-and-white cinematography. The focus: hunting for monsters, which does, yes, involve bringing together a crew of new characters with special traits. Thankfully, that concept never feels formulaic because of how much creepy fun that Werewolf by Night is having, and how much love it splashes towards classic creature features. That monochrome look, and the shadowy lighting that comes with it, clearly nods to the ace monster flicks of the 1930s and 1940s; composer-turned-director Michael Giacchino (who provided Thor: Love and Thunder's score, in fact), must be a fan, as we all should be. His filmmaking contribution to the MCU takes its name from comic-book character Werewolf by Night, which dates back to the 70s on the page — but if you don't know that story, let the same-titled flick surprise you. The plot begins with five experienced monster hunters being summoned to Bloodstone Manor following the death of Ulysses Bloodstone, and told to get a-hunting around the grounds to work out who'll be the new leader (and also gain control of a powerful gem called the Bloodstone). That includes Jack Russell (Gael Garcia Bernal, Station Eleven), plus Ulysses' estranged daughter Elsa (Laura Donnelly, The Nevers). Everything that happens from there — and before that — instantly makes for pulpy and entertaining viewing. Werewolf by Night streams via Disney+. HELLRAISER Horror remakes and sequels are a bit like Halloween itself: even if you're not a fan, they always keep coming. First, a key rule about giving beloved old flicks a do-over or a years-later followup: the originals always still exist, no matter how the new movies turn out. Now, a crucial point about Hellraiser circa 2022: it's never going to be the OG picture, but it's still visually impressive, eager to get gory in bold and inventive ways, well cast and also happy to muse thoughtfully on addiction. And yes, there's a note of warning included in that above assessment of a film that arrives 35 years after Clive Barker's first stab at the series, and following nine other sequels. Directed by The Night House helmer David Bruckner, the new Hellraiser is stylish with its violent, bloody imagery, but it also still loves ripping flesh apart — and serving up a grisly nightmare. For newcomers to the Hellraiser fold, beware of puzzles. The moving box here is oh-so-enticing — that's how it gets its victims — but it's also a portal to a hellish realm. That's where demonic, frightening-looking beings called Cenobites dwell, and they're eager to haunt and terrorise the living. (Yes, that includes the ghoulish Pinhead, whose aesthetic really is all there in the name.) Accordingly, this Hellraiser movie kicks off with millionaire Roland Voight (Goran Visnjic, The Boys) obsessed with the box, and his lawyer Menaker (Hiam Abbass, Ramy) luring in new people to get torn to pieces. Then, six years later, recovering drug addict Riley (Odessa A'zion, Good Girl Jane) and her boyfriend Trevor (Drew Starkey, The Terminal List) find the cube in their possession. When it claims the former's brother Matt (Brandon Flynn, Ratched), she's determined to work out what's going on — and, while never full of narrative surprises, the brutal imagery sears itself into viewers' memories. Hellraiser streams via Binge. MASS Two couples, one church, six years of baggage and two absent children. That's one of the equations at the heart of Mass. Here's another: four phenomenal performances, one smart and affecting script that tackles a difficult subject in a candid and thoughtful way, and one powerful directorial debut by actor-turned-filmmaker Fran Kranz. Best known for on-screen roles in Dollhouse, The Cabin in the Woods, Homecoming and Julia, the latter guides gripping portrayals out of Reed Birney (Home Before Dark), Ann Dowd (The Handmaid's Tale), Jason Isaacs (Operation Mincemeat) and Martha Plimpton (Generation) — and crafts a harrowing yet cathartic drama out of the aftermath of a far-too-familiar tragedy, too. The reason that Richard (Birney), Linda (Dowd), Jay (Isaacs) and Gail (Plimpton) are in the back room at a place of worship, discussing their kids with heartbreak etched across their faces? Richard and Linda's son Hayden was a school shooter, killing Jay and Gail's son Evan in his spree, then turning the gun on himself. What can anyone say in that situation? Kranz, who both writes and directs, keeps his screenplay simple — but as loaded with emotion as the scenario obviously requires. He keeps his filmmaking flourishes just as restrained as well; that's a craft in itself, but the cast rather than the technique is the focus here. At first, they utter loaded lines with weighty awkwardness, aka the kind that fills and silences a room. Then, each in their own way, they unleash the hurt, anger, regret, sorrow, misery and more that's festering inside their characters, and that no amount of talking can ever completely capture. Mass is a musing on that very fact, too: that even the most spirited of dialogues, slinging about both carefully chosen and heatedly spur-of-the-money words, can't fix, explain or do justice to the pain that Richard, Linda, Jay and Gail are going through. The end result would make an exceptional, albeit unshakeably distressing, double with We Need to Talk About Kevin, The Fallout or Vox Lux, or even Elephant or Polytechnique as well. Mass streams via Stan. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK THE WHITE LOTUS Lives of extravagant luxury. Globe-hopping getaways. Whiling away cocktail-soaked days in gorgeous beachy locales. Throw in the level of wealth and comfort needed to make those three things an easy, breezy everyday reality, and the world's sweetest dreams are supposedly made of this. On TV since 2021, HBO's hit dramedy The White Lotus has been, too. Indeed, in its Emmy-winning first season, the series was a phenomenon of a biting satire, scorching the one percent, colonialism and class divides in a twisty, astute, savage and hilarious fashion. It struck such a chord, in fact, that what was meant to be a one-and-done limited season was renewed for a second go-around, sparking an anthology. That Sicily-set second effort once again examines sex, status, staring head-on at mortality and accepting the unshakeable fact that life is short for everyone but truly sweet for oh-so-few regardless of bank balance — and with writer/director/creator Mike White (Brad's Status) still overseeing proceedings, the several suitcase loads of smart, scathing, sunnily shot chaos that The White Lotus brings to screens this time around are well worth unpacking again. Here, another group of well-off holidaymakers slip into another splashy, flashy White Lotus property and work through their jumbled existences. Another death lingers over their trip, with The White Lotus again starting with an unnamed body — bodies, actually — then jumping back seven days to tell its tale from the beginning. Running the Taormina outpost of the high-end resort chain, Valentina (Sabrina Impacciatore, Across the River and Into the Trees) is barely surprised by the corpse that kicks off season two. She's barely surprised about much beforehand, either. That includes her dealings with the returning Tanya McQuoid-Hunt (Jennifer Coolidge, The Watcher), her husband Greg (Jon Gries, Dream Corp LLC) and assistant Portia (Haley Lu Richardson, After Yang); three generations of Di Grasso men, aka Bert (F Murray Abraham, Guillermo del Toro's Cabinet of Curiosities), Hollywood hotshot Dominic (Michael Imperioli, The Many Saints of Newark) and the Stanford-educated Albie (Adam DiMarco, The Order); and tech whiz Ethan (Will Sharpe, Defending the Guilty) and his wife Harper (Aubrey Plaza, Best Sellers), plus his finance-bro college roommate Cameron (Theo James, The Time Traveller's Wife) and his stay-at-home wife Daphne (Meghann Fahy, The Bold Type). The White Lotus streams via Binge. Read our full review of season two. THE PERIPHERAL For four seasons on Westworld so far, viewers have been asked to ponder humanity's potential future with robots and simulations. A key question driving the hit film-to-TV HBO series: how might the years to come unfurl if people use mechanics, artificial intelligence and elaborately fabricated worlds as playthings and playgrounds? In The Peripheral, a similar query arises, also musing and hypothesising on what lies ahead — and how flesh, machines, the real and the digital might coexist. The latest question, in another twisty series, as fronted by Chloë Grace Moretz (Mother/Android): what happens if robots and virtual reality become humanity's conduit through time? Bringing Westworld to the small screen and now executive producing The Peripheral, Jonathan Nolan and Lisa Joy clearly have a niche. Indeed, if you didn't know that the latter series comes from the same minds as the former — adapting a 2014 book of the same name by cyberpunk pioneer William Gibson, and with Scott B Smith (The Burnt Orange Heresy, A Simple Plan) as its showrunner — you'd easily guess while watching this new tech-, robot-, avatar- and dystopia-obsessed effort. When storytellers speculate on what the upcoming years might hold, they theorise about choices and ramifications. The Peripheral has many to ruminate upon. In the process, it also serves up two visions of the future for the price of one, both riffing on aspects of life circa 2022 that could easily evolve as predicted. When the series begins in 2032, 3D print shop worker Flynne Fisher (Moretz) simply decides to assist her military-veteran brother Burton (Jack Reynor, Midsommar) by slipping into his avatar to make cash in a VR game — which she's better at than him, but sexism in the industry still reigns supreme. Then, when he's tasked by a Colombian company with testing a new virtual-reality headset that looks lower-tech, doesn't come with a glasses-like screen but exceeds the competition in its realism, she does the honours again. Flynne hasn't just plugged into a better simulation, though. Via data transfer, her consciousness is time-travelling to the future — to 2099, and to London — and inhabiting the robot body that gives the series its title while on an industrial-espionage quest. The Peripheral streams via Prime Video. Read our full review. INTERVIEW WITH THE VAMPIRE When Louis de Pointe du Lac met Lestat de Lioncourt, his life forever changed. His death did, too. That's the story that Interview with the Vampire tells and, by committing it to the page in 1976, Anne Rice's existence was altered for eternity as well — although not quite in the same way, naturally. The author has been known for her Vampire Chronicles series ever since, and its debut entry was adapted into a Brad Pitt- and Tom Cruise-starring 1994 movie before getting a do-over now as a television series. Obviously, the late Rice doesn't share her characters' lust for blood, or their ability to thwart ageing and time. Still, her famed works keep enticing in both readers and viewers — and this latest novel-to-screen version is a gothic series worth sinking your teeth into, especially thanks to its willingness to take on race, to embrace queer themes, to get playful and humorous, and to splash a sweepingly rich iteration of its now well-known tale across streaming queues. If you've seen the film, you'll know Interview with the Vampire's basic gist, although there has been some tweaking. Nonetheless, Louis (Jacob Anderson, aka Game of Thrones' Grey Worm) and Lestat (Sam Reid, The Drover's Wife The Legend of Molly Johnson) meet in New Orleans, where they're both drawn to each other — and soon the former joins the latter in sleeping in coffins, avoiding daylight and (reluctantly) feeding on people. The series has the titular chatting happen in today's times, however, as a continuation of the movie's first conversation. Yes, this version of Daniel Molloy (Eric Bogosian, Succession) has been there and done this before. That didn't turn out so well for him, so he's reluctant about a repeat discussion, this time in Dubai. But Louis still has quite the story to unfurl, including covering been a Black man trying to make his way in the bayou at the turn of the 20th century, what it's meant to join the undead, his complicated relationship with Lestat, and the arrival of Claudia (Bailey Bass, Psycho Sweet 16) as part of their bloodthirsty family. Interview with the Vampire streams via AMC+. 2022 CINEMA HIGHLIGHTS WORTH CATCHING UP WITH AT HOME RED ROCKET It might sound crazy, but it ain't no lie: Red Rocket's *NSYNC needle drops, the cost of which likely almost eclipsed the rest of the film's budget, provide a sensational mix of movie music moments in an all-round sensational picture. A portrait of an ex-porn star's knotty homecoming to the oil-and-gas hub that is Texas City, the feature only actually includes one song by the Justin Timberlake-fronted late-90s/early-00s boyband, but it makes the most of it. That tune is 'Bye Bye Bye', and it's a doozy. With its instantly recognisable blend of synth and violins, it first kicks in as the film itself does, and as the bruised face of Mikey Saber (Simon Rex, Scary Movie 3, 4 and 5) peers out of a bus window en route from Los Angeles. Its lyrics — "I'm doing this tonight, you're probably gonna start a fight, I know this can't be right" — couldn't fit the situation better. The infectiously catchy vibe couldn't be more perfect as well, and nor could the contrast that all those upbeat sounds have always had with the track's words. As he demonstrates with every film, Red Rocket writer/director/editor Sean Baker is one of the best and shrewdest filmmakers working today — one of the most perceptive helmers taking slice-of-life looks at American existence on the margins, too. His latest movie joins Starlet, Tangerine and The Florida Project on a resume that just keeps impressing, but there's an edge here born of open recognition that Mikey is no one's hero. He's a narcissist, sociopath and self-aggrandiser who knows how to talk his way into anything, claim success from anyone else's wins and blame the world for all his own woes. He's someone that everyone in his orbit can't take no more and wants to see out that door, as if *NSYNC's now-22-year-old lyrics were specifically penned about him. He's also a charismatic charmer who draws people in like a whirlwind. He's the beat and the words of 'Bye Bye Bye' come to life, in fact, even if the song wasn't originally in Red Rocket's script. Red Rocket streams via Binge and Prime Video. Read our full review. AMBULANCE Following a high-stakes Los Angeles bank robbery that goes south swiftly, forcing two perpetrators to hijack an EMT vehicle — while a paramedic tries to save a shot cop's life as the van flees the LAPD and the FBI, too — Ambulance is characteristically ridiculous. Although based on the 2005 Danish film Ambulancen, it's a Michael Bay from go to whoa; screenwriter and feature newcomer Chris Fedak (TV's Chuck, Prodigal Son) even references his director's past movies in the dialogue. The first time, when The Rock is mentioned, it's done in a matter-of-fact way that's as brazen as anything Bay has ever achieved when his flicks defy the laws of physics. In the second instance mere minutes later, it's perhaps the most hilarious thing he's put in his movies. It's worth remembering that Divinyls' 'I Touch Myself' was one of his music-clip jobs; Bay sure does love what only he can thrust onto screens, and he wants audiences to know it while adoring it as well. Ambulance's key duo, brothers Will (Yahya Abdul-Mateen II, The Matrix Resurrections) and Danny Sharp (Jake Gyllenhaal, The Guilty), are a former Marine and ostensible luxury-car dealer/actual career criminal with hugely different reasons for attempting to pilfer a $32-million payday. For the unemployed Will, it's about the cash needed to pay for his wife Amy's (Moses Ingram, The Tragedy of Macbeth) experimental surgery, which his veteran's health insurance won't cover — but his sibling just wants money. Will is reluctant but desperate, Danny couldn't be more eager, and both race through a mess of a day. Naturally, it gets more hectic when they're hurtling along as the hotshot Cam (Eiza González, Godzilla vs Kong) works on wounded rookie police officer Zach (Jackson White, The Space Between), arm-deep in his guts at one point, while Captain Monroe (Garrett Dillahunt, Army of the Dead), Agent Anson Clark (Keir O'Donnell, The Dry) and their forces are in hot pursuit. Ambulance streams via Binge and Prime Video. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August and September this year. You can also check out our running list of standout must-stream 2022 shows so far as well — and our best 15 new shows from the first half of this year, top 15 returning shows over the same period and best 15 straight-to-streaming movies up until June.
More than most video games, Until Dawn always felt destined for the big screen from the moment that it first had players pressing buttons. The premise of the 2015 hit is straight out of a horror movie, with a group of eight friends attempting to make it through a trip to Blackwood Mountain — the place where one character's two sisters disappeared a year prior, and where everyone is now looking for answers — alive. The cast boasted star power, including a pre-Oscar Rami Malek (The Amateur), plus Hayden Panettiere (Scream VI) and Peter Stormare (So Long, Marianne). Visually, there's also its pivotal third-person perspective. Something that Until Dawn featured as a game, however, that was unlikely to make the leap to cinemas: the choose-your-adventure approach to play. Interactive films exist, but the two best-known recent examples are each streaming releases: Black Mirror: Bandersnatch and Unbreakable Kimmy Schmidt: Kimmy vs the Reverend, both on Netflix. In adapting Until Dawn into a movie destined for the silver screen, so lurked the dilemma — aka how to nod to the butterfly effect-style element, where player decisions dictate the storyline. The answer came by still focusing on choice, and also nodding to the fact hundreds of endings are possible in the game, making selecting an option a move that requires careful consideration about where any path might lead. Enter the mechanism that's fuelled everything from Groundhog Day and the Happy Death Day films to Edge of Tomorrow and so much more: time loops. In the movie directed by David F Sandberg (Shazam! and Shazam! Fury of the Gods), and penned by Gary Dauberman (Salem's Lot) and Blair Butler (The Invitation), there's still a group of friends, a missing sibling and a remote setting. That said, neither its helmer nor one of its writers, both of whom first collaborated on Annabelle: Creation, set out to make a direct adaptation of the game, Sandberg and Dauberman tell Concrete Playground. "It's more like a new chapter of Until Dawn," advises Sandberg, who first made the leap to full-length flicks in horror courtesy of the short-to-feature Lights Out. "The game is so cinematic, we just didn't want to try to replicate that experience," notes Dauberman, a mainstay behind the scenes on The Conjuring Universe films, including Annabelle and its sequels — he directed as well as penned Annabelle Comes Home — and The Nun, alongside scripting IT and IT: Chapter Two. [caption id="attachment_1000992" align="alignnone" width="1920"] Stewart Cook/Sony Pictures via Getty Images[/caption] Here, then, the characters are different, and the absent sister as well. The cast fighting to survive has changed, too. As a film, Until Dawn steps into a new scenario also, although Stormare remains the link among the actors to its gaming beginnings. This time, it's Clover (Ella Rubin, Anora) who is in search of Melanie (Maia Mitchell, The Artful Dodger) a year since she was last seen. The rest of her travelling group — Max (Michael Cimino, Never Have I Ever), Megan (Ji-young Yoo, Expats), Abe (Belmont Cameli, The Alto Knights) and Nina (Odessa A'zion, Am I OK?) — have helping Clover as their main aim rather than finding Melanie, though. She's determined to look for her sister. They're eager to assist her with facing her trauma and moving on. Of course, no one expects that following Melanie's path to an abandoned visitor centre in a secluded valley will lead them to being stuck battling an array of killers in a time loop, and dreading an hourglass flipping again and again. When they all die, Until Dawn's latest figures just find themselves in the same place, yet caught in another scenario. Sometimes that plunges the movie into slasher-film territory. Sometimes it skews more supernatural. Sometimes, Clover and her friends are caught in a creature feature — and the list goes on. The only way for them to be free of the nightmare, and from an experience that hops between horror subgenres, is right there in the feature's title. Make it until dawn and the hellish ordeal ends. What excited Sandberg and Dauberman, other than being gamers themselves, about taking on the task of bringing Until Dawn to cinemas? That's where our chat with the pair started. From there, we dug into selecting the different subgenres, basically making multiple horror flicks in one, Stormare's return, and how you enlist a cast when their gig is to get murdered over and over — plus interrogating choice via time loops, calling out other films using temporal repeats, the current wave of successful video game-to-screen adaptations (think: The Last of Us, Fallout, The Super Mario Bros Movie and A Minecraft Movie) and more. On What Excited Sandberg and Dauberman About Adapting Until Dawn Into a Movie Gary: "I think the thing that excited us the most — I'll speak for me — but was really being able to do a couple different subgenres of horror within one movie. The game is really this cinematic experience that's a true love letter to the genre. We wanted to make sure that was captured in the movie, and do that ourselves with the movie. And so that was really exciting. So then it just became about, 'well, how are we going to do that?'. Because it's not going to be a direct adaptation of the game — because, as I said, the game is so cinematic, we just didn't want to try to replicate that experience. So it was really about, 'okay, how can we stay true to the game, the world and all that, but also be able to do our own thing as well within the genre?'." David: "And what excited me was that Gary and Blair, they didn't try to just recreate the game — which was already so much like a movie and already cinematic. It's more like a new chapter of Until Dawn. And the fact that we have all these different horror genres in one movie. So I got to try out all these different things, including genres I'd never done before — like slasher or found footage. It was just a dream come true." On Deciding Which Horror Subgenres to Jump Between in the Film Gary: "It's interesting — Blair and I always had slasher first, and I think a large part of that's just because, I mean I know that's because of the game itself and the psycho mask and all that. And then I think it was just what could be different from slasher? We leaned into supernatural because that felt so different and a stark contrast to just the visceral kills of the slasher. So you just try to think of what's going to give that sharp contrast to whatever came before. Then you go supernatural, then you go right into body horror — which is super real and gross, whereas supernatural generally isn't that. That's the thought behind how it's laid out in sequential order, I guess." On Feeling Like This Movie Meant Making Not Just One Horror Film, But Multiple Horror Films David: "For sure, because it also, like schedule-wise and time wise, felt like we were trying to do six or seven movies in one. It was a challenge. It's a very ambitious movie for the time we had, so we had to do a lot of planning — and sometimes adapting on the day, where it's like 'okay, we're not going to have time to do all of these things, so we'll focus on what's most important to get'. So it was a challenge, but it was also the reason why I signed up for the movie — to get to do all of this. So I happily did it." On Making Dr Hill (and Peter Stormare in the Role) One of the Key Connections Between the Game and the Movie Gary: "Dr Hill, to me, was always the character I was most curious about in the game, and felt like he could be a great link, connective tissue, between the game and the movie. And he could really be the steward of the franchise, of these stories. He always felt like he's got more going on. And I think talking with the game developers and what they had intended with Dr Hill as well, it was a constant dialogue and conversation, so he just made the most sense organically to what they had in mind and what we had in mind to use. And plus, it's Peter Stormare. If you've got Peter Stormare, you want to use him every chance you get. So that was also a part of the decision. But from a storytelling aspect, I saw him as a great face of the franchise." On How You Build a Cast When the Gig Is to Get Killed Over and Over Again David: "We did a lot of auditions to try to find the right people. Michael, who plays Max, came recommended — he's worked with Gary before. But otherwise, it's just doing a lot of auditions and finding the right people who are not just good actors, but who are willing to go there, to these places. Because I had to warn the cast that this is going to be a challenging movie, like physically challenging and mentally challenging, because you're going to have to be wet and bloody and dirty and crawl through mud, and all of these things. And work nights and work in uncomfortable locations and all these things. But they were really up for it. And once we'd done all this extensive casting, they just worked as a team right away, just became instant friends and were just a pleasure to work with. And I know they really appreciated getting to do — like Maia was saying that in most movies and TV shows, she has to look pretty and perfect, and all these things. In this movie, you don't need to look perfect. You need to look like you've gone through hell. And you get to scream and let it all out. So they were more than up for it." On Calling Out How Popular Time-Loop Flicks Are in the Film — and Knowing How This Addition to the Genre Needed to Stand Out Gary: "We knew we didn't want to do the Groundhog Day-esque time loop. Happy Death Day does that so, so well and effectively. If we were going to do it, we needed to own it for us and make it different. So in a way, the knowledge of those made us just work against that — like going 'okay, we know that's out there, so we've got to do something different'. So that's kind of how we went. And then in terms of the subgenres themselves, it really was about the tropes within the subgenres that we were using as elements to each sequence — but not any specific movie per se." David: "Yeah, you don't want to shy away from some of these tropes, because you want people to feel like 'okay, now we're in this kind of film'." Gary: "Yeah, exactly." David: "But you try to subvert it so you don't know exactly what's coming, but you just need to feel familiar enough." Gary: "That's right." On Still Interrogating Choice, Even If the Film Can't Mirror the Game's Player-Shaped Storylines and Hundreds of Endings, in a Movie That's Also About Trauma Gary: "It was a really important element from the character standpoint of like, 'okay, the terror is new, but we're still here, we're still a part of this group'. And as the group starts to fracture a bit because they have different ways of how they want to go about solving this puzzle of how they're going to survive until dawn, I think it's about, one of the things is sticking together and surviving through trauma and leaning on each other to get through something — as opposed to just being off in a corner by yourself, because that's not going to get you through it, much like Clover was at the start of the movie. For Clover, for instance, she's someone who had to die over and over again in order to know how to live again. So that's kind of how we saw the character choices affecting the character arcs in the movie." David: "Yeah. And I thought it was so brilliant to have this restarting in the movie, because it does make it feel so much like the game — where you can play it several times and make different choices and see different deaths and different kills and stuff. And this was a way to get that in movie form." On the Film's Commitment to Practical, In-Camera Effects as Much as Possible David: "It's something I've always wanted to do. Since I was a little kid watching horror movies, reading all these books about effects done with latex and silicone — and makeup effects and all these things, something I've wanted to do forever, and this was a chance to do that. And I like when horror movies, in particular, do that. I'm not opposed to visual effects in any way, and there's visual effects in this movie, too, but we wanted to try to take practical as far as we could — and have things there for our actors to see and feel and react to, because it just makes it more fun for us. But I think the audience can feel that coming through as well." On How Sandberg and Dauberman's Working Relationship Has Evolved in the Eight Years Since Annabelle: Creation David: "Gary produced this movie as well. It all started with him, the project. So I guess you were more involved now. I mean, you were involved in all of Annabelle: Creation as well. So it's very similar." Gary: "I think it was similar, but I think we just got more comfortable with each other." David: "Yeah." Gary: "So I think it's evolved from that standpoint. But I think I just have a confidence in him that I don't have in a lot of people, so he's like a safe place for me. I just know that he's going to elevate whatever material I hand over to him. And so, yeah, I think it's just the familiarity and the comfortability that you oftentimes don't get in this business, because it's so transactional and it's new faces every time you go somewhere. So it's nice to have somebody who's consistent and constant." On Why Adaptations of Video Games Are Such a Focus at the Moment — and Striking Such a Chord with Audiences David: "I think it's because people who grew up with video games are now in positions to make to make and write these types of movies. And I think that really helps — because I think back in the 80s, making that Super Mario Bros movie, I don't think those people were gamers. Maybe they were, I don't know. So I think it's just like, for this generation or for us now, it's like 'well, of course video games are just as important as comic books or other movies or whatever'. So it's gotten to the respect that it deserves." [caption id="attachment_1000993" align="alignnone" width="1920"] Stewart Cook/Sony Pictures via Getty Images[/caption] Gary: "Yeah, and I think from a business standpoint, it's such an IP-driven business that comic books feels a little probably picked over. And so it feels like now the attention has turned to video games — and that IP, it's just been kind of sitting there. But as gamers, we've always known it's been — it's right there. You go do this stuff, give it the money and the time it deserves, and the talent. So I'm happy and excited to see that that's coming to fruition." David: "And games, of course, have become more and more cinematic, closer to movies as well." Gary: "Yeah, yeah, which becomes part of a challenge." Until Dawn released in cinemas Down Under on Thursday, April 24, 2025.
The traditional home of adventure, phone accessories and delicious food, Chinatown is like a holiday without leaving town. That's not to say there's no risks involved. Unfamiliar signs, labyrinths of stores and suspiciously enthusiastic street hawkers make this an adventure filled with peril. Fortunately, Concrete Playground has assembled the ten best bits for you. 1. BBQ KingWhere: 18 Goulburn Street, Haymarket 2000 Dead ducks hanging in the window, kitsch Chinese decor and the best Peking Duck in Sydney. What more could one ask for? Take advantage of the late opening hours - they don't close until 1.45 am - and swing by for a late meal accompanied by a few Tsing Taos, a crisp Chinese beer. There's plenty on offer, but our advice is to go straight down the cliché line. The signature dishes here are, obviously, the roast Peking Duck and Pork. If you're not here with a huge group, though, the full serves can be difficult to get through. An easier option is the Peking Duck Pancakes, served up with slices of roast duck, green onions, hoisin sauce and chili to taste (ask for fresh). For review and details, click here. 2. Morning GloryWhere: 22 Goulburn Street, Haymarket 2000 There are three Morning Glory stores to choose from in Chinatown, but our favourite is the one right in the thick of it. What this particular Morning Glory holds over all the others is that the entire store is organised by colour. This place is literally an encyclopaedia of cuteness. The store is overflowing with Hello Kitty, Pikachu, Totoro, pandas and a whole bunch of things I'll never be able to place. Take your pick from nail polishes, notebooks, lunch boxes, keyrings, pens, tissue box covers, socks and plush-toy phone holders. If it all becomes a little too overwhelming, retreat into one of the sticker booths in the far back corner, and emerge victorious with a sheet of glittery sticker photos of yourself and friend. 3. Ten Ren Tea Where: 696 George Street, Sydney 2000 This simple shop front on George Street is deceiving. Take away teas can be bought from the counter downstairs but, if you make your way upstairs, a whole new experience awaits you. Super cheap meals, adventurous Taiwanese desserts and a ridiculous range of teas are on offer in this laid back dining room. Begin with the teas, the raison d'être of the establishment. For a cold tea, opt for Black Milk Tea with QQ ($6.5/$7.50). This 'bubble tea' includes tapioca pearls - here called 'QQ', meaning 'chew-chew'. If you'd prefer a hot tea, try Osmanthus Oolong ($5.50/$6.50), a traditional blend where oolong tea is scented with osmanthus flowers. For a delicious pot, try fragrant and calming Lavender ($8.50). And if the menu simply seems too overwhelming, ask the staff for recommendations: they'll be happy to help. For review and details, click here. 4. MamakWhere: 15 Goulburn Street, Haymarket 2000 Mamak is the talk of the town and with good reason. It's one of the few places in Sydney to get exceptional Malaysian hawker food, still offered at an authentic price. It's no surprise that this place often has lines of eager customers stretching down the street. All I can say is: get in early, it's worth it. Walk in past the chefs, on full display, and bathe in the aroma of curries and fried roti. It's a long room, crammed full with wooden tables, and service is courteous but necessarily efficient. The menu is divided into Roti, variations on the warm bread served with curry dips and spicy sambal sauce, Satay, available in chicken or beef, Mains, featuring curries and fried chicken, and Noodle and Rice dishes. For review and details, click here. 5. Chinatown Night MarketsWhere: Dixon Street Mall, Haymarket 2000 Every Friday night, between 4 and 11pm, Chinatown becomes just a little bit more special. The weekly Night Markets offers the best bits of Chinatown right out on the street in the middle of a bustling crowd. Food, crafts, massage, bonsais and candy... You name it, it's here. Look out for the Takoyaki, or fried octopus balls - you'll typically find the tent by following the insanely upbeat techno pop. Dragon's Beard Candy is another rare treat, finely spun sugar reminiscent of a white beard. Or just grab a cup of freshly squeezed Sugar Cane Juice with lemon, and wander the stalls to see what turns up. 6. Emperor's Garden Cakes and BakeryWhere: 96-100 Hay Street, Haymarket This bakery is a must stop on any trip to Chinatown. Discover it in the mall next to its parent restaurant, you'll find it by the line of people waiting outside a small side window. They're after freshly baked Emperor's Puffs: hot little custard balls of pure delight. Wander inside, and you'll discover plenty more treats on offer. We're talking moon cakes, Sacher tortes, chocolate eclairs, egg tarts, sticky rice dumplings and barbeque pork buns. You'll find a slightly different selection every time you visit, so it's worth returning often. 7. Menya Noodle Bar Where: Shop TG8, 8 Quay Street, Haymarket 2000 It's a big call to claim that something is the best of its kind. Yet it doesn't feel like a stretch to hand Menya the title of Best Ramen Bar in Sydney. The noodles are fresh and chewy, the broth is incredibly rich, and the atmosphere is just the right kind of casual. For the beginner, we suggest the Menya ramen. Pick the Tonkotsu, beef, or Tori-gara, chicken, broth base then opt for either Shoyu ($9.30/$9), a salty soy sauce flavour, or Miso ($10.30/$10), a richer choice. Our favourite is the Menya Tonkotsu Miso ramen ($10.30). If you'd prefer a ramen with extra toppings, try the Tori Kara-age Ramen (from $10.90), with deep fried kara-age chicken, or add extras like Kakiage Tempura ($2.50) or Sweet Corn ($1.50). For review and details, click here. 8. Din Tai FungWhere: 644 George Street, Sydney 2000 An infamous Taiwanese noodle chain is introducing Sydney to the best dumplings it's ever had. Just make sure you turn up early, or be prepared to pull up a wooden stool and wait. That's not to imply that Din Tai Fung are not efficient. This they are, in the extreme. Peer into the kitchen and you can observe the production line: line baskets with cloth, cut dough into discs, roll the dough, fill and pinch it at the top, then pop the newly made dumplings into the baskets ready for steaming. It's strangely hypnotising. For review and details, click here. 9. Media Asia Where: 50 Dixon Street, Haymarket 2000 Looking for movies? This is the place to go for the latest and greatest. Media Asia has a huge selection of Japanese anime, including a sub-section with English audio for all you non-native speakers. There's also an impressive array of other titles, including kung fu flicks and Korean dramas. While you're there, make sure you pick up one of the pop group posters that adorn the walls. If the music playing here is anything to go by, they'll be your favourite group in no time at all. 10. Thai Kee IGAWhere: inside Market City, 9-13 Hay Street, Haymarket 2000 It's been a long day in Chinatown by now. Let's face it, you're probably feeling a little bit worn out. Why not leave with some take home memories? (We especially recommend the edible ones.) The Thai Kee IGA, hidden away above Paddy's Markets, can provide you with all you need. Dumplings and steamers, Koala biscuits, aloe vera juice, Japanese curry, kitsch bowls and crockery sets, Super Lemons, hot barbeque pork buns, Chrysanthemum tea, Chinese slippers: you name it, it's all here. In fact, you should probably allow an extra hour or so just to wander down these aisles. Trust me, you'll be surprised at what you find.
There's no missing Blue Spinach — it's quite literally the giant blue building on Liverpool Street in Darlinghurst. This secondhand store is a goldmine of designer goodies, all pre-loved and therefore within a far wider range of budgets (no sign of any spinach, however). The high-end consignment has had a loyal following in Sydney for more than 20 years, and it's understandable why — it's pretty impossible not to fall in love with at least one item during every visit. Blue Spinach's owners are qualified valuers and legitimately care about the authenticity and quality of the goods they sell so you can expect to find vintage Chanel, Gucci, Hermes and more in mint condition. That means that while the items in this store may not be the cheapest, they certainly are beautiful. So, if you're after some secondhand designer goodies in tip-top condition, Blue Spinach is an absolute must-visit. Image: Trent Van der Jagt.
By almost every conceivable metric, 2020 wasn't great. It was downright terrible, in fact. We know that you already know this, but let us share a sliver of good news: it was still a fantastic year for cinema. That's true even with picture palaces across Australia, New Zealand and the rest of the world closing for considerable periods. Indeed, when silver screens reopened again Down Under, and everyone was able to once again sit in darkened rooms and stare at celluloid dreams blown up big just as they're meant to be, we all remembered why the term 'movie magic' exists. And, in those theatres with their popcorn smells and booming sounds, we were able to see truly exceptional films. Every year delivers a treasure trove of movies — so much so that, here at Concrete Playground, we always put together multiple lists of film gems. As part of our end-of-year wrap-ups for 2020, we've already highlighted ten excellent movies that hit cinemas but sadly didn't set the box office alight, as well as 20 other standout titles from this year that really you owe it to yourself to have seen. From everything that flickered through a projector in general release in 2020, we're now down to the pointy end. Each year delivers awful, average and astonishing movies, and we've picked the cream of the crop when it comes to the latter. Some released pre-pandemic, in what seems like another life. Some are yet to hit cinemas, but will before the year is out. From movies that'll have you dancing in the aisles to unsettling head trips, these are the ten absolute best films of 2020 that made their way to the big screen. https://www.youtube.com/watch?v=DSFpK34lfv0&feature=youtu.be NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's the case in Nomadland, which will earn her another Oscar nomination and could even see her win a third shiny statuette just three years after she nabbed her last for Three Billboards Outside Ebbing, Missouri. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot she spent her married life in turns into a ghost town when the local mine is shuttered due to the global financial crisis. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it's also Zhao's best work yet, and 2020's best film as well. Read our full review. https://www.youtube.com/watch?v=OsWV2qTX21k NEVER RARELY SOMETIMES ALWAYS When some movies mention their titles, they do so via a line of clunky dialogue that feels forced, overstressed and makes viewers want to cringe. Never Rarely Sometimes Always isn't one of those films. It does indeed task a character with uttering those exact words, but the scene in which they're voiced is the most devastating and heartbreaking movie scene of the year. Given the premise of writer/director Eliza Hittman's latest feature, that perhaps comes with the territory. It shouldn't, which is one of the points this layered film potently makes, but it does. Upon discovering that she's expecting — and being told by her local women's centre that she should go through with the pregnancy — 17-year-old Autumn (first-timer Sidney Flanigan) has no other choice but to take matters into her own hands. With her cousin Skylar (fellow feature debutant Talia Ryder), she hops on a bus from her Pennsylvania home town to New York to seek assistance from Planned Parenthood. Given that Skylar has stolen the funds for Autumn's abortion out of the cash register at work, and that they don't have enough to cover a place to stay, this isn't a straightforward quest. Hittman's naturalistic style, as previously seen in 2014's It Felt Like Love and 2017's Beach Rats, makes every second of Autumn's ordeal feel intimate, real and unshakeably affecting, as does Flanigan's internalised but still expressive performance as well. Read our full review. https://www.youtube.com/watch?v=97nnV0fNd30 AMERICAN UTOPIA On paper, American Utopia's concept doesn't just sound excellent — it sounds flat-out superb, stunning and spectacular. A new David Byrne concert film, capturing his acclaimed American Utopia Broadway production, as directed by Spike Lee? Sign the world up, and now. In the most welcome news of the year, the execution matches the idea in this instant masterpiece (and wonderful companion piece to 1984's Stop Making Sense). It'd be hard to go wrong with all of the above ingredients, but Lee's second film of 2020 (after Da 5 Bloods) makes viewers feel like they're in the room with Byrne and his band and dancers like all concert movies strive to but few achieve in such engaging a fashion. Every shot here is designed with this one aim in mind and it shows, because giving audiences the full American Utopia experience is something worth striving for. Byrne sings, working through both solo and Talking Heads hits. He waxes lyrical in his charming and accessible way, pondering the eponymous concept with an open and wise perspective. And he has staged, planned and choreographed the entire performance to a painstaking degree — from the inviting grey colour scheme and the open stage surrounded by glimmering chainmail curtains to the entire lack of cords and wires tethering himself and his colleagues down. Read our full review. https://www.youtube.com/watch?v=W-fxRXzfi0U KAJILLIONAIRE Awards bodies don't tend to recognise performances like Evan Rachel Wood's in Kajillionaire, but they should. It's a career-best effort from an actor with an array of terrific work to her name (most recently in Westworld), and it operates so firmly on the same wavelength as the film she's in that it's impossible to imagine how it would work without her. Kajillionaire is filmmaker Miranda July's latest movie, following Me and You and Everyone We Know and The Future, so it was always going to stand out. It was always going to need a knockout portrayal at its centre, too. Wood plays a 26-year-old con artist called Old Dolio Dyne, who has spent her whole life working schemes and scams with her parents Robert (Richard Jenkins, The Shape of Water) and Theresa (Debra Winger, The Lovers) — to the point that it's all that she knows, and it has made her the closed off yet still vulnerable person she is. But when her mother and father take lively optometrist's assistant Melanie (Gina Rodriguez, Annihilation) under their wing, Old Dolio is forced to reassess everything. That might sound standard, but July has never made a movie that's earned that term and she definitely doesn't start now. Kajillionaire is a heist-fuelled crime caper, and an eccentric and idiosyncratic one; however, it's also a rich and unique character study, an astute exploration of family and a love story — and Wood is essential at every turn. Read our full review. https://www.youtube.com/watch?v=kFqCTIdF7rs POSSESSOR The possibility that someone could hijack another person's brain, then use their body as a vessel to carry out corporate-sanctioned murder, is instantly distressing and disturbing. Whatever your mind has just conjured up reading that sentence, it has nothing on Brandon Cronenberg's vision of the same idea — as Possessor, his sophomore feature, illustrates in a brilliant and brutal fashion. As chilly and also as mesmerising as his first film, Antiviral, this horror-thriller spends its time Tasya Vos (Andrea Riseborough, The Grudge). It's her job to leap into other people's heads and carry out assassinations, and she's very good at it. When the movie opens, however, she experiences difficulties on a gig. Then she takes on another, infiltrating Colin's (Christopher Abbott, Vox Lux) brain, and struggles to maintain control over his personality and actions as she attempts to kill his fiancé (Tuppence Middleton, Mank) and her business mogul father (Sean Bean, Snowpiercer). Possessor's writer/director is the son of David Cronenberg, of Shivers, Scanners, Videodrome and The Fly fame, so exploring unnerving body horror has been implanted into his own head in a way, too. He certainly carries on the family name in a daring, determined and expectedly gruesome manner. Also striking and unforgettable here: the concepts that Possessor probes, including present analogues to Possessor's body-jumping technology. Read our full review. https://www.youtube.com/watch?v=PLNXHJB5Mto BABYTEETH Filmmaker Shannon Murphy made her feature debut with Babyteeth, but she shows no signs of merely cutting her chompers on this heartwrenching film. Based on the Rita Kalnejais-penned play of the same name and scripted for the screen by the writer as well, this Australian drama tackles a well-worn premise — that'd be: terminally ill teen falls in love as she endeavours to manage her grim health situation — with such shrewdness, vivacity and understanding that it puts almost every other movie about the same concept to shame. Milla (Eliza Scanlen, Little Women) is the cancer-afflicted high schooler in question. When she meets and clicks with 23-year-old small-time drug dealer Moses (Toby Wallace, Acute Misfortune), it takes her pill-popping mother Anna (Essie Davis, True History of the Kelly Gang) and psychiatrist father Henry (Ben Mendelsohn, The Outsider) time to adjust. Their struggles have nothing on Milla's own, though, because Babyteeth sees its protagonist as a person rather than an illness, and as someone with their own hopes, dreams, troubles and disappointments instead of the reason the folks around her have their lives disrupted. That's such an important move, but's just one of the many that the movie makes. Aided not only by superb (and AACTA Award-winning) performances all round, but also by arresting visuals and clever but realistic dialogue, Babyteeth proves both raw and dynamic from start to finish. Read our full review. https://www.youtube.com/watch?v=VFOrGkAvjAE SOUND OF METAL It's one thing to tell viewers that the character they're watching is losing their hearing. It's another entirely to ensure that they understand exactly how that feels. Sound of Metal adopts two methods to achieve the latter feat — one expected but still extraordinary, the other truly earning the usually overused term that is 'immersive'. Firstly, Riz Ahmed (Venom) gives his all to the role of heavy metal drummer and ex-heroin addict Ruben Stone. Realising that one of his senses isn't just fading but disappearing obviously upends every facet of Ruben's life, which Ahmed conveys in a powerfully physicalised performance (and his second portrayal of a musician coping with health struggles after this year's festival hit Mogul Mowgli, too). Just as crucial, however, is the soundscape created by debut feature director Darius Marder and his team. It mimics what Ruben can and can't hear with precision, and it couldn't be more effective at plunging the audience inside his head. Both choices — lead casting and the film's audio — invest weight and depth into a story that isn't lacking in either anyway. Putting his tour with his bandmate and girlfriend Lou (Olivia Cooke, Ready Player One) on hold, Ruben reluctantly moves to a rural community for addicts who are deaf to learn to live with his new situation, does whatever is necessary to rustle up the cash for a surgically inserted cochlear implant and faces more than few hard truths along the way. Read our full review. https://www.youtube.com/watch?v=7gOs6gKtrb4 THE LIGHTHOUSE It initially hit cinemas pre-pandemic, but The Lighthouse might just be the most relatable movie of 2020. There are no prizes for guessing where it is set, but The Witch filmmaker Robert Eggers has zero time for scenic seaside escapades, turning his attention to two men holed up in the coastal structure, unable to leave and going stir-crazy (to put it mildly) instead. Those lighthouse keepers are played by Willem Dafoe (At Eternity's Gate) and Robert Pattinson (Tenet), who both commit to the narrative with gusto. The former steps into the shoes of cantankerous sea dog Thomas Wake, while the latter endures quite the uncomfortable welcome as eager newcomer Ephraim Winslow — and, as anyone could predict given their talents and respective filmographies, they're gripping to watch. That sensation only increases when a storm sweeps in, with the fact that Winslow frequently fondles himself while holding a mermaid figurine marking just the beginning of The Lighthouse's claustrophobic chaos. Shooting in black and white, and boxing the film in via the 1.19:1 Movietone aspect ratio that's a throwback to a century ago, Eggers dives right into a vivid and entrancing nightmare that simultaneously unpacks masculinity, unfurls a manic head-trip and explores how people react when they're thrust together in a heightened scenario. Read our full review. https://www.youtube.com/watch?v=EU-Z90SEqGQ CORPUS CHRISTI An Oscar nominee this year — losing the Best International Feature Film category to Parasite — Corpus Christi examines faith with blistering and unflinching intensity. This quietly powerful Polish drama doesn't just contemplate what it means to believe, but how the supposedly pious actually enact their convictions (or don't, as the case often proves). Freshly released from reform school, Daniel (Bartosz Bielenia) is drawn to the seminary after connecting with the facility's head priest, Father Tomasz (Lukasz Simlat), during his sentence. Alas, his record instantly excludes him from following that calling, even though he's only 20 years old. Then, through a twist of fate that always feels organic, he's given the opportunity to act as the new spiritual advisor in a rural town after its residents mistake him for a man of the cloth. Given that this is an imposter tale, Corpus Christi proves inherently tense and bristling from the outset; however, just as much of that mood and tone stems from the way that Daniel's new community say one thing but act in a completely different manner involving a recent tragedy. Warsaw 44 and The Hater filmmaker Jan Komasa willingly steps into thorny territory as he tells the young man's tale (with top-notch help from Bielenia), and wonders why it's so easy for so many to cling to centuries-old concepts and stories, but so hard for most to put them in a modern, realistic and everyday context. Read our full review. https://www.youtube.com/watch?v=nzqevBnUUZU THE ASSISTANT Charting an ordinary day in the life of a junior staff member at a film production office, The Assistant is as unsettling as anything else that reached screens in 2020. Jane (Julia Garner, Ozark) has the titular position, working an entry-level job for a demanding head honcho who everyone in the office indulges — although viewers never get to meet him. She arrives at work before daylight, trudges through menial tasks and is treated poorly by her male colleagues. She's expect to anticipate everything that her boss could ever need or want, or face his wrath if she doesn't. And, as the day progresses, she realises just how toxic her workplace's culture is and how deep its inappropriate conduct burrows. Seeing how predatory the man she works for acts on a daily basis, and how his behaviour has a significant impact, she also learns how those who even try to speak out can still be powerless to effect change to stop it. If you've kept abreast of the #MeToo movement over the past few years, you'll know exactly what has inspired The Assistant, of course. However, Australian filmmaker Kitty Green wants her audience to experience this devastating scenario via Jane, rather than merely read about it. She doesn't just succeed; although she's working in fiction here, she directs a film as searing and perceptive as her last project, the excellent documentary Casting JonBenet.
