This quaint cafe in Leura is known for its standout breads baked in-house. It also makes jams, cakes, chutneys, curds and a heap of gluten free alternatives, too — so there's something for everyone. Grab an egg and bacon roll — or some freshly baked gluten-free walnut and fig bread — and a table in the courtyard, which is covered and has heating lamps during winter. And bring your dog, four legged friends are welcome here. Serving both breakfast and lunch all day, you can either start your day here, or end it.
How fitting it is that a film about family — about the ties that bind, and when those links are threatened not by choice but via unwanted circumstances — hails from an impressive lineage itself. How apt it is that Hit the Road explores the extent that ordinary Iranians find themselves going to escape the nation's oppressive authorities, too, and doesn't shy away from its political subtext. The reason that both feel ideal stems from the feature's filmmaker Panah Panahi. This isn't a wonderful movie solely due to its many echoes, resonating through the bonds of blood, and also via what's conveyed on-screen and reality around it, though. It's a gorgeously shot, superbly acted, astutely written and deeply felt feature all in its own right, and it cements its director — who debuts as both a helmer and a screenwriter — as an emerging talent to watch. But it's also a film that's inseparable from its context, because it simply wouldn't exist without the man behind it and his well-known background. Panah's surname will be familiar because he's the son of acclaimed auteur Jafar Panahi, one of Iranian cinema's best-known figures for more than two decades now. And Jafar's run-ins with the country's regime will be familiar as well, because the heat he's felt at home for his social commentary-laden work has been well-documented for just as long. The elder Panahi, director of This Is Not a Film, Closed Curtain and more, has been both imprisoned and banned from making movies over the years. In July 2022, he was detained again merely for enquiring about the legal situation surrounding There Is No Evil helmer Mohammad Rasoulof and Poosteh director Mostafa Aleahmad. None of the above directly comes through in Hit the Road's story, not for a moment, but the younger Panahi's characteristically defiant movie is firmly made with a clear shadow lingering over it. When filmmaking becomes a family business, the spectre of the parent can loom over the child, of course — by choice sometimes, and also purely thanks to their shared name. In the first category, Jason Reitman picked up his father Ivan's franchise with Ghostbusters: Afterlife, for instance; Gorō Miyazaki has helmed animated movies for his dad Hayao's Studio Ghibli, such as Tales From Earthsea, From Up on Poppy Hill and Earwig and the Witch; and Brandon Cronenberg's Antiviral and Possessor are chips off The Fly and Videodrome great David Cronenberg's body-horror block. Panahi's Hit the Road also feels like it has been handed down, including in the way it spends the bulk of its time in a car as Jafar's Tehran Taxi and 3 Faces did. That said, it feels as much like the intuitive Panah is taking up the same mission as Jafar as someone purely taking after his dad. Hit the Road's narrative is simple and also devastatingly layered; in its frames, two starkly different views of life in Iran are apparent. A mother (Pantea Panahiha, Rhino), a father (Mohammad Hassan Madjooni, Pig), their adult son (first-timer Amin Simiar) and their six-year-old boy (scene-stealer Rayan Sarlak, Gol be khodi), all unnamed, have indeed done as the movie's moniker suggests — and in a borrowed car. When the film opens, there's no doubting that the kid among them sees the world, and everything in general, as only a kid can. The mood with the child's mum, dad and sibling is far more grim, however, even though they say they're en route to take the brood's eldest to get married. Their time on the road is tense and uncertain, and also tinged with the tenor of not-so-fond farewells — and with nary a glimmer of a celebratory vibe about impending nuptials. If the boy senses the sorrow hanging thick in the van, it doesn't trouble him; existence is simple when you're just a kid in a car with your family. Initially, he plays with a makeshift keyboard drawn onto the cast over his dad's broken leg. Throughout the ride, he chatters, sings, does ordinary childhood things and finds magic in the cross-country journey. He throws a tantrum when, not long after the feature starts, the family has to stop to hide his mobile phone. And, he shows zero knowledge about what eats at the rest of his relatives. But mum worries they're being followed, and just worries overall; big brother has little time for any frivolities, preoccupied as he is with the future ahead; and dad is gruff but caring, torn between his physical ailments and the vastly different situations surrounding his two offspring. In the back, their dog Jessy is also unwell, another truth that's being kept from boy and complicates the vehicle's dynamic. Every venture away from home, whether during a leisurely drive or for more serious reasons, spills out its joys, thrills, woes and secrets as it unfurls; that's the best way to watch Hit the Road as well. Cinema's second-generation Panahi crafts a bittersweet and beautiful film that's alive with minutiae, and with moments that overflow with insight and emotion — and, as lensed by Ballad of a White Cow cinematographer Amin Jafari, with as much feeling conveyed visually as via the movie's pitch-perfect performances. Sarlak's lively portrayal and the detail that comes with it says everything that's needed about trying to claim a slice of normality within Iran today, and how tricky that is. The feature's stunningly shot frames are just as telling, every sequence adding meaning and spectacle. Three in particular, all late in the piece and involving fraught exchanges, nighttime stories and heartbreaking goodbyes, rank among the most mesmerising images committed to celluloid in recent years, in fact. In one such standout scene backdropped by a misty field, the camera remains at a distance as it observes the family splintering. In its sense of remove, it lets their ordeal act as a broader portrait, serving up a statement via a microcosm. In another glorious moment, father and son take in the evening sky and also appear to surreally float within it — in a nod to 2001: A Space Odyssey, which the other son names as his favourite movie. In the third scene, light and movement carve through a hillside like much has carved through the film's central family and their country. Hit the Road includes delightful to-camera sing-alongs, too, and deadpan humour, plus striking shots of both sandy and verdant landscape. It's clear-eyed and also dreamy, weighty yet comic, intimate as well as sprawling, and realistic but playful. It's a fable, a snapshot and a message in one, and it's as tender as it is heartbreaking. Hit the Road is a movie to travel along several routes with, as Panahi does, each fork along the way as revelatory as the end destination.
Since its highly anticipated re-opening back in 2015, Chippendale's Old Clare Hotel has held a firm place as one of the city's best boutique hotels. Reborn from the (metaphorical) ashes of the historic and dearly beloved Clare Hotel, and adjoining Carlton United Brewery Administrative Building, the hotel boasts heritage timber panelling and exposed brick walls, furnished with pendant lighting and vintage furniture. Plus, you can bring your pup along thanks to several dog-friendly suites. On request, they come decked out with extras like handmade pet bowls crafted by Motion Ceramics, Fuzz-Yard plush toys and a miniature retro-style lounge for your pet's sleeping and relaxing. For guests on the go, there's a pet directory listing animal-friendly bars and eateries, and handy dog-walking and dog-sitting services available through the hotel. And your furry mate can even get in on the all-important room service action, with a complimentary menu of in-room pet dining options. They'll find treats like Yummi roo bites for cats and Savourlife beef-flavoured dog biscuits, and dry and wet food, all available 24/7. Other hotel amenities include a rooftop pool and bar, private gym and free bike hire, as well as in-room massage services. Guests can also take advantage of custom-made bicycles to explore the surrounding neighbourhood. At night, simply relax at The Clare Bar — or at the hotel restaurant, Automata (before the beloved Hatted restaurant shuts its doors in December 2022), which gives all guests a cool 20% off. Alternatively, you've got the wealth of delicious dining options just a hop, skip and jump down the road at Sydney's Chinatown. And the best of Redfern and Surry Hills is an easy stroll from your digs. Location, location, location. Now you can book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations everywhere.
It seems almost ridiculous to introduce bills: these cafes are an institution. The first, in Darlinghurst, introduced the concept of communal dining to our nation, reputedly as a way to get around council restrictions. Bill Granger, namesake and chef, is well-known in his own right, with more than one signature dish under his belt and a plethora of cookbooks in stores worldwide. So it's with more than a touch of guilt that I admit this is my first visit. Thankfully, the casual reputation of bills lives up to expectations, and my shyness quickly gives way to enthusiasm. It's Saturday morning in the Darlinghurst edition, and I'm glad we've decided to come early. Within five minutes of our arrival, the entire room is buzzing with breakfasters. The small room, sparsely decorated, is filled with warm sunlight. We sit at a large table in the centre of the room (the famous communal table), and begin our meal with Freshly Squeezed Orange Juice ($6.50) and a Flat White ($3.90). Choosing our meals is slightly more difficult. After deliberating, we decide that signature dishes are in order for our virgin visit. We pick Sweet Corn Fritters with Roast Tomato, Spinach and Bacon ($18.50) and the Ricotta Hotcakes with Fresh Banana and Honeycomb Butter ($17.50) to share. Our waiter recommends sides of Avocado Salsa ($4.50) and Bacon ($5) to match each dish respectively, and we don't need much persuasion to agree. The serves arrive quickly and are fresh, enormous and delicious. That said, I suspect that this menu would be hard to go wrong with - definitely worth a repeat visit or two. Breakfast (or any other meal) at bills isn't cheap, but the relaxed luxury of the food and atmosphere makes this a treat worth partaking in. Any wait will be well worthwhile, but if time is scarce, opt for some Daily-Baked Bran Muffins ($4.50) to take with you.
Living up to its splendid first date with audiences has never been a problem for Starstruck. When the Rose Matafeo (Baby Done)-starring BBC and HBO series first strode into streaming queues in 2021, its initial episode was an all-timer in the charming stakes, as was the show's entire six-instalment debut season. When Starstruck returned for a second run in 2022, its next go-around instantly proved as much of a smart, savvy and charismatic delight. Streaming via ABC iView from 9.30pm on Wednesday, September 6 and in New Zealand via TVNZ+ since 8.30pm on Saturday, September 2, season three continues the trend — and keeps demonstrating that no romantic rendezvous, no matter how idyllic, can just keep repeating itself. Plot-wise, Starstruck has always had one couple at its centre: New Zealander-in-London Jessie (Matafeo) and British actor Tom (Nikesh Patel, Four Weddings and a Funeral). Frequently, however, they're not actually together, with the show charting the ins and outs of a complicated relationship that started with a New Year's Eve meet-cute and one-night stand. The hook from the get-go: that Tom is an A-list star, which Jessie doesn't know until after they've hooked up. So, Starstruck asks what it's like to live the Notting Hill life. In season three, more accurately, it ponders what comes after that's been and gone. Season two might've finished with a scene right out of The Notebook, and with echoes of Bridget Jones' Diary as well, but its follow-up quickly establishes that Jessie and Tom didn't get their happy-ever-after ending — they're no longer together, and haven't been for some time. Starstruck season three starts with a bold move, spending a few minutes zipping through Jessie and Tom's romance since season two via a heartbreaking montage. That choice is also deeply fitting for a show that's exceptional at endings. One of the best newcomers of its debut year and best returning series of its second, Starstruck's excellence is like a perfect bouquet, with vibrancy blooming everywhere — in Matafeo's lead performance, the show's ability to unpack a genre it clearly loves, its glorious nods to rom-coms past, and its astute insights into 2020s-era dating and life, to name a mere few. How its star, creator and co-writer wrapped up both season one and two was equally as sublime, though. So, season three goes all in on something cherished and blissful approaching its conclusion. If that train of thought has you wondering if this is it for Starstruck itself, a fourth season hasn't yet been locked in. The green light for season three came four months after season two dropped, so not having a future confirmed so far isn't an ominous sign for fans. Matafeo and co-scribes Alice Snedden and Nic Sampson have always treated their series as something to treasure there and then, too; it's the epitome of revelling in the here and now, as anyone in love should. No one knows where life will take them, including Starstruck's guiding hands. So, every season could put a bow on the tale and say farewell — but unboxing more after each finale, whether it involves a The Graduate-style stint on a bus or frolicking in a pond, wouldn't destroy the storytelling, either. Thanks its rush through Jessie and Tom's attempts to make their relationship work, then its huge leap forward afterwards, as much time has passed in Starstruck's world as it has for viewers. Two weddings now loom over the narrative: Jessie's now-pregnant best friend Kate's (Emma Sidi, Black Ops) to Ian (Al Roberts, What We Do in the Shadows), and Tom's to his fellow-actor fiancée Clem (Constance Labbé, Balthazar). It's at the first set of nuptials that Jessie and Tom cross paths again, sparking a torrent of emotions that neither has worked past (some knowingly, some not). While awkwardly trying to avoid her ex and endeavouring to make it appear that she has powered on happily without him, Jessie also connects with kindly Scottish electrician Liam (Lorne MacFadyen, Operation Mincemeat). Chronicling Jessie's blossoming bond with someone other than Tom might seem like another of Starstruck's bold season-three moves, but it's a vintage choice for a series that's obsessed with tearing into rom-com tropes. The idea that there's only one big, sweeping, heart-aflutter, existence-defining affair in anyone's life is foundational in the romantic-comedy genre, and yet that's rarely a guaranteed outcome. In a six-episode batch that's as bingeable as ever, Starstruck grapples with grappling with that fact. Jessie and Tom keep tumbling back into each other's orbits, finding themselves caught between yearning for yesterday, wishing today was different and forging a fresh tomorrow — and tossing and turning over which outcome they want. Deepening their dilemma is Starstruck's focus on reaching that late-20s, early-30s stage where committing and picking a way forward is the norm. Indeed, instead of the tension between the celebrity realm and everyday existence, this season's main clash arises from the contrast between getting settled and still feeling like you'll never have it together. There Starstruck goes, interrogating rom-com conventions again, including the notion that falling in love immediately solves or smooths life's other messes. It's no wonder that the sitcom has become one of the most-relatable romantic comedies there is — and best all round. In the show's writing, performances and directing alike, Matafeo and company understand why their chosen genre spins the fantasies it does. They're well-aware why audiences swoon over such tales as well. And, they're eager to face the reality, but with warmth, humour and empathy. Starstruck's version of laying the truth bare: a sidesplittingly frank chat directed Jessie's way, where she's told that her life mightn't be living up to her wildest dreams but, given that she has a house and a job — and she's "not even that bad of a person" — it's actually not awful. There goes Starstruck's main season-three takeaway again, as given voice: "just appreciate what you have while you have it". Being grateful for this wonderful sitcom as a whole, and for Matafeo's luminous turn at its centre, isn't just easy — it's automatic. Season after season, Starstruck keeps painting a portrait of love, life, friendship and chaos that's both clear-eyed and rosily affectionate, complete with fleshed-out and lived-in performances that embrace the fact that every person and every romance has flaws and joys in tandem. This far in, Jessie, Tom, Kate, their pals and partners are as rich and resonant as any group of long-term friends and acquaintances on-screen and -off. Matafeo, Patel, Sidi and their co-stars' efforts are also that emotionally honest. Everything about Starstruck keeps evolving, too, other than how stellar it has always been. Check out the trailer for Starstruck season three below: Starstruck season three streams in Australia via ABC iView from 9.30pm on Wednesday, September 6, and in New Zealand via TVNZ+ from 8.30pm on Saturday, September 2. Starstruck's first and second seasons are also available to stream in Australia via ABC iView and in New Zealand via TVNZ+. Read our full review of Starstruck's first season — and our full review of its second season, too. Images: Mark Johnson/HBO Max.
Alpine, mountainous, snow-capped — these aren't words you would normally associate with our sun-kissed country. But Australia is a land of extreme seasons and surprises. The High Country is right on our doorstep, only a few hours' drive from Melbourne, but it's almost a different world, especially in autumn. The transitional season between the sun-drenched summers and snowy winters is one of the most fascinating times to visit the High Country. Before the mountains go into full alpine retreat mode, they come alive with apple trees, autumnal colours, and the emotive, alluring scent of deciduous environments that we only get to experience once a year. Not to mention the bountiful gastronomic opportunities that the harvest season presents to the High Country's many wineries, pubs, cafes and farm doors. Because we know that no mountainous hike is the same without something delicious to sustain and motivate you, we've paired the region's best hearty bites with its most invigorating treks. BRIGHT AND TIKI COCKTAILS Start in Bright, a historic village that acts as the gateway to some of the region's best treks. Bright itself is worth the trip in autumn for both its glorious autumn foliage and its inspired culinary scene. To fuel up (and you're going to need it), head to Tomahawks — a cool, cosy bar and restaurant in the middle of town. Try the chargrilled broccoli served with smoked butter and almonds and the dukkah lamb ribs for a hearty snack, or go one of their brioche buns if you want more energy. Make sure to try their Tiki cocktails while you're there — they pack a flavoursome punch. Afterwards, drive about an hour north of Bright to Diamantina Hut and trek up Mount Feathertop. From there, it's an 11-kilometre hike up the mountain — about seven hours return. It's a steep climb but will take you into another world in autumn: a misty, mossy, fantasy land with spectacular views. If you end up back in Bright, reward yourself with a drink at distillery Reed & Co, whose signature Remedy dry gin is made with native pine needles and eucalyptus. The venue also boasts a custom-made fuel grill so you can count on a nourishing meal to fill you up. WANDILIGONG AND MUSHROOM FORAGING If a seven-hour hike is a little intimidating, try this alternative. Start, once again, in the beautiful town of Bright with a mushroom foraging class. They run throughout May (prime mushroom foraging season) at a local cooking school. You'll hunt for local mushies before learning five Italian recipes to make the most of your haul. Then put your new skills to the test on a six-kilometre trek to Wandiligong, a tiny gold-mining town to the south of Bright. In April, the town hosts a seasonal nut festival where the growers of the region harvest and show off their produce, both nut and otherwise. Get on down there for the chestnuts-roasting-on-an-open-fire smell alone. Make the most of your time in Wandiligong by stopping at some of its other foodie haunts: Wandiful Produce, where you can gather your own freshly fallen chestnuts at this time of year and take a tour of the farm, and Nightingale Brothers orchards, the spot to imbibe fresh apple cider and stock up on edible gifts. MOUNT HOTHAM AND VIENNA SCHNITZEL Go properly Sound of Music with an Alps-inspired mountain adventure. Start the proceedings at Zirky's, the Mount Hotham resort founded by Austrian Peter Zirknitzer, who came out here in the 1950s to teach skiing. His family still runs this operation, and their European roots shine through in the dining room, where Austrian-style schnitzel is served on Wednesday nights. Then, in stark contrast to such luxury, head on down to Mount Hotham and brave the three-day alpine camping trek. It's a 37-kilometre trek from Mouth Hotham to Falls Creek, and autumn is the perfect time to go. It's cold enough to use all that shiny, high-tech camping gear you love, but not so cold that you'll need cross-country skis. The manageable track winds through snow-gum woodlands and snow grass plains, with a few summits and historical sites along the way. This trek requires a bit of pre-planning because of the camping element, but it's well worth it. Consider overnighting at Cope Hut or Dibbins Hut, where there are new camping platforms. MOUNT BULLER AND A CELLAR DOOR If you lean more towards the food and wine side of the trek and treat adventure, opt for an easier hike between the twin peaks of Mount Buller and Mount Stirling. The moderate 7-kilometre trail takes about 2.5 hours through pretty snow gum forest. Those seeking truly iconic scenery can take a detour to a nearby cabin, used in the movie The Man From Snowy River. You'll want to make a stop on your way down Mount Buller at Delatite Wines. Their cellar door serves simple antipasto platters made with local ingredients — a fine accompaniment to the European-style wine and rolling hillside views. MOUNT BUFFALO AND AN OLIVE GROVE If you want to get your hands on some local produce, stop by the local olive grove and farm gate at Mount Buffalo Olives. Extra virgin olive oil is, as we all know, the nectar of the Gods, and it doesn't get much better than this. The Mount Buffalo olive vineyard has incredible views of the region. As well as olives and olive oil, they produce lots of tasty treats to fill out a picnic basket. Once you have your picnic ingredients sorted, head to Lake Catani campground. It's a great picnic destination to gorge yourself on all that freshness, and it's the starting point for plenty of 2-3 hour hikes up Mount Buffalo itself. Mount Buffalo is one of the easier hiking destinations in the High Country, so think of it as more of a digestive stroll than a high-adrenaline slog. For the athletes, there's the Horn Trail 30 minutes away — it's a punishing uphill trek that rewards you with the best views. BEECHWORTH AND BEER If you're interested in the history of the region, head to Beechworth and check out the Gorge Scenic walking tour. This one is a moderate walk (not a hike, so leave the hydration backpack at home for this one) and give yourself a few hours to enjoy it. The trail takes you out of town, through rugged Victorian country and the richest goldfields in Australia then loops back around to finish at the Beechworth Visitor Centre. You'll travel past waterfalls, rugged landscapes, historical sites, goldfields, quarries and bridges. The town of Beechworth also has a rich architectural history that'll leave you feeling like you're in an episode of Aussie-style Westworld. Grab some educational material from the visitor centre to get the most out of the walk. And when you're all wandered out, head over to Bridge Road Brewers to recover with a chestnut pilsner and roast duck pizza. They make all their small-batch beers on site, while the kitchen specialises in some of the world's other best sources of carbs — pizza and pretzels. Plan your High Country getaway by visiting the Wander Victoria website and discover more of the autumnal delights across regional Victoria before the season is out.
While property ownership remains a distant dream or outright alien concept for many Australians, new data has revealed that during the cost-of-living crisis, the country's two biggest housing markets have seen a slight downturn in activity. As reported by the Australian Financial Review, the Cotality daily index has revealed that home values in Sydney and Melbourne are shrinking. Since February, home values have slowly been depreciating in Australia's two biggest cities, reaching a drop of 0.04 percent on the weekend. Sadly, it's not indicative of a nationwide shift, since value is increasing in Perth, Adelaide and Brisbane. Historically speaking, downturns were last recorded in times of major financial upheaval, with the recent occurrences including 2008, 2011 2018, 2019 and 2020. However, it's not a symptom of a bubble bursting, rather a loss of momentum in a market that's been growing for the last six years — a loss brought on by rising interest rates and economic shockwaves from the Iran War. View this post on Instagram A post shared by Cotality AU (@cotality_au) Cotality research director Tim Lawless said to AFR, "We've seen more than three months of housing values moving backwards…If you go back historically, there's probably only around five times in the last 15 years where we've seen clearance rates holding this low and they all line up with housing market downturns." Ray White chief economist Nerida Conisbee reiterated to AFR that this qualifies as a mild downturn, and is heavily offset by the continuing growth nationwide. "In contrast, other parts of the country are continuing to record strong growth, particularly Brisbane, Adelaide and Perth. This highlights how uneven the current cycle is, with the larger East Coast capitals no longer leading the market in the way they have historically." According to Cotality, this week's preliminary clearance rate (the ratio of properties sold at auction to total auctions listed) fell for the third consecutive week, bringing it below the average March figure by nearly ten percent, with more drops forecasted around the ANZAC Day long weekend. Meanwhile in the renting world — Cotality's Q1 Rental Review of 2026 reveals that in Sydney, renters are spending a record 33.1 percent of household median income on rent, while the shortage of rental listings has increased to 18% below the five-year average across the country.
If you thought that the White Lotus resorts in Hawaii and Sicily were luxe, Thailand's counterpart has news for you: "our hotel is the best in the world," guests are told upon checking in, as viewers can see in the just-dropped full season-three trailer. A new batch of travellers is making the chain their temporary home away from home, and a new round of chaos is certain to ensue. Also exclaimed in the latest sneak peek: "what happens in Thailand stays in Thailand". The acclaimed series returns for its third run in mid-February 2025 — and while a vacation at an opulent hotel is normally relaxing, that isn't what folks find in this show. It was true in the first season in 2021, then in season two in 2023, each with a largely different group of holidaymakers. Based on the various glimpses at season three over the last few months, that's of course set to be accurate again in the eight-episode run that arrives from Monday, February 17 Australian and New Zealand time. Walton Goggins (Fallout), Carrie Coon (Ghostbusters: Frozen Empire), Jason Isaacs (The Crowded Room), Michelle Monaghan (MaXXXine), Leslie Bibb (Palm Royale) and Parker Posey (Mr & Mrs Smith) are among the vacationers hoping to enjoy a White Lotus stay this time, alongside Sam Nivola (The Perfect Couple), Patrick Schwarzenegger (Gen V), Sarah Catherine Hook (Cruel Intentions) and Aimee Lou Wood (Sex Education). Families, couples and friends on getaways: they're all covered by the above cast members. From season one, Natasha Rothwell (How to Die Alone) is back Hawaii spa manager Belinda, who advises that she's there on an exchange program to take some knowledge back to Maui. Season three also stars Lisa from BLACKPINK, Lek Patravadi (In Family We Trust), Tayme Thapthimthong (Thai Cave Rescue), Nicholas Duvernay (Bel-Air), Arnas Fedaravičius (The Wheel of Time), Christian Friedel (The Zone of Interest), Scott Glenn (Bad Monkey), Dom Hetrakul (The Sweetest Taboo), Julian Kostov (Alex Rider), Charlotte Le Bon (Niki), Morgana O'Reilly (Bookworm) and Shalini Peiris (The Ark). Bad feelings, seeking pleasure but finding pain, threatening to drink oneself to sleep, wanting to always live like this, family reunions, angry rich men, possible prison sentences, protecting the hotel: alongside guns, dancing, judgemental pals, missing pills, snakes, swims, monkeys, ambulances, complaints about gluten-free rice and a body bag, they're all featured in the clips from season three, which takes place over the course of a week. Where the Mike White (Brad's Status)-created, -written and -directed satire's first season had money in its sights and the second honed in on sex, eastern religion and spirituality is in the spotlight in season three. What'll be in store after this? While the third go-around is 2025's must-see viewing, HBO has already renewed The White Lotus for its fourth season. Check out the full trailer for The White Lotus season three below: The White Lotus returns on Sunday, February 16 in the US, which is Monday, February 17 Down Under. At present, the series streams via Binge in Australia and on Neon in New Zealand. Images: HBO.
In 2022, The Strokes and the Yeah Yeah Yeahs were meant to share the same Splendour in the Grass bill. Karen O's band didn't make it to what became Splendour in the Mud, but the two groups have shared plenty before — and for decades. Their maps have overlapped since pre-9/11 New York, when both were formed in the turn-of-the-millennium indie-rock wave, then surfed it to success and worldwide fame. Both The Strokes and the Yeah Yeah Yeahs were born of the Lower East Side pre-gentrification. Both spun in the same orbit as late-90s saccharine pop and Y2K nu-metal rock gave way to electrifying guitar riffs and an explosive sound that'd become a whole scene. Both are led by charismatic singers who came alive onstage, but also found chaos and challenges. Alongside Interpol, LCD Soundsystem, The Moldy Peaches, The Rapture and TV on the Radio, both now sit at the heart of documentary Meet Me in the Bathroom. Based on Lizzy Goodman's 2017 book Meet Me in the Bathroom, an oral history that focuses on exactly what its subtitle says it does — Rebirth and Rock and Roll in New York City 2001–2011 — this is a fond look back at bands setting the room on fire and rolling heads as one century gave way to the next. While the film isn't about just one or two groups, it returns to The Strokes and the Yeah Yeah Yeahs again and again, and not simply because they're two of the early 00s' biggest NYC post-punk, garage-rock revival names. Listening to The Strokes' first record, 2001's Is This It, is a jolt and a buzz. With Julian Casablancas behind the microphone, it thrums and hums with the energy of hopping between bars, gigs and parties, and with the thrill of a heady night, week, month, year and just being in your 20s. Hearing O's voice is galvanising — intoxicating as well — and has been since the Yeah Yeah Yeah's self-titled EP, also in 2001. It's no wonder that directors Will Lovelace and Dylan Southern just want to keep listening, and also inhabiting that vibe. Meet Me in the Bathroom jumps around like a mixtape — or, befitting the period, like illicit tunes acquired by Napster and LimeWire, tools that aren't irrelevant to this story. Before technology changed the radio star again, making global fandom easier, better, faster and stronger, the movie's bands had to come to fruition in the first place, however. Lovelace and Southern start with images of the Manhattan skyline, and of New York's subway system. They hero Andy Warhol, Lou Reed and Blondie, ticking through New York icon after New York icon. They position The Strokes, the Yeah Yeah Yeahs and company's arrival as the next step and, by using such familiar NYC mainstays, they mark Meet Me in the Bathroom's key players as era-defining legends who were always going be legends. Before this, Lovelace and Southern's best-known film was Shut Up and Play the Hits. In that James Murphy-centric doco about what was then LCD Soundsystem's last gig at Madison Square Garden and in this alike, the directing duo are patently enamoured with their subjects. That doesn't dampen or discount Meet Me in the Bathroom's passion and insights, not for a second — but the film is preaching to the long ago-converted rather initiating 00s-period indie-rock newcomers. There's a wistfulness beyond nostalgia to the movie as well that's a few strums away from being out of tune. The years have passed, naturally. It'll never be the advent of the 21st century again, short of time-travelling DeLoreans or phone booths. Still, The Strokes' last album arrived in 2020, and the Yeah Yeah Yeahs and Interpol released new records in 2022; they're all still together and still touring. In a counterpoint to Meet Me in the Bathroom's confidence that this talent in this town was always going to lead to this tale, The Moldy Peaches' Adam Green voices early doubts: "I remember thinking maybe New York isn't the kind of city anymore that produces iconic bands." The film wouldn't exist if the names it surveys hadn't made their mark, of course, and helped ensure their scene made a mark. Viewers know that going in, but watching the process via archival footage, home movies and gig snippets from the time, much of it handheld and atmospheric — and hearing from Casablancas, O, Murphy, Green, Interpol's Paul Banks and more — is as immersive and transporting as Lovelace and Southern want it to be. A like-you're-there sensation kicks in; Casablancas looking so fresh-faced assists, plus O talking through how fronting a band helped her work out who she was. (Her comment that there were no women in rock leading the way beforehand aren't as spot-on.) O is a fascinating, mesmerising, don't-want-to-look-away point of Meet Me in the Bathroom's focus. The movie does peer elsewhere, but the audience wants it to swiftly return. Her transformation from a quiet girl with an acoustic guitar from New Jersey to a rock goddess doesn't just feel fated, but earned. Her honesty, especially when chatting about the solace from racism and sexism she sought in music, then the treatment that women in rock receive, is pivotal to making Meet Me in the Bathroom more than a vivid effort to revisit a time, place, mood and scene. Also, her candour sits in contrast to Casablancas, who the doco gravitates towards as the world did, but conveys most of what he's going to by saying little. The bigger The Strokes get, the less comfortable he is. And, given that everything in the film's frames comes from back in the day, that's without Casablancas knowing that two decades later this documentary would take its name from a track from The Strokes' second album. Affectionate, in the moment, revealing, reverent: Meet Me in the Bathroom hits all of those notes. It also covers much, from Y2K predictions to 9/11 and its aftermath, sweaty club shows to internet-enabled album leaks, and whirlwind tours through to struggling to get deals and records out. With editors Andrew Cross (Ronaldinho: The Happiest Man in the World) and Sam Rice-Edwards (Whitney), Lovelace and Southern structure the film by feel more than anything else. There's a timeline to this time capsule, but in flitting from one band to the next and back again, choosing where to linger — including an indulgent midsection spent charting Murphy's switch from producer to LCD Soundsystem frontman — and picking what to leave out, mood seems the biggest influence. That's music, though, as anyone who has happily lost themselves to The Strokes and the Yeah Yeah Yeahs on a heaving dance floor or among a jostling festival crowd knows, as does Meet Me in the Bathroom.
It's a tale as old as time: feuding siblings, an envy-fuelled rivalry, and an attempt to survive in harsh conditions. All three elements drive Icelandic effort Rams, as do the titular animals. Yet there's little about this perceptive examination of the bonds of blood, the struggles of farming life, and the importance of finding hope and humour in even the bleakest of circumstances, that feels routine or overly familiar. Perhaps focusing on the woolly creature's importance to rural townships helps, with the feature's narrative following brothers Gummi (Sigurður Sigurjónsson) and Kiddi (Theodor Juliusson) as they operate neighbouring sheep farms. Perhaps the measured pace, meticulous detail and observational atmosphere does as well, all stemming from writer/director Grímur Hákonarson's documentary background. Indeed, though Rams is a work of fiction, in exploring the hardships of working the land it seems ripped straight from reality. After entering their prized beasts into an annual competition, Kiddi emerges victorious, but a bitter Gummi is convinced that something is awry. Secretly inspecting the winning critter, he spies signs of a highly contagious disease that could wipe out Kiddi's flock, infect his own and cripple the entire village's livelihood. The duo hasn't spoken in four decades, exchanging messages via sheepdog to communicate when needed. However only by working together can they hope to save their animals and their community. While compromise might be called for within the story, as the bickering brothers are forced to unite to fight a shared cause, the movie itself prefer to dwell upon contrasts rather than find common ground. Hákonarson doesn't try to soften the difficulties he depicts, even when he's giving them the quirky comic treatment. Instead, he endeavours to present both tough times and happy moments, and demonstrate the importance of taking the good with the bad. Accordingly, Rams becomes not just an empathetic tale of striving to triumph over adversity, but an intricate exercise in balance. The film shows amusing attempts to outwit the agricultural authorities one minute, and the fearsome impact of the unforgiving Icelandic environment the next. But it never lets the former overpower the latter or vice versa. Of course, when a feature revolves around squabbling siblings, more than a bit of to-ing and fro-ing is to be expected. What makes the film soar isn't its determination to delve into opposing sides, but the way in which it embodies those underlying divides in everything from its visuals to its performances. Cue images that jump between vast sights and intimate interiors, and portrayals that similarly pit bold and subtle traits against each other. In Hákonarson's hands, the many juxtapositions prove not just effective in conveying the story, but insightful as well. Here, the extremes of existence exist as part of a continuum, constantly coming into conflict and yet still managing to coexist. That's the core of Rams, and the secret to making a film feel both immediate and timeless.
When a restaurant proves so popular that it has to open up a second site, everybody wins. In China Diner's case, fans of the Bondi favourite get a second place to get their share-style Chinese cuisine fix, while those in the vicinity of Double Bay get another Asian eatery. Setting up shop on Kiora Lane, China Diner's latest venue still boasts the dumplings, duck pancakes and other dishes that have already made it such a hit; however, there's more than just tried-and-tested tastiness on the menu here. In a move reminiscent of executive chef Jack James Steer's approach to Cantonese cooking, the Double Bay digs blends the traditional and the modern courtesy of a few fresh selections. Existing fans can savour another serving of crispy pork bao with apple and carrot kimchi, or chicken and sesame 'chiko' spring rolls with blood plum sauce, while newcomers can try the new concoction that is Steer's chicken and sweet corn soup topped with truffle foam. Drinks-wise, China Diner Double Bay serves up a creative cocktail list that similarly aims to showcase the restaurant's love for its chosen cuisine, and Asian food in general — think the lemongrass and coconut sour (with lemongrass-infused Wyborowa vodka, citrus and coconut foam), as well as share jugs of samurai Pimms (with Kirei sake, Pimms, mint, strawberry, orange and dry ginger ale). Throw in decor that mixes cocktail stools, open tables and booths, as inspired by the American diner vibe, and the scene is set for a relaxed, playful and delicious Chinese dining experience. Images: Dominic Loneragan.
When you enter she's already there, sitting small and restless amid the expanse of cool, eggshell-white tile, beige packing boxes and gleaming appliances. This room is a model of edge-of-town housing developments; an arena for a single-act battle of deeds, words and undercurrents; and purgatory for one woman at the twilight of her years. Playwright Tommy Murphy's much-anticipated follow-up to Holding the Man and Saturn's Return, Gwen in Purgatory was developed under the Philip Parsons Award and directed and guided to fruition by Neil Armfield at Company B. The result is an immaculate production of a finely tuned script. At its centre is 90-year-old Gwen Houlihan (Melissa Jaffer), lifelong resident of Queanbeyan, cloistered in her new digs and caught in a web of technologies that have kept moving faster as she has slowed down to a shuffle. Literally. Her phones are ringing and she just can't reach them in time. It's funny, but you don't want to laugh too hard; as well as being absurd, Gwen's situation is all too real, as is her pain. And the staggered arrival of her surviving children and grandchildren — Daniel (Nathaniel Dean), Peg (Sue Ingleton) and Laurie (Grant Dodwell) — isn't the balm you'd hope. They each bring their family-spun neuroses and mixed intentions as they dodge their looming duty of care and fill the room with tension. In the background, ingeniously, floats Father Ezekiel (Pacharo Mzembe), a young, Nigerian priest plugging Australia's ecclesiastic skills shortage. He has come to tend to his congregant but spends most of the play observing the interaction of the Houlihans — like us in the audience but saintly. A number of things raise this way above your average Aussie cringe-comedy. Foremost is a script in which there is verbosity yet no syllable of excess; every word is meticulously plotted, resonates and interlocks in surprising ways and comes back to bite its characters. And what characters: written with warmth, rendered with devotion, they evoke empathy even at their nastiest. It's wholesome, somehow, so you can probably take your actual grandma — although you may think twice about leaving her at the end of the evening. Image by Heidrun Lohr. https://youtube.com/watch?v=xZ25xCi17BY
Let them entertain you: with Better Man, the Robbie Williams biopic that takes its name from one of the British singer's tunes, filmmaker Michael Gracey and actor Jonno Davies have a clear mission that's shared with the man in the spotlight himself. The Australian-made, 16-time AACTA-nominated movie tells the warts-and-all tale of the boy from England's Midlands who has become an international superstar. It charts Williams' path through a complicated childhood, teen boy-band fame, relentless press attention, struggles with drugs and alcohol, tabloid-fodder relationships, a well-publicised reputation for partying, going solo, huge hits, sizeable scandals and plenty of reinvention — and, while never shying away from the tumultuous times that its subject has endured, it matches its unflinching view of his ups and downs with his love of monkeying around and putting on a show. The simian aspect of Better Man is literal. More than 20 years after 'Me and My Monkey' was a track on Williams' fifth studio album Escapology — a record that skewed personal to explore his experiences with pop stardom, and made hits out of 'Feel' and 'Come Undone' — his story reaches the screen with the former Take That member portrayed by a CGI chimpanzee. The approach renders Williams both a cheeky monkey and a performing monkey, and also reflects a journey that's had him swinging from limb to limb in life's jungle. The conceit was Gracey's choice, but based on the musician's own descriptions when chatting the Australian filmmaker through his existence. Better Man's helmer and subject first met when the director needed the singer's assistance with the former's debut feature. One of The Greatest Showman's original tunes won a Golden Globe and was nominated for an Oscar; however, star Hugh Jackman (Deadpool & Wolverine) had doubts about the songs going in — and, because the actor kept referencing Williams as a touchstone for his lead portrayal in the movie, Gracey hit him up for his thoughts and powers of persuasion. From there, the pair kept talking, then started recording Williams recounting his life story in the latter's studio. Next sprang the idea to make Better Man, which is how an Aussie talent came to craft a homegrown flick about one of the UK's biggest music figures of the past three decades. The film was initially announced in 2021, and news of Davies playing Williams arrived in 2022. That Better Man was going ape remained a secret until initial viewers cast their eyes on the flick at its world-premiere at the 2024 Telluride Film Festival, which was no easy feat. "I was astounded, because we really didn't want people to see any images from the film, and it blew me away that we managed to keep that under wraps for so long — just because we did scenes where we had 2000 extras, so at any point someone could've even given away shots of Jonno in the motion-capture suit. Or some image from the work that Wētā were doing could've found its way online. And it just didn't," Gracey tells Concrete Playground. "We tried really hard to make that the case because we wanted it to land in a way that was a very unique way to lens this story. And also having pitched it unsuccessfully for many years to financiers, I also knew that it would never make sense until people got to watch it," the filmmaker continues. "So there was really no point having chatter about an image and the conversation of whether that looks like Robbie or doesn't look like Robbie. I think that the most overwhelming response has been from people who are even sceptical about the conceit, that once they watch the film, they understand. And so I just desperately wanted to get in front of people before the conversation about 'why the monkey?'." [caption id="attachment_985602" align="alignnone" width="1920"] Monica Schipper/Getty Images for Paramount Pictures[/caption] A decade on from his screen debut in British TV's Casualty, Kingsman: The Secret Service and Hunters alum Davies has notched up what might prove the most-unique role of his career: playing Williams via motion-capture, and also voicing him in his younger years (Williams lends his own vocals to the movie, too). For his efforts, he's among the AACTA contenders for Best Actor. A fan going in of the man that he's portraying and of The Greatest Showman, Davies was instantly keen to take on the part, and has been revelling in the reactions that the movie has been earning since. "What's brilliant is seeing different audiences respond to the movie, whether that's an age thing, whether it's different continents, people that are Robbie Williams fans, people that have never heard of Robbie at all, and seeing how different people respond to it in different ways," Davies shares. "And seeing it being universally accepted — I think that was something we always wanted to focus on, is that Robbie is an everyday man. There's something in him, whether it's the relationship he has with his nan, whether it's his fear of imposter syndrome, there's something in him that anyone can relate to. There's something there that people connect [to]. I know Michael's had people coming up to him and saying 'I spoke to my dad for the first time in seven years' or people watch it and go 'you know what, it's made me want to ring my mum more or get in touch with the people I love'. Having those different connections and different responses is why you want to make cinema, why you want to make a film — is to affect people. It's been a joy." Down Under, Better Man was already making a splash before it reached Aussie cinemas on Boxing Day 2024; breaking the record for the most AACTA nods in a single year will do that. In a country with well-known fondness for Williams — if a biopic wasn't going to come out of Britain, Australia always seemed the next logical place for it — its main man has been popping up headlining the ABC's New Year's Eve coverage and doing a free gig in Melbourne's Federation Square, helping to give the movie a push, too. For viewers not instantly enticed by its subject or approach, the flick's biggest enticement sits within the feature itself, though. When 'Rock DJ' breaks out in a sequence filmed on London's Regent Street, it's a spectacular movie-musical moment. Gracey and Davies are relaying the tale of another great showman, after all, although that standout scene almost didn't happen. We also spoke with Better Man's director and co-writer, plus its star, about that unforgettable segment of the film, stepping into Williams' shoes — or a chimpanzee's feet, to be more accurate — and why monkeying around was the best way to tackle Williams' tale, as well as fandom, resilience and the full impact of Hugh Jackman's Williams obsession on The Greatest Showman. On Davies Playing the Man Responsible for One of His First Music Memories Jonno: "I was definitely a fan growing up. I saw him concert when I was nine with mum and dad. It's one of my earliest music memories, really. And when you're a child, you have no idea what your identity is, you're just in for a good time — and seeing this rock star on stage, peacocking about like he does, connecting with an audience, seeing how he's there to entertain the crowd rather than entertain himself. So then to 25-odd years later to be the one to play him is quite a pinch-me moment. I think it helped being from the UK, understanding the peak of his fame, how heavily, heavily documented his life was — much to his detriment, the lack of privacy there when he was suffering — I think that was a nice insight to have. But then also meeting in-person when we were in Melbourne when we first started, and then getting the rest of the story and sitting down with him, and him sharing some of his more vulnerable parts of himself — because he wants to make sure that this was an honest depiction. It takes someone very brave to allow themselves to be painted in quite a bad light a lot of the times in the movie. And so the fact that he then gave us his trust to collectively tell his story in a very honest and truthful way, I think it shows a calibre of a person." On How The Greatest Showman and Hugh Jackman Helped Bring Better Man About Michael: "It all stems back to working on The Greatest Showman with Hugh Jackman. Whenever we would talk about PT Barnum and what it was to be a great showman, he would always reference Robbie Williams — which used to make me laugh, and then after a certain period of time really annoyed me, because it was just always his go-to reference. Whether he was talking about music, whether he was talking about his swagger, or his charisma, or whether we were talking about choreography, he's like 'you know, the way that Robbie sort of moves' and I was like 'you know, every reference can't be Robbie Williams'. So at a certain moment when we were close to going into production, Hugh had a lot of voices in his ear about the music not being good enough, and he started to question the music. And at that point, we'd been working on the film together for six years, so I'd lost a lot of weight in my voice — because I was always the boy who cried wolf, who was like 'no, it's going to be great. This'll be the year we make it'. After six years, people start losing faith a little bit. So in a moment where Hugh felt that we should start again on the music, and I knew that that would mean the end of the film — and this is the music that is in the final film that Benji Pasek and Justin Paul wrote — I got in touch through my lawyer, because his daughter is friends with Ayda [Field], who is married to Robbie Williams. You know how you're always just like three people away from the person you want to get to? So I got a meeting with Robbie on a Sunday at his house, where I told him the story of The Greatest Showman, and then I played him the music. And at the end of the meeting, I said 'look, the only thing more bizarre than me showing up at your house on a Sunday is what I'm about to ask you now. It's one thing for me to tell Hugh Jackman what you think of the music. It's another thing for you to tell him entirely. So if you don't mind, can I just video you and you just talk into the camera as if you're talking to Hugh Jackman?' And that's what he did. He did this video message, which, to this day, if I'd written the script and said 'can you please read this to convince Hugh that this music is going to be great?' — what he did off the top of his head with ten-seconds' notice is why he is such an amazing showman. He was so compelling, the way he spoke about the music, he basically said to Hugh 'I've spent the last year working on my new album. I would scrap that album to sing these songs'. He literally was that effusive about how great the music was for The Greatest Showman. And he was right. The music was great. And history went on to prove that. But in that moment, that's exactly what Hugh needed to hear to have the confidence to move forward and make the film. So in many regards, there would be no Greatest Showman if there wasn't that video message from Robbie Williams. That's how we started then talking, and I just really enjoyed whenever we would talk, when he would tell me stories about his life. And with no intention to make a film — because unlike Jonno, I didn't grow up a Robbie Williams fan. Obviously growing up in Australia, you can't escape him. He's everywhere, but it's not like I listened to him. [caption id="attachment_985603" align="alignnone" width="1920"] Monica Schipper/Getty Images for Paramount Pictures[/caption] But what I really did love is I loved the way in which he talked about his life — and not just the events, but actually his delivery. I really enjoyed the manner in which, whether he's writing lyrics as a storyteller or telling you a story, he's a great storyteller. So I then just asked, knowing that he had a recording studio, when I was in LA, I would just drop over to his house and we would just sit in his recording studio and just chat. And those conversations took about a year and a half, and at some point during that, I started thinking 'wow, I could probably chop these up and make a radio play'. Then I went from there to 'actually this could make a really powerful film'. And in fact, those some of those recordings are in the actual voiceover of the film — those original recordings. But it was never the intention to make the film. It all stemmed from him and me just sitting in a studio just talking." On Why Portraying Williams as a Chimpanzee Was the Right Way to Tell His Story Michael: "I think that creatively, I just wanted to come at it with a unique angle. And also, I knew that narratively I wanted to explore both his internal life and his external life. So it was trying to find a device that would allow us to step between those two worlds, the world of the imagination and the world of reality. I think in a musical you're already in a heightened reality, because people are breaking into song, but I wanted something creative that would allow us to see more of Robbie than if it was just an actor playing him. And when I went back to those original recordings and I was listening to them, just time and time again Rob would refer to himself as a performing monkey. He would just say things like 'I was just dragged up on stage to perform like a monkey' or 'I'm up the back dancing around like a performing monkey'. And he said enough times that I was like 'there's definitely something to this performing monkey'. And when I looked at his story, whether it's him pretending to be tougher than he is in front of the kids in Stoke-on-Trent, where he grew up, or whether it's jumping up in front of the TV hoping that his dad would look at him the same way that he looks at Sinatra, there were just all these moments within the story that I was like 'he's always been that little performing monkey'. And the moment that I framed the entire film in that conceit, it just made me smile. I just thought 'this is going to work and it's going to work unbelievably well'. Convincing other people of that was the difficult part, but not convincing Rob. Rob was onboard in two seconds. I literally went to him and said 'if you're an animal, how would you see yourself?'. And he immediately said 'lion' and looked very proud. Then I sort of went 'really?'. And after about 30 seconds, he went 'nah, more of a monkey'. On Davies' First Reaction to Such a Unique Part Jonno: "There are so many challenges in this thing for an actor that every one is like 'oh my god, another reason to do it, another reason to do it'. One: motion-capture. Two: you are telling someone's story that's still alive, and someone that has many predetermined opinions on them, and so it's kind of up to you to try to shift those things. And I think that's what's useful about the monkey, is it separates people from Robbie Williams, and you follow this monkey story rather than necessarily this global superstar that people think they already know. But I was blown away by the concept. And I was I was blown away by the dream of it really. That's one of Michael's best assets, is he sells you the dream — but unlike many others, you get to actually go along with it. You get to join it. I was a massive fan of The Greatest Showman. I have always loved musicals. I love dancing, I love singing, but never thought I really had the chops to be a part of that world — certainly not a Broadway or a West End singer. So to be able to have Rob do the singing and me do the dancing, I was like 'how could I possibly not try to make this mine?'." On the Film's Celebration of Resilience and Persistence — and What That Concept Means to Davies and Gracey Jonno: "Resilience certainly comes in with the life of an actor. You are told 'no' many more times than you are told 'yes.' And you often value yourself on your last job, or the last job you did not get. I think it's about trying to stay resilient and trying to remember that you are authentically you, right? And so even though you're getting your nos, it doesn't mean you're crap, it means that you're just not right for this opportunity. It's a hard memory to keep inside, but I think it's one that is premier above all else. Otherwise you start to lose your identity. If you start thinking that 'I'm getting nos because I'm not good enough' or 'I'm not the right person', you start shifting your identity. Then you don't become what makes you, and that's essentially your best asset. And so resilience for me is about staying true to yourself, and if you're going to do something — Guy Chambers says it in our film, he says 'own it'. If it's crap, make it your crap. And I think that's a form of resilience that we can all take onboard." Michael: "Resilience is my entire life, because you have these grand ideas and it's up to you to continue to believe in them year after year after year. Showman took seven years to make, and at one point or another every single person involved in that project gave up hope — and you as the director cannot. Everyone else can lose faith, and you just have to keep on, you have to stand in that burning building and tell everyone it's going to be okay. This took six years. It was a high-concept idea that scared a lot of people, because the concept of the monkey immediately doubled the budget of the film. It made it a much more risky prospect. And it scared a lot of financiers away. The number of meetings that I had to do where people would just flat-out, the moment the monkey was mentioned, were like 'what are you talking about?' — and 'this is the end of the meeting'. That was the much more common response to that idea. And yet, I knew if there was a way to bring it into reality, it would be unique and it would be something that I'd be incredibly proud of. And so resilience is my entire career, and I would not be a director if I did not have that resilience. I think the joy you get as a director is finding other people to believe in that impossible dream, who stand alongside you and make it a reality, and that is the greatest privilege that you have as a director." On What It Took to Make the 'Rock DJ' Scene a Reality Jonno: "A lot of pogo-stick practice. It was the pinnacle of joy, right, in the film. It's the one moment that Robbie and the audience gets to really just live in dreamland, and there's no darkness that encases it, there's no version of himself telling him telling him he's rubbish. And so we were determined that when we arrived on Regent Street, that would be the feeling that we would feel. And, of course, you can only have that joy if you've put in the graft beforehand. And that's not just Michael. It's every department. It's Ash and Jen [Ashley Wallen and Jenny Griffin, both returning from The Greatest Showman], the choreographers, making sure that not only us, the Take That boys, but the 500 dancers were drilled so that we were never getting a bad take because of the dancing. You only have a set amount of time on Regent Street, so everyone had to just be shit hot, for want of a better term. We taped out a hangar, so the minute details, so every bush, every lamp post, was in its exact spot, so that when we arrived on the street, we were ready to go. It wasn't figuring out any proximity, etcetera. But it was a joy. It was one of my favourite experiences on set. I think you see it on our faces when we when we do Regent Street. I think you can probably see it in our pupils as well. There's kind of joy, combating a bit of 'we've got to get this done'. But it's such an iconic street, and it demanded an iconic routine — and I think Michael has delivered with that. Michael: "The practicalities of pulling that off were enormous. It was a year and a half in the planning. As Jonno mentioned, we rehearsed in a hangar the week before with the entire cast and crew, and double-decker bus and taxi, all those elements — only because the moment we got on the street, we had to start shooting, and we had very limited time overnight where we could lock down the entire street and film. It was shot over four nights, but after that week of rehearsal in the hangar, literally the day before we were about to start filming, the Queen passed away. And so we got shut down. There's ten days of mourning after the death of the Queen. Regent Street is crown land. So it was devastating because we paid out all of the costs to shoot. We'd locked down all those stores for those dates. We'd booked all of those dancers. So we lost all that money. There was no insurance for the death of the Queen. At that point, there were a lot of very serious conversations about cutting the number from the film. And I was like 'we've got to go out, we've got to raise that money again, we've got to get back onto Regent Street and we have to shoot this number — it is absolutely a cornerstone of this story'. It took another five months to find a window where we were allowed back on the street, and to raise the money again. And so every time that number plays, I just go in my head 'we were this close to that never happening' — but that comes back to your question about persistence. Better Man opened in cinemas Down Under on Thursday, December 26, 2024. Michael Gracey will chat about the film at the 2025 AACTA Festival, which runs from Wednesday, February 5–Sunday, February 9, 2025 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise, Gold Coast.
Sitting in a middle seat is few people's favourite way to fly, so Virgin Australia ran a lottery that gave away prizes to make the dreaded perch more enticing. Not knowing where your bag is when you disembark the plane is a downright travel nightmare — and now the airline is tackling that, too, this time by rolling out a baggage-tracking tool. Virgin Australia has been testing the new feature since May, but Monday, August 28 marks its launch on almost 70-percent of domestic flights. Accordingly, the next time you fly there's a high chance that you'll be able to track the status of your luggage via the carrier's app. The function marks a first for an Australian airline, and is included free on the routes that it's available on. Obviously, this feature covers checked luggage only. If you're carrying your bags into the cabin with you, you'll know where they are. For those stowing their suitcases in cargo, you'll be able to see where they are across your entire journey. Here's how it works: you'll need that aforementioned app, and to check your bag. You'll also want to enable push notifications. From there, you'll be informed via your phone when your luggage is checked in, when it's available for collection on the ground once you land and also when it is transferred to an international partner airline if you're travelling overseas. The app will tell you which baggage carousel to head to as well, solving another airport annoyance. The routes covered so far include select flights out of Melbourne, Sydney, Brisbane, Adelaide, the Gold Coast, Canberra and Newcastle, and also from Ballina/Byron, the Sunshine Coast and Hamilton Island. Joining them on the list right now: Launceston and Hobart, plus Townsville, Rockhampton and Mackay. In Western Australia, the service will become available on select flights out of Perth soon. "We know the potential of lost baggage is a concern for travellers globally and anticipate this announcement will give many guests that extra level of comfort knowing where their bag is at every step of the journey," said Virgin Australia Group Chief Customer and Digital Officer Paul Jones, announcing the rollout. Virgin Australia's baggage-tracking tool starts rolling out from Monday, August 28. Find out more via the airline's website, and download the app online as well.
If you're on the hunt for a spot to watch the big game among other fans with the commentary coming through loud and clear, Sydney's got some top spots (see: our list of the best pubs and bars to watch sport). But the new pint-sized Inner West bar The Magpie has just thrown its hat in the ring, pairing viewings of The Matildas, The Eels, The Swans and the UFC with a retro fit-out and a crowd-pleasing roster of beers. Sporting a name that acts as both a piece of the Australiana tinge that permeates through the bar and a nod to the Western Suburbs Magpies rugby league team, The Magpie comes to Enmore from the team behind Earl's Juke Joint and Jacoby Tiki Bar. It's opened right next to The Trocadero Room, the intimate new 150-person live music venue that arrived late last year from the same team. Together, the two venues have taken over the space formerly occupied by HiWay Enmore, bolstering the bustling road's sizeable roster of small bars. The Magpie is designed to be a "local's local" — a place where you to drop in for a quick catch-up over a beer or a reliable spot that you know will be playing your favourite footy team's clash with their cross-town rivals. When there's no sport to be shown, you'll find a roster of classic films playing on the mounted televisions. The team has curated a slate of flicks that will transport you back to the days of walking through the aisles at your local Video Ezy (RIP). On tap, you'll find a few of your favourite Inner West breweries pouring, including a special Magpie Old brew that Grifter has whipped up, plus Guinness for good measure. Part sports bar, part small bar with a pub-like feel, The Magpie has opened its doors just in time for both the NRL and AFL seasons, as well as the upcoming Paris Olympics, set to kick off in July. Next door, The Trocadero Room offers a new stage where bands can cut their teeth and artistic communities can come together — plus a fun throwback drinks list featuring cosmos, Midori illusions and spicy margs. Since opening in November, it's already hosted Sydney favourites like Straight Arrows, exciting new up-and-comers like DoloRRes, and every kind of gig imaginable, from comedy nights and evenings dedicated to reggae, to scuzzy punk lineups and all sorts of dance parties. Both The Trocadero Room and The Magpie are located at 156 Enmore Road, Enmore. Head over to Instagram to find this week's gigs and which matches you can catch.
Adding to the wave of exciting new venues that seem to just keep popping up in Potts Point, this lavish hideaway on Kellett Street comes from accomplished hospitality group Milpa Collective. The team behind crowed-pleasers like Carbon, Calita and Circular Quay's Londres 126 has ventured out into new territory with this latest addition, a Spanish-focused and female-led wine bar and tapas restaurant named Bar Lucia. "It will be the next 'pop in for a glass of wine' hot spot, the perfect date location, dinner with friends, long ladies lunch or 'settle in the for the evening' cosy wine bar," Milpa Collective co-founders Pablo Galindo and Liber Osorio say. With the aim of maintaining a sense of Spanish flair within the venue, the fitout includes Madrid-inspired architecture. There is also an atmosphere of elegance with gorgeous oil paintings adorning the walls, paired with moody lighting and a stunning chandelier centrepiece — perfect for a romantic date night. Complimenting the dining room is an indoor courtyard boasting a glass roof and atrium-style design, making it a crowd-pleasing, weather-proof spot for your next get-together. Head Sommelier Kasia Sobiesiak boasts a wealth of knowledge as a wine educator and a Master's in environmental engineering. As a result, she's curated a considered wine program with a large selection to pick from. Spnoesiak and the Bar Lucia team have made it their mission to focus on women within the industry. The wine offering features over 50 drops, from the reliable classics to newer, innovative winemakers if you're looking to explore something a little different. The equally varied by-the-glass list features vino almost exclusively made by women and has a strong local focus. "Promoting female winemakers and supporting local wine regions is a priority for me," Sobiesiak says. "I like to foster a balance between fine, modern classics and artisan and low-intervention leads." Head Chef Alberto Palacios has created a menu inspired by the tapas bars of Spain executed with top local Australian produce and is designed to pair with whatever wine your heart desires. For a starter, opt for the roasted sea scallops with saffron butter ($9 each) or the jamon serrano croqueta ($8 each). For a sweet addition, you can opt for the figs marinated in sherry with aged goat cheese and basil montadito ($8 each). When it's time to dig into a heftier meal, take your pick from the Catalan-style cannelloni ($25), the sauteed wild mushrooms with aged manchego ($15) or the "El Vermut" — potato chips with sardines, mussels, anchovies and salsa Spinader ($16). You can then finish things off with something a little sweet in the form of a vanilla custard doughnut ($6 each). Images: Kitti Gould
Some actors possess voices that could narrate almost anything, and Willem Dafoe is one of them. Move over Morgan Freeman: when Dafoe speaks, his dulcet vocals echoing atop gorgeous imagery of the world's waterways as happens in River, being entranced by the sound is the only natural response. He's tasked with uttering quite the elegiac prose in this striking documentary, and he gives all that musing about tributaries and creeks — the planet's arteries, he calls them at one point — a particularly resonant and enthralling tone. Australian filmmaker Jennifer Peedom (Sherpa) knew he would, of course. She enlisted his talents on her last documentary, Mountain, as well. Both films pick one of the earth's crucial natural features, lens them in all their glory at multiple spots around the globe, and wax lyrical about their importance. Both make for quite the beguiling viewing experience. Thanks to writer Robert Macfarlane, Dafoe has been given much to opine in River — and what he's asked to say is obviously even more crucial than the fact that it's the Spider-Man: No Way Home, The Card Counter, The French Dispatch and Nightmare Alley star expressing it. The subject is right there in the title, but the film's aims are as big and broad as an ocean, covering the history of these snaking streams from the planet's creation up until today. "Humans have long loved rivers," Dafoe announces, which seems like a self-evident statement; however, not one to trade in generalisations without evidence, River then unpacks exactly what that means. It also uses that idea as a foundation, but paired with another, which Dafoe also gives voice to — this time as a question: "as we have learned to harness their power, have we also forgotten to revere them?". The answer is blatant, lapping away at the souls of everyone who lives in a river city and passes their central watercourse daily without giving it a second thought. Indeed, that plain-as-day response ripples with even more force to anyone who has been struck by the waterways' power when natural disasters strike, a fact that hits close to home after Australia's disastrously flooded summer across Queensland and New South Wales — timing that the movie isn't overtly trying to capitalise upon, given it first started doing the rounds of film festivals in 2021, and has had its March 2022 date with Aussie cinemas booked in for months. A documentary doesn't have to tell viewers something wholly new to evoke wonder, though. Conveying well-known truths in unforgettable and affecting ways has always been one of cinema's key skills, whether working in fact or fiction. River's sentiments won't come as a surprise, but it still feels like a fresh splash of water upon a parched face. Dafoe's narration and the film in general hone in on the importance of rivers to human civilisation since its very beginnings, starting with the unshakeable reality that rivers have made much in our evolution possible. Also just as pivotal: the devastation we've wrought in response since we learned to harness all that water for our own purposes, irrigate the land far and wide, and take an abundance of H2O for granted, which River doesn't ebb away from. The prose is flowery, but never overdone; its eager quest for potent poetry, or to be mentioned in the same breath as Terrence Malick's The Tree of Life, always feels attuned to the awe it holds for its eponymous streams. It's also on par with Dafoe, Peedom and Macfarlane's work back in 2017 on Mountain, which was similarly hypnotic — and became the highest-grossing non-IMAX Australian documentary ever made, a claim to fame it still holds today. This time joined by co-director/co-scribe and feature debutant Joseph Nizeti, River's veteran trio don't simply paddle into familiar waters like they've easily charted this course — or climbed this peak — before, however. They repeat much of what they did last time, including pairing dazzling sights with a score by the Australian Chamber Orchestra, but it's fitting that there's a keen flow to this film that makes it an especially majestic and moving watch. It's there in the pace of the cinematography, as lensed by a five-strong team that includes Sherpa and Mountain's Renan Ozturk. It's evident in the rhythms of the feature's editing, too, with The Babadook, Spear, Martha: A Picture Story and The Nightingale's Simon Njoo doing the honours. As fast as a cascading waterfall at times, and as patient as a barely babbling brook at others, River couldn't take the job of honouring its subject in as many ways as it can more seriously. Thanks to those arresting visuals — spectacular footage that demands to be seen on the biggest screen possible — and the accompanying score, River was always going to earn flowery terms slung its own way. The vision is that remarkable as it soars high and wide across 39 countries, and peers down with the utmost appreciation. The swirling orchestral music, which includes everything from Bach to Radiohead, adds amply to the journey as well (even if it does occasionally leave viewers yearning for sounds as natural the movie's sights). Here, a picture truly is worth a thousand of those Dafoe-uttered words, but the combination of both is something exceptionally special. It's interesting, then, that River is the achievement it is thanks to all of its moving parts coming together so fluidly, but its imagery is also always second to none. While the combination mesmerises, only the film's visuals could tell the same tale alone — and what a story they tell. There's a cohort of documentaries that have attempted the same observational feat without any sense of spoken narrative, an approach seen at its best in the Qatsi trilogy of Koyaanisqatsi, Powaqqatsi and Naqoyqatsi, also in Baraka and Samsara, and even in recent Oscar-nominee Ascension; River reaches the same immersive and insightful levels. What a joy it is to be the film that doesn't need Willem Dafoe's narration, but is all the better for it. Even better: what a joy it is to watch that movie. And, in just-as-fantastic news, Peedom sees River as the second part of a trilogy. Top image: Pete McBride.
Hanami and Japan go hand in hand, but what if you could indulge in the art of flower viewing a bit closer to home? Well, that's where the Sydney Cherry Blossom Festival comes in. It's an annual celebration of everyone's favourite pink flora in Sydney's west. Between Saturday, August 19–Sunday, August 27, the Auburn Botanic Gardens will transform its Japanese Gardens into a beautiful, blooming wonderland for 2023. Across the nine days, you'll be able to ramp up your appreciation of the fleeting natural phenomena that is cherry blossom season by viewing the eye-catching blooms in the leadup to spring. Tis the season, after all. Taking in the spectacular scenery isn't the only thing you'll be doing. There'll be a Japanese food village serving up an array of bites inspired by the country's culinary culture. Also on offer: a nine-hole mini-golf course, traditional Japanese musical performances, origami workshops, flower-arranging demonstrations and DJs spinning Japanese city pop tunes. Each day, you can choose between three different sessions depending on when you want to explore the festival. Tickets are free for Cumberland City Council residents — or else entry will set you back $15.30 for an adult, $6.65 for kids aged between five and 16, or $41.85 for a family. Children under five are also free if you want to take your little ones. Images: Destination NSW.
Eddie Perfect's sense of humour is disturbingly funny. Like a car crash you know you shouldn't look at but can't help yourself looking anyway, Perfect's jokes are ones you know you shouldn't laugh at because if your mum was sitting next to you she'd box your ears for it. Perfect shot to notoriety in 2009 with the spoof Shane Warne: The Musical, and after playing former Foreign Minister, Alexander Downer, in Keating! The Musical, is heralded to look fabulous in fishnet stockings and heels. With a three-piece band in tow, Misanthropology asks, 'What makes us human?' and 'Does a shopping trolley full of 'eco' and 'organic' make you a better person than one full of 'No Frills' and 'Made in China'?' Commissioned specifically for the Sydney Festival, Misanthropology sees Perfect teamed with director Craig Ilott, whose work on the SF2010 world premiere of Smoke and Mirrors (starring iOTA) resulted in an international tour and a slew of Helpmann Awards for the cast and creators. Perfect is so tastefully irreverent in Misanthropology that it is only performed at midnight to a legally aged crowd, but I still wonder if you'd be game enough to take your mum? https://youtube.com/watch?v=rM7Q6NiFRIU
Given the effort they put into creating, curating, collating and copying their wares, it seems kind of weird that the makers of zines would be the kind to abbreviate words. Like, "Okay, guys, we've edited and self-published a niche interest periodical, sure, but we don't have time to pronounce the syllables 'mag' and 'a'. That's where we draw the line!" ? But then again, eccentricity and arbitrary decision-making are part of the beauty of zine culture, wherein anyone with access to words and/or images and a means of putting them together can be a publisher. There are political zines and poetry zines and zines about spoons and zines about people spooning. Often stumbled across in cute indie stores and venues or tracked down online, zines also enjoy a good gathering and the MCA and the Sydney Writers' Festival are, as has become their annual tradition, throwing them a party with this Fair. Head along and do some collecting — you can buy or barter — or just have a look at what people are into and up to.
11 and 12 tells a modern tale: an accident during prayer leads to a religious debate, then a split which escalates into community conflict. A Western power sticks its nose in, and the story turns truly tragic. Yet this tale is not as contemporary as you might think. The book by Amadou Hampaté Bâ, on which this play is based, describes events which unfolded in Mali during the French occupation around the time of the World Wars. Its wisdom is particularly poignant, however, because these situations and ideas are those which we still struggle with and often fail to comprehend. The production is subtle and slow, requiring great patience from its audiences. We should not be led to think this is a mistake; with extraordinary director Peter Brook at the helm, this tortoise pace is clearly part of the point. That the drama unfolds gently and without much ado is a nod to Tierno Bokar, the Sufi sage of astounding wisdom at the centre of this piece. To counteract this demand, Brook provides us with the moments of blissful visual beauty for which he is renowned: A set consisting of carved wood, red cloth and African sand is moved and shaped to the plot; a journey in a boat of red cloth is a particular treat. Similarly, the music from long-time collaborator Toshi Tsuchitori is astonishing, moving with the action in profound and unexpected ways. This production is a unique meditation and a privilege to witness. Don't miss your chance to catch one of the few performances while it's here. Image by Pascal Victor / ArtComArt.
Since opening its doors in 2015, Flour Drum has established itself as a Newtown hub for great food and exceptional service. Victor Li, Christopher Heaps and Chef John Ageletos have focused their different restaurant skills to create a space that embodies what a neighbourhood cafe should be. Flour Drum doesn't attribute dishes to just one cuisine. Instead, fare showcases flavours from around the world, especially the Greek, Chinese, and New Zealand cuisines the owners grew up with. "Being my mother's son, I always cook to make everyone happy," says Ageletos on the source of his inspiration. He also recalls how his mother would whip up fusion dishes, like Indian curry fried rice that the three still make during Christmas. Surrounded by secondhand stores and street murals, Flour Drum stands apart from other eateries with a charming vintage decor and personable staff. From the front room — which is perfect for afternoon lamingtons — to a dining room for long lunches on weekends, its imaginative vision shines through via walls filled with quotes, art displays and a large Outback mural among other ornaments. There's also a garden area where Heaps has pulled together garden tables, an antique Buddha head, a collage of paintings and other treasures hidden by foliage. For breakfast, Flour Drum goes beyond the realm of typical toasties and morning pastries. Its South American-esque corn fritters topped with a poached egg, avocado, tomato jam and feta balances the sweet of the fritters with the spicy kick of the tomato jam. The must-try dish is the fluffy banoffee pancakes coated in dulce de leche and Anzac biscuit crumbles with a grilled banana and mountains of whipped cream. Flour Drum's fusion-focused menu continues through to lunch. Barbecue duck ravioli dumplings accompanied by egg noodles and a sweet shiitake broth craftily combines Asian flavours with the textures of Italian pasta. If you want a heartier meal, the eight-hour braised lamb shank ragu with house-made pappardelle is melt-in-your-mouth delicious. And, if you beat the eager crowds, indulge in the best-selling beef rendang. Whatever you eat, don't leave without a slice (or more) of the ever-changing assortment of lamingtons. Dive into the Black Forest covered in coconut shreds or go for something citrus — such as the gluten-free ricotta, raspberry and white chocolate cake. And trust me when I say you'll probably walk out with one of Flour Drum's massive cookies in hand, too. Flour Drum dances to its own beat and provides an interesting dining experience each time you visit. It'll soon become an all-day eatery, with dinner services starting in August featuring dishes like duck ragu and baked bombe alaska. Images: Jenna Manto
Along with offering excellent food and drink at its cafe, Cornersmith is also an advocate for and teacher of a more sustainable, more delicious way of living. From teaching the fundamentals of preserves, to explaining the basics of pickling, Cornersmith is dedicated to sharing ways of making your food last longer, taste better and do more for you nutritionally. Some of their recent additions include cheese making, bread baking, pastry rolling and fermenting. Fermented food has become massive in Sydney over the last few years — think kimchi, kombucha, sauerkraut, pickles (and the list goes on) — so why not try your hand at it? Classes change week to week, so check their website to see what's on.
Every city has its traditions, but one of Sydney's midyear mainstays since 2012 takes its cues from the other side of the globe. The event: the Bastille Festival that livens up Circular Quay and The Rocks each July, serving up French celebrations without the plane fare to Europe. Food, wine, art: if any of these pique your interest, then this four-day French fest is for you. Uniting people in the spirit of Bastille Day, the popular event is back again in 2022 — and it's always huge. Running from Thursday, July 14–Sunday, July 17, this year's street fest will serve up everything from 100 performances to a 1.4-kilometre wine-tasting walk around the harbour. Expect a big emphasis on vino in general, of course — and food, too. All that wandering and watching is hungry (and thirsty) work, after all, so there'll be a heap of pop-ups keeping attendees fed and watered. Highlights include four villages, each with their own festivities, making it a choose-your-own-adventure kind of setup. At Customs House, you'll dive into all things Parisian, for instance. Here, fresh raclette, crepes, saucisson, baguettes and cheese will be on the menu in a big way. Food is also the attraction over at First Fleet Park, which has been dubbed the 'chef village'. In a festival first, this space will bring together Sydney's best chefs and eateries, who'll all be whipping up new dishes with a French twist — at the event and in the participating restaurants for a week beforehand. If you like making the most of winter, then the MCA lawn is your destination. Think: fire pits, igloos that'll change colour as the night goes on, melted cheese, roasted marshmallows and mulled wine. And, finally, the Christmas in July village will take over The Rocks with wood huts, snow, European-style Christmas markets, gingerbread houses, cheese stations, and crepes and waffles. There'll be more mulled wine, too, because no one can get festive midyear without it. Entry is free, but you'll be paying for whatever you'd like to eat and drink as you go. And if previous years are anything to go by, Bastille Festival is set to be an epic showcase of food, wine and art — and you're likely to have a heap of company.
It was the follow-up that had to happen. The sequel we crossed everything for. After gaining viral status and worldwide applause for her 2013 book Shake, photographer Carli Davidson is back with a brand new series to follow her comical, high-speed images of dogs mid-shakedown. Yep, you guessed it. This time, it's cats. Shake Cats is the brand new book from Davidson, who actually took the photos of cats shaking themselves dry back in 2011, at the same time as taking the Shake dog photos. "I had originally thought I would do cats and dogs in the same book, but looking back I think it was best to give each animal its own book so their unique features could be highlighted," says Davidson. Shooting with Nikon D4s at a very rapid frame rate, this animal-loving photographer shot close to 100 cats for the series, including her own cat Yushi and hectic cat celeb Lil' Bub. Almost all of the cat models are local Portlandians, or from rescue shelters. In addition to the shake shoot, Davidson would get a pretty headshot of the kitty for the rescue shelter to post on their website — and most of these cats were adopted almost immediately as a result. "Taking a good photo of an animal in a shelter can go a long way to help that cat or dog find a home. So much of rescue is done online; people pick out a pet before they even get to the shelter. They fall in love online with an expression, so capturing that personality in a photo is really important." So how exactly did Davidson get those money shots? How do you make a cat shake itself clean (we're pretty sure you're asking yourself this question daily)? Simple, you pamper them like crazy. "Getting the cats to shake was actually more of a grooming process than a waiting game. We basically treated the shoot like a mini grooming session with lots of treats and cat cuddles... Ear cleanings are what generally caused the shake to happen, I just had to be ready." Apparently the cats weren't too hard to wrangle either — apparently they couldn't get enough of the warm studio lights. Cuuuute. It goes without saying that Davidson's tapped into social media's favourite thing, cats and dogs. But this animal-lover sees more in internet kitties than a grumpy face. "Cats are popular because they are awesome, independent thinkers and humans love to worship them. We have been worshipping them as spiritual icons for 10,000 years," she says. "The rise of the cat back into worship status on the Internet seems natural if you look at their historic significance... Cats combat internet negativity with their sheer visual presence." Shake Cats is out now via Harper Design, available to purchase from Booktopia. All images courtesy Carli Davidson with permission.
Sydney welcomes a new farm fresh market to its inner west with the launch of Summer Hill's Flour Mill Markets. Taking over the forecourt of the historic Mungo Scott building, part of the almost-complete Flour Mill of Summer Hill residential and food precinct, the markets will run every second Sunday from September 15. Food, flowers and other high-quality produce will, of course, be front-and-centre at the new biweekly market. Expect stalls from Brickfields Bakery, Hugo's Coffee Cartel, Pastries de Paris, The Grate Cheese Co and Hartley Harvest. There'll be lots of small goods and non-edible items — such as ceramics and decorative flowers — from a host of local vendors, too. With a focus on sustainability and environmentalism, the market will be a plastic-free zone, with biodegradable packaging provided and discounts for those who bring their own keep cup. The 100-year-old Mungo Scott building, once a functioning flour mill, has been renovated as part of the Flour Mill of Summer Hill precinct and will host more food and restaurant pop-ups, art shows and workshops in the near future. We'll let you know when they're announced. Flour Hill Markets runs from 9am–1pm
Ask a comedy fan what they'd do if they could make any of their dreams come true, and they might well wish for a new movie with a Monty Python pedigree. Perhaps Terry Jones, who helmed Holy Grail, Life of Brian and The Meaning of Life could write and direct. Perhaps he could recruit the rest of the Python alum — aka Michael Palin, Terry Gilliam, John Cleese and Eric Idle — to voice some aliens? Perhaps Simon Pegg could star, and the film could ponder the very topic of being able to fulfil one's desires with just the wave of a hand? Absolutely Anything delivers all that — and offers up Robin Williams' last movie role, albeit as a talking dog — yet it's hardly a feature that anyone might hope for. Alas, it's an effort that does little more than bring in some beloved talent, play with a fantastical concept and let silliness ensue. The result? Ample silence where audiences can only assume Jones intended to inspire laughter. An unhappy schoolteacher by day and aspiring writer by night, Neil Clarke (Pegg) is the recipient of the extraordinary ability that gives the movie its moniker. What he doesn't know is that he's merely part of a test, with a council of extraterrestrials using him to decide whether humanity should be saved or annihilated. Rather than carry out great acts of good or evil, he takes the largely selfish, mostly harmless approach. Helping his best pal (Sanjeev Bhaskar) with his love life, giving his pet pooch (Williams) the gift of speech, and increasing his manhood comprise his early demands. Yes, Neil messes about his new skill, the intergalactic beings observe and comment from above, and that's all there really is to Absolutely Anything. A love interest pops up in the form of his neighbour, Catherine (Kate Beckinsale), complete with an obsessed American ex (Rob Riggle) in tow, but all either do is add to the parade of over-the-top, immature antics. Neil is supposed to learn that there's more to life than wish fulfillment, but Jones clearly hasn't heeded the same lesson. Instead, he's caught up in making anything he can happen on screen, mainly through unconvincing CGI, and with little care for coherence. Jones and co-writer Gavin Scott (Small Soldiers) beef up the script with more than a few jokes that could've been ripped from the pages of The Hitchhiker's Guide to the Galaxy – which gives an indication of how not-so-fresh they feel. Indeed, the screenplay for Absolutely Anything has been floating around for 20 years, and Douglas Adams apparently perused it before his death in 2001. Sadly, a long-gestating project results in a final product that squanders any potential it might've once had, including its main cast, both seen and heard, and the involvement of the likes of Eddie Izzard and Joanna Lumley. In fact, a song could do better than Absolutely Anything's clumsy, contrived and hardly comic contemplation of how someone would cope if they had all the power in the world — and did, when The Flaming Lips sang about it in their 2006 single, ' The Yeah Yeah Yeah Song'.
The much-anticipated Downtown Drive-In has been announced, and it knocks all of Sydney’s other outdoor movie theatres (no mean feat) right out of the car park. Over three consecutive nights from 29 November - 1 December, Carriageworks will be the backdrop for a regrettably short season of alfresco films falling under the simultaneously announced theme 'Back Roads USA'. The season will offer viewers something new, something sentimental and something excavated from the mine of cinematic classics. On The Road will transport viewers from a 120-year-old heritage building to the dusty golden age of roadside America on November 29, before John Hughes' delightfully catastrophic 1987 travelog Plains, Trains and Automobiles on the Friday. The season will close with a screening of minimalist chase film Vanishing Point (1971), which is a bit like Fast and the Furious only easier to follow, nicer to look at and five hundred times better. There will also be plenty of opportunities to play tribute to the films through cheesy, meaty deliciousness, as Sydney’s favourite American-style diner The Dip will design a custom menu for the affair. Cinema-quality digital projection will bring the lost world of drive-in cinema firmly into the present and Audi will also supply a range of luxury cars for the ultimate drive-in experience, featuring Bang & Olufsen sound systems to ensure crystal audio even if you’re munching pickles like they’re popcorn. As promised entry will be $50 per vehicle or $25 per person for deckchair seating. It's also undercover, because if you've been outside this week you'll know a Sydney spring can be kind of unpredictable. www.downtowndrive.in
Get ready to toss a coin to your witcher, again — but they'll look more than a little different. For two seasons so far, Henry Cavill (Zack Snyder's Justice League) has played monster hunter Geralt of Rivia in Netflix's hit fantasy series The Witcher, and he'll be back again in season three when it arrives in 2023. After that, however, The Hunger Games, The Dressmaker and Independence Day: Resurgence's Liam Hemsworth will don the character's icy locks. The Witcher has indeed been renewed for a fourth season before its third even airs — something that happened with season three before season two dropped as well, and with season two before season one debuted before that — but a huge change is afoot. Netflix has revealed that Cavill is stepping away from the show, with Hemsworth replacing him. The two actors also shared the news on social media. "My journey as Geralt of Rivia has been filled with both monsters and adventures, and alas, I will be laying down my medallion and my swords for season four," said Cavill in a statement. "In my stead, the fantastic Mr Liam Hemsworth will be taking up the mantle of the White Wolf. As with the greatest of literary characters, I pass the torch with reverence for the time spent embodying Geralt and enthusiasm to see Liam's take on this most fascinating and nuanced of men. Liam, good sir, this character has such a wonderful depth to him, enjoy diving in and seeing what you can find." It's official: The Witcher is returning for Season 4, and Henry Cavill will be handing his swords to Liam Hemsworth as the new Geralt of Rivia after Season 3. Welcome to the Witcher family, @LiamHemsworth! Read more: https://t.co/ABQMdqkzXX pic.twitter.com/xyIaRBbiRT — The Witcher (@witchernetflix) October 29, 2022 As for Hemsworth, he added that "as a Witcher fan I'm over the moon about the opportunity to play Geralt of Rivia". He continued: "Henry Cavill has been an incredible Geralt, and I'm honoured that he's handing me the reins and allowing me to take up the White Wolf's blades for the next chapter of his adventure. Henry, I've been a fan of yours for years and was inspired by what you brought to this beloved character. I may have some big boots to fill, but I'm truly excited to be stepping into The Witcher world." Need a refresher on the story so far? Haven't watched the first two seasons yet? If The Witcher's name sounds familiar, that's because it's based on the short stories and novels of writer Andrzej Sapkowski — and, as well as being turned into comics, it was adapted the video game series of the same name. A Polish film and TV show also reached screens in the early 2000s, although they were poorly received. [caption id="attachment_875705" align="alignnone" width="1920"] Liam Hemsworth in upcoming film Poker Face. Image: Brook Rushton.[/caption] In the Netflix show, Cavill plays the witcher of the title, aka the part that Hemsworth is taking over. Geralt of Rivia is a monster hunter who prefers to work — aka slay beasts — alone in a realm called The Continent. But life has other plans for the lone wolf, forcing him to cross paths with powerful sorceress Yennefer of Vengerberg (Anya Chalotra, Netflix's Wanderlust) and young princess Ciri (newcomer Freya Allan). The Witcher franchise doesn't just include the show itself, but also animated flick The Witcher: Nightmare of the Wolf, which hit Netflix in 2021. And, there's upcoming prequel series The Witcher: Blood Origin, too — which'll take place 1200 years before Geralt's time, span four episodes, star Everything Everywhere All At Once's Michelle Yeoh and arrive this December. There's no sneak peek at the OG series' fourth season yet, or season three, but here's the trailer for season two in the interim: The Witcher's third season will hit Netflix sometime in winter 2023 Down Under. The show's first and second seasons are currently available to stream.
One of modern art's most argued-about works is finally up for auction. Tracey Emin's famously debated 1999 work My Bed is going under the hammer for the very first time, complete with dirty sheets, cigarette butts and condoms. Emin gained notoriety when her work Everyone I Have Ever Slept With 1963–1995 debuted at a 1997 Charles Saatchi's Sensation exhibition at London's Royal Academy. After getting drunk, going on national TV and getting all sweary, she'd release My Bed two years later to colossal debate. One of modern art's classic "Is this art? What is art? Is this bag of wrenches art?" generators, My Bed is expected to sell between £800,000 and £1.2 million (roughly $1.4 million to $2.2 million) at auction in July. The highly-scrutinised installation is a recreation of Emin's actual bed during a rough time — the artist spent days in the bed during relationship difficulties and dealt with suicidal thoughts. Scattered with paraphenalia from the artist's own bedroom (condoms, menstrual-stained underwear, slippers), My Bed caused controversy not for the collective sum of confrontingly personal items but for the stains on the sheets. Gallery-goers saw the traces of bodily secretion as a little too human. "It's a self-portrait, but not one that people would like to see," Emin said. "I took everything out of my bedroom and made it into an installation," Emin said. "And when I put it into a white space, for some people it became quite shocking. But I just thought it looked like a damsel in distress, like a woman fainting or something, needing to be helped." The new owners might be able to recreate the work of two performance artists, Yuan Chai and Jian Jun Xi, who jumped on Emin's bed in a performance creatively titled Two Naked Men Jump into Tracey's Bed. Most interestingly will be the conditions under which the new owner must actually display My Bed. Previously (when not displayed in a gallery setting) the work has been on display at the home of its owner Charles Saatchi. As The Guardian reports, the work — a flurry of seemingly random miscellany — has very meticulous installation instructions. "It's a very complicated piece to put together," Director of Cadogan Tate Fine Art Stephen Glynn says. "It comes with a dossier of photographs of every object, and a list of where exactly everything needs to go." A bit like an Ikea instruction manual, then? "A bit. You're certainly trying to make sure that everything goes in the right place." Displayed at the Tate Modern in 1999, My Bed was shortlisted for the Turner Prize that year. Christies will put the Saatchi-owned work to auction, with proceeds going straight back to the Saatchi Gallery — the team are moving to make the gallery have free admission. Via Reuters and The Guardian.
What's better than a film festival that brings the best and brightest new Japanese movies to Australian cinemas each year? One that also returns a few months later with a solely digital lineup that you can check out from your couch. Yes, after the IRL Japanese Film Festival last hit locations around the country in late 2021, it's now time for the Japanese Film Festival Online for 2022, aka your next excuse to indulge in your Japan obsession without hopping on a plane. This year's online program spans 17 films over two weeks, screening from Monday, February 14–Sunday, February 27. That gives you plenty of choices, plus ample time to catch comedies, mysteries, dramas, documentaries and more — some from the past year or two, others dating back to 2008. And, in particularly exceptional news, they're all streaming for free. Highlights include the food focused Mio's Cookbook and The God of Ramen, with the former offering up a period drama about a young chef and the latter honing in on famed Tokyo figure Kazuo Yamagishi; mystery Masked Ward, which unleashes its thrills and twists in a hospital; It's A Summer Film, about a high schooler obsessed with old samurai flicks; and comedy Happy Flight, as set during an emergency flight from Tokyo to Honolulu. While you won't pay a thing to watch, you do still need to register via the fest's website.
Jose James blends sexy jazz with drum 'n' bass. But stay with us — this isn't Skrillex with a saxophone. It's more like Gil Scott-Heron with turntables and a time machine. James makes jazz for the electronic and hip-hop generation, fusing '70s jazz soul with modern influences, new technology and his own smooth vocals. Last year James made a fleeting visit to Australia to play Melbourne International Jazz Festival and Sydney's Future Now show, and this month he's returning to command the dumpling-scented and beer-stained Standard. It's a fitting venue for the musician to present his brand new album No Beginning No End, an album which has really allowed James to dust off the remains of the jazz singer tag and show him for the genre-blending spearhead that he is. If you like your jazz dirty and your DnB barely recognisable, expect only good things. https://youtube.com/watch?v=5Gz2kqOupCI
It's the season of must-see TV we've known was coming since way back in 2020, and it finally has a release date. That'd be The Handmaid's Tale's fifth batch of episodes, which'll return this spring. The words you're looking for: praise be. With this hit series, blessed be the dystopian dramas, which is exactly what The Handmaid's Tale has been serving up since 2017 now. Of course, on the page, this bleak look at a potential oppressive existence has been drawing in fans since the 1985, when Margaret Atwood's book first hit shelves. A film followed in 1990, and opera in 2000 — plus a sequel novel in 2019, too. Yes, there have been many ways to dive into The Handmaid's Tale over the years, but only one keeps winning small-screen awards and stars a phenomenal Elisabeth Moss (Shining Girls). Thankfully, the wait between the show's fourth and fifth seasons is shorter than the gap between its third and fourth — a year rather than two. The date to mark in your diary: September 15, given that the show will return in the US on September 14. Down Under, episodes usually air weekly on SBS in Australia, and stream via SBS On Demand — and hit Neon in New Zealand — at the same time as in America. There's no trailer just yet, but The Handmaid's Tale's fifth season will arrive with two episodes to start with, then drop new instalments weekly afterwards. And, story-wise, it'll step back into June's (Moss) life after season four's climactic events. Accordingly, that also means watching Serena (Yvonne Strahovski, Stateless) try to raise her profile in Toronto, with season five seeing Gilead's influence creeps into Canada. Commander Lawrence (Bradley Whitford, Tick, Tick... Boom!) and Aunt Lydia (Ann Dowd, Rebecca) endeavour to reform Gilead, too. And June, Luke (O-T Fagbenle, Black Widow) and Moira (Samira Wiley, Breaking News in Yuba County) will keep fighting the totalitarian regime. Also returning among the cast: Max Minghella (Spiral: From the Book of Saw), Madeline Brewer (Hustlers), Amanda Brugel (Snowpiercer) and Sam Jaeger (The Eyes of Tammy Faye). The fifth season of The Handmaid's Tale will hit start airing in Australia and New Zealand in September — on SBS TV, and to stream via SBS On Demand and Neon, with new episodes arriving weekly.
When Yours and Owls announced that it wasn't going ahead in 2024, joining the long list of music festivals scrapping plans for this year, it thankfully only put its fun on hold for a year. Returning in 2025 was always the intention, and now that big comeback has dates. Mark your calendars for Saturday, March 1–Sunday, March 2. Yours and Owls didn't completely sit 2024 out, however. Earlier in October, it held a pre-party, aka the event you put on when you can't put on the full festival experience at your usual time of the year because it doesn't work for your headliners' calendars. So, a tunes-filled shindig still took over the University of Wollongong campus — complete with Golden Features, Peking Duk, Alice Ivy, Anna Lunoe and more — to keep things warm for next year. [caption id="attachment_965220" align="alignnone" width="1917"] Ian Laidlaw[/caption] There's no word yet as to who'll be taking to the stage when Yours and Owls starts autumn 2025 in the best possible way, but organisers have advised to expect details soon. It's been a rollercoaster ride of a few years for the fest. It only turned into its new site in 2023 after it was forced to cancel in 2022 when La Niña flooded its Stuart Park venue. Affectionately labelled 'Gong Christmas', Yours and Owls moved to UOW as part of the fest and university's three-year partnership, with the all-weather solutions available at the campus cited as one of the driving factors behind the team-up — plus the uni's picturesque green spaces and a mutual commitment towards carbon-emission reduction. [caption id="attachment_906428" align="alignnone" width="1920"] Jess Gleeson[/caption] 2023's Yours and Owls featured Oliver Tree, Chet Faker and Descendents, and also Hilltop Hoods, Earl Sweatshirt, Golden Features, Ocean Alley, Flight Facilities and Pendulum — so expect 2025's fest to be worth waiting for. Confirmation that the event will be back next year follows locked in details for the end of 2024 and the beginning of 2025 for a heap of fellow festivals, such as Laneway, Golden Plains, Bluesfest (for the last time), Wildlands, Good Things, Lost Paradise, Beyond The Valley and Meredith. [caption id="attachment_906426" align="alignnone" width="1920"] Ruby Bowland[/caption] [caption id="attachment_906427" align="alignnone" width="1920"] Ian Laidlaw[/caption] Yours and Owls will return to Wollongong on Saturday, March 1–Sunday, March 2, 2025. Head to the festival website for more details.
This article is sponsored by our partners, Wotif.com. Writer Benjamin Law recently performed a glorious piece of erotic fan fiction about his two culinary idols, Stephanie Alexander and Maggie Beer. We'll spare you the gory details, but the story involves a fair bit of verjuice and self-saucing pudding. The two food goddesses both call South Australia home, because, basically, that's where the good food and wine is. Restaurateurs in Adelaide respect the exceptional produce and wine at their doorstep. Here are ten who are doing it very nicely indeed. BISTRO DOM South African born chef Duncan Welgemoed brings the best of his training under Gordon Ramsay and Heston Blumenthal to Bistro Dom on Waymouth Street in the CBD, where he’s serving up French-inspired cuisine such as steak tartare ($19.90) and duck with boudin noir, apple and cinnamon ($39.90). While Welgemoed has a keen interest in the science of cooking, you’ll see no clouds or foams here; his focus is on showing off the produce, unadorned and simple. Bistro Dom boasts a truly varied wine list of French, German and boutique local wines. Make sure you have a crack at the Alpha Box and Dice ‘Tarot’ from McLaren Vale — an elegant blend of Grenache, Shiraz and Tempranillo. 24 Waymouth Street, Adelaide Street ADL and Orana A two-part venture from chef Jock Zonfrillo, together Street ADL and Orana span two levels, offering two unique dining experiences within the one venue. Downstairs is Street ADL; it's informal, casual and accessible, offering up ‘Australian street food’ such as pulled kangaroo sangas, cheeseburgers, Goolwa pipis and lamingtons. Venture upstairs, however, and it's a whole different story. Orana is delicate, intimate (it only seats 25 guests) and very much a fine dining experience. The food continues to tread the line of Australiana, with Zonfrillo paying homage to rich flavours of the land. 285 Rundle Street, Adelaide RUBY RED FLAMINGO Ruby Red Flamingo has an ever changing menu of Italian share plates and a blackboard wine list with Italian wines including Nero D’Avola. Snuggle down in front of their open fireplace with a comforting favourite like macaroni with eggplant and smoked mozzarella or osso bucco risotto. 142 Tynte Street, North Adelaide Peel Street Tucked away on Peel Street (go figure) this restaurant may not look like it's got a lot going on, but once you step in, see the food slapped on the concrete bench, let the smell of freshly baked goods hit your nostrils and take a seat, there'll be no desire to ever leave. Open from 7.30am on weekdays and serving up dinner on Thursday, Friday and Saturday nights, Peel Street has quickly become a favourite amongst city dwellers — particularly those who frequent the small bar scene in the adjoining streets. If you like what you see on the counter, order 'from the concrete', or otherwise order something bigger 'from the blackboard'. Whatever you go for, you won't be disappointed. And you will be taking a muffin, pie or cupcake on your way out. 9 Peel Street, Adelaide Gin Long Canteen Gin Long has been open for little over six months, but already it's a favourite. You might be hard off getting a seat on a Friday or Saturday night; don't let that deter you because this is possibly the closest Adelaide comes to modern Asian. As well as rice paper rolls and betel leaf cigars, expect to chow down on gin long wings, nom nom barramundi, spicy caramel chicken and sticky braised pork belly. The cocktail list makes it extra fun, and the whole space is spot on — worth the wait, if you ask us. 42 O'Connell Street, North Adelaide MAGILL ESTATE RESTAURANT Magill Estate is the showcase restaurant for Penfolds wines just out of the city in the Adelaide foothills. Head chefs Scott Huggins and Emma McCaskill deliver an ever changing degustation menu designed to show off the Penfolds range (and not just the '51 Grange) starting off with calamari, chlorophyll and preserved lemon and finishing with South Australian Mayura wagyu with radishes and mustard. 78 Penfolds Road, Magill PRESS FOOD AND WINE Press Food and Wine is a new addition to the Adelaide dining scene, and a very welcome one. The two-level restaurant on Waymouth Street is at once homely and elegant. Head chef Andrew Davies prides himself on in-house pickling and curing and their custom-made chargrill. A la carte and degustation menus are on offer, with sophisticated starters such as king fish and pickled radish ($21) and heartier mains such as house-made pappardelle with blue swimmer crab ($29). 40 Waymouth Street, Adelaide EROS OUZERI Eros Ouzeri is a bit of an Adelaide institution. The grand daddy of Rundle Street, its cafe is home to the best damn kataiffi in town and the restaurant proper will sort you out with classic Greek mezze fare such as grilled haloumi, octopus and gyros as well as heartier mains such as lamb shoulder ($29.90) or a charred Angus fillet with mustard skordalia ($35). All this deliciousness is accompanied, of course, by a robust, SA-faithful wine list. Head in for a lunch banquet ($45) and let the famously hospitable Eros staff welcome you to the fold. 277 Rundle Street, Adelaide The Grace Establishment Located on The Parade — which is generally busy with shoppers and alfresco diners, but don't let that put you off — The Grace Establishment is a nice option for a sit-down lunch without breaking the bank. Relatively new and still very shiny, it's part bar, restaurant and beer garden, meaning you can sit indoors or out for a charcuterie board, plate of Kinkawoona mussels or a hearty SA sirloin. 127 The Parade, Norwood GOLDEN BOY RESTAURANT Golden Boy Restaurant popped up last year to feed the hungry punters at the Botanic Bar at the East End of the city and it has quickly become a destination in its own right, serving honest, home-style Thai food in a relaxed setting. Open till midnight, Golden Boy offers the perfect late-night fix of spicy chicken wings and pork belly — you can lick your fingers in style. 309 North Terrace, Adelaide Words by Lauren Vadnjal and Jessica Keath. Peel Street image courtesy of Kristina Dryža via Facebook.
There's a reality TV show for everything and, via the 2014–9 series Wahlburgers, that includes burger joints owned by actor Mark Wahlberg and his brothers. Fancy eating the chain's fast food fare, rather than just watching it? After opening 52 stores in the US, Canada and Germany so far, Wahlburgers is launching Down Under. The first place that'll be serving up the chain's burgers, shakes, beers and 'wahlbowls' — aka burger ingredients, but without the bun — is the Sydney CBD. Folks in Melbourne, Perth and Brisbane can all expect to tuck into the brand's bites to eat, too, and New Zealanders as well. Just where Wahlburgers will be opening in NZ hasn't been revealed, but the chain will be launching 20 stores across the two countries. View this post on Instagram A post shared by Wahlburgers 🍔 (@wahlburgers) If the Wahlberg name has you thinking about movies — with Mark starring in everything from Boogie Nights to Instant Family, and his co-owner and brother (and ex-New Kids on the Block member) Donnie Wahlberg also featuring in The Sixth Sense and the Saw franchise — then that won't change at Wahlburgers' Aussie and NZ joints. The chain's venture Down Under is a collaboration with United Cinemas, and some of the former's sites will be located within the latter's picture palaces. United Cinemas currently operates venues at Narellan, Collaroy, Warriewood, Avalon and Opera Quays in Sydney, Katoomba in the Blue Mountains, Craigieburn in Melbourne, Indooroopilly in Brisbane and Rockingham in Perth, so that's where you might be getting your Walhburger fix; however, Walhburgers will be opening stand-alone stores as well. Just when the chain will launch hasn't been revealed, but news.com.au is reporting that the first store in Sydney's Circular Quay will be open in the next few months — and that the restaurants will play up the movie theme. [caption id="attachment_796269" align="aligncenter" width="1920"] Michael Rivera via Wikimedia Commons[/caption] Wahlburgers is also co-owned by chef Paul Wahlberg — another Wahlberg sibling — and, given its name, the chain decks out its sites with photos and memorabilia from the brothers' lives. If you happen to remember that Mark Wahlberg was in the music business before he started acting and, as part of his hip hop group Marky Mark and the Funky Bunch, he released the 1991 single 'Good Vibrations', then you might be wondering if Wahlburgers serves Sunkist — because it's referenced in the lyrics. Based on its US menu, the answer is no, but fingers crossed that changes Down Under. Wahlburgers is set to open in Sydney, Melbourne, Perth, Brisbane and New Zealand — we'll update you with exact locations and dates when they're announced, and you can keep an eye on the chain's website and Facebook page in the interim. Top image: JJonahJackalope via Wikimedia Commons.
Grief. Asking for forgiveness. Moving forward. Thematically, that's the initial three-season plan for Shrinking, Apple TV+'s Jason Segel (Winning Time: The Rise of the Lakers Dynasty)-, Harrison Ford (Indiana Jones and the Dial of Destiny)- and Jessica Williams (Road House)-starring comedy series about therapists endeavouring to help their patients while rarely having all of the answers to their own problems. Audiences will get to see at least that journey from this kind-hearted gem, which was co-created by TV veteran Bill Lawrence fresh off Ted Lasso's success, teaming up with the soccer-themed hit's Brett Goldstein, aka Roy Kent, as well as Segel. Just as Shrinking's second season started airing in mid-October 2024, the show was renewed for a third season. "That is the beginning, middle and end of this story, without a shadow of a doubt. And I think people know from what I do that there has to be an undercurrent of hope and optimism in there," Lawrence tells Concrete Playground. "I'm not going to say everything would be nicely cut and dried, but I'm not sure people would ever watch my shows again if the end of this was 'Jimmy moved into the mountains and decided to be sad and alone forever'. You know what I mean? 'Don't even bother trying!'." Lawrence, who was also behind Spin City in the 90s, Scrubs and Cougar Town in the 00s, plus 2024 newcomer Bad Monkey, isn't saying that's all there'll be to Shrinking's on-screen journey — there's a way forward if, once season three rolls around, it earns another renewal again from there. "We knew that that was the end of this particular story. I think that's what's fun about television now, is you tell stories with a beginning, middle and end. Doesn't mean that the show can't go on, it just means if we go beyond these three seasons, I treat it like a book," he advises. "Bad Monkey, there's another book by Carl Hiaasen with some of the same characters, at least the ones that aren't dead. It's a completely new story, with a completely new inception point, and I love it just as much as the previous one. So I love the idea of doing that with a TV show like this, hopefully." Since its early 2023 debut, Shrinking has spent its time with Segel's Jimmy Laird, Ford and Williams as his colleagues Paul Rhoades and Gaby Evans, plus Jimmy's teenage daughter Alice (Lukita Maxwell, AfrAId), best friend Brian (Michael Urie, Goodrich), patient Sean (Luke Tennie, CSI: Vegas), and neighbours Liz (Christa Miller, Head of the Class) and Derek (Ted McGinley, The Baxters). When the show began its tale, Jimmy was consumed by loss and pain after the death of his wife in a car accident. With Alice, he'd largely been absent since tragedy changed their lives forever, and his friends had been picking up the slack. With the folks paying him for his professional assistance, Jimmy then began trying to push them out of their comfort zones. "I think one of the things that actually was a real breakthrough for me from participating in the show is understanding that one of the real pitfalls of therapy is getting caught in a weekly loop of talking about your problems, but not actually trying to change them. I hadn't really thought of that," Segel explains. "You have people who've been in therapy for years and years and years, but haven't really made any progress. And so I think that that's one of the things that was frustrating Jimmy, is feeling like his patients were caught in a rut — and 'what do I start doing to change your behaviour? What do we do that's actionable today?'. So that's been really cool, and I think it's been cool for the viewers, too, to think about it in that way." Shrinking is another of Lawrence's series with hug-inducing levels of warmth at its core, as Ted Lasso was so welcomely. As with Scrubs, it finds both deep emotion and humour in healthcare's vicinity. And as everything on his resume since Spin City has been, it's about the families that we make not just through the bonds of blood. Vulnerability sits at its heart, too, which Segel appreciates, especially as the Freaks and Geeks, Forgetting Sarah Marshall, How I Met Your Mother star's concept of what that means has evolved over his quarter-century-plus acting career. "I think that my idea of vulnerability has become more sophisticated as I have gotten older," he notes. "When I was a young man, to me the most-vulnerable thing was doing full-frontal nudity during a breakup, and that's just literally vulnerable. But I think that in this show, I've started to realise more and more that real grown-up vulnerability is saying 'I'm afraid' or saying 'I'm struggling and I need help'. Asking for help, what a vulnerable thing. And so I think that you'll see a lot of characters committing real acts of vulnerability and bravery by asking each other for help." Shrinking's 12-episode second season picks up with Jimmy being confronted with consequences from his new strategy for therapy, and Alice — and everyone else — concerned that he'll return to his self-destructive spiral. As it digs into seeking not just assistance but forgiveness, it also brings Goldstein (The Garfield Movie) in front of the camera, and forces its characters to begin reckoning with what it truly means to even think about allowing yourself to forge a path beyond past sorrows, mistakes and fears. How does Lawrence approach his now-trademark mix of emotional complexity and comedy, including while championing kindness? How crucial is Segel's involvement, especially in conveying details that don't need to be written on the page? And how did Ford come to be onboard? What does Segel learn working beside the acting icon — and how does he tackle a project when he's so intricately involved off-screen? We chatted to Lawrence and Segel about all of the above and more. On Making Sitcoms with Emotional Complexity, Including Ted Lasso and Shrinking Both Heroing Kindness, Self-Belief and Asking for Help Bill: "Everybody that you get to talk to that does what I do, they without a doubt had influences and idolised different shows and writers when they grew up. And for me, I grew up on that type of TV. People forget, because they aren't as old as I am, M*A*S*H was this show that was like the biggest show in America — a sitcom that would be broad and silly and goofy, and it would turn on a dime and you would find yourself sobbing about a patient that passes away or a story that you didn't see coming. You'd just get blindsided. And I always gravitated to TV like that. Even The Office, which I think is so brilliant and silly, and Michael Scott is a ridiculous character, they somehow found ways that he could still turn on a switch and hit you emotionally. I like shows like 30 Rock and Veep, which are a testament to amazing joke-writing, and sardonic and satire, and I wish I could do them — I can't. But I got very lucky. I knew with the show Scrubs that I wanted to try and do this, and see if you could do shows with big comedy that then would maybe sometimes have hairpin curves into emotional depth. And I remember when I tried to sell Scrubs, one of the executives that I sell to said 'I'm not sure you can do broad, silly comedies and then make people care — like, a fantasy, and then make people care if a patient lives or dies or not'. And I used to say 'I think you can, if you just turn the lights down and play some indie music'. I was joking, but it turned out to be right. I think there's a lot of people out there that laugh their way through pain, and I think that's why maybe sometimes these shows work, hopefully." On Shrinking's Focus on a Therapist Trying to Help Others While Needing Help Himself Jason: "I think that just on its face, the premise of somebody practising therapy while they themselves are going through a nervous breakdown is an electric idea. That's what comedy is, right? It's setting up these two opposing walls, and comedy is the space in between. Forgetting Sarah Marshall's about a guy trying to get over a breakup and running into his ex and her new boyfriend. It's these things in opposition to each other. So someone trying to help other people get well while they themselves are not well, it's just a great place to start." On the Balancing Act Between Silly Comedic Moments and Deep Emotion That Touches Audiences Bill: "It could be disastrous. I'll tell you right now, the stuff I've done in my career that's failed, have failed because of our inability to navigate those moments, and it just ends up seeming inauthentic. And without patting myself on the back, because I have very little to do with it, there's a chemistry to a TV show. Shows like this work often because the cast, there's actors and actresses top to bottom on Shrinking and on Ted Lasso and on Scrubs that have the ability to be making you laugh and being goofy and silly one second, and then to literally gather themselves and take a breath, and be pulling at your heartstrings the next. It's a special talent for actors and actresses. One of the great gifts of this stage of my career is getting to watch Harrison Ford do that. I knew what a great actor he was. I didn't know how funny he was. And I certainly didn't know how smooth he'd be at making the turn from one spot to another." Jason: "I think that we try to stay, if this makes sense, as true to life as possible, because my experience of life is it's not a whole bunch of hugging and learning. It's clunky and awkward, and the great thing about having friends you really trust and believe in is, yeah, there's some hugging and learning, but there's also a whole lot of 'get off your ass, we're going out to dinner'. There's a lot of 'dump that guy, he's a you-know-what?', as opposed to sitting around moping. 'Let's get revenge on him', you know. This is the way I think we actually behave — we make each other laugh and we hold each other by the hand and drag each other along. And so I actually think it's easier than it might seem, that the more honestly you write, the funnier it is." On Getting Harrison Ford for His First Main Role in a TV Comedy — and Learning From Him Bill: "I gave him my soul. He's a mystical creature and I signed my soul away. No, he's not. It's still crazy. When I was 25, I created the show Spin City with my mentor with Gary Goldberg, and the fact that Michael J Fox was doing it, I couldn't comprehend it. It was the first big job I ever had and he turned out to be exactly the type of person that you would hope he would be being a fan. And I did not expect to have that experience again as a guy in my 50s. And Harrison, to his credit, he's like 'yo, man, I'm trying new stuff. I've never done a TV show. I've never done a comedy'. A couple months ago he's like 'I've never done a Marvel movie'. I'm like 'you work harder than anybody I know, and you're 82'. It makes you almost feel guilty if you're ever complaining about being tired. It's been a career highlight for me that I did not expect to have at this point in my life." Jason: "Harrison and I both want this thing to turn out great, and we both work really hard and do our prep and all that stuff. But one of the things I learned from Harrison is that I really feel a sense of ownership and stress about it turning out well. And I think one of the things that I've learned from Harrison is 'hey kid, you've earned the right to trust knowing that you're good at this, and it's going to be good. You don't have to be scared until it's good. You know it's going to be good. You've done all the work. You know you're good at this. Do your prep. Show up. Nail it. It's going to be good'. That has been really helpful for me, because I'm sort of holding my breath until the finished product comes out and I like it. And I would enjoy myself a lot more in this job and in this life if I just had a little more ease about it always seems to work out. I still haven't bought that lesson yet. 'What if this time it doesn't?', you know." On the Importance of Segel's Casting — and What He Can Convey with His Face That Doesn't Need to Be on the Page Bill: "We talked a little bit about what the prototypes for my shows are. And he's such an inherently likeable actor. I'll tell you something I haven't told everybody. We made it a joke in the writers' room. He's playing some heavy stuff, and the tendency for writers is to overwrite it, to have characters say 'I'm really sad' or to say 'that thing that you did hurt me'. And Jason, one time, one time only, we said 'do we have to write this line or can you do it with your face?' — and he's like 'oh, I can do it with my face'. That has become shorthand in the writers' room. He's so good that we're like 'do we have to, can we go home, or do we have to write something here? It depends whether or not Jason can do it with his face'. But even though it's a joke, I watch some of these stories play out on his face and see what he's doing. Man, he's so good. He's so good and such a talented writer and just a good guy. Don't tell him I said it, but I really like him." On Segel Co-Creating and Co-Writing Shrinking, as Well as Acting Jason: "It's interesting because that's been actually the majority of my career, is writing something and shepherding it from the beginning, and so I'm very comfortable and familiar with that idea. I think that one of the benefits it has, for this show in particular, is that I get to quarterback the scenes when I'm on set that I'm in, knowing what we're trying to accomplish from a more bird's-eye view than you have when you're an actor for hire. I also love just being an actor for hire on projects where I do that. There's something very relaxing about it, because you're like 'most of this is somebody else's problem'. But I think that when I'm on Shrinking, I feel very protective of it. And I want it to be great and I want to help my castmates shine, and I just love it very, very much." On Families of Circumstance Sitting at the Heart of Lawrence's TV Shows, From Spin City and Scrubs to Ted Lasso and Shrinking Bill: "Found family, definitely. Mentorship, definitely. Oh shoot, I just do the same thing over. No, I'm joking. I cherish it in my own life. I was an only child. I built worlds around me of people that I loved and loved spending time with, and a family as well. And I think one of the things that maybe lay people don't know about Hollywood, because Hollywood's got a bad rap — deservedly so in some cases — but the positives are most people got in due to mentorship, and the best experiences people have involved found family and building a community on a show or a play or a movie. I still spend time with the cast and crew of Scrubs, not because we're working together, but because I sincerely love them. And I'm only good at writing what I know. So it's either writing about that or writing about a guy who's deathly afraid of his wife. She's so good. I'm just kidding. I'm just trying to get a laugh. She's awesome, man." On Segel Always Drawing Upon His Personal Life, Whether He's Writing, Acting or Both Jason: "I would say that everything that I participate in the writing process, or act in, is drawn from my personal life. It's the only way I know how to make art. I don't think we manifest it out of nowhere. I think it's more about transmutation. Like, what comes in and then what do you turn it into? I don't think that the kind of grief that we're exploring needs to be specifically about having lost a partner. I think it's the same kind of grief we experience from a big breakup. I think it's the same kind of grief we felt after COVID when there was lost time, when all of a sudden two years of our lives were gone and we'll never get them back. And so, yeah, there are moments in the exploration of Jimmy getting over losing his wife when I think about breakups, or I think about paths of my life that could have been taken that I didn't take, things that will never be that I really believed were going to happen. So I think it's all personal. That's the only way I know how to do it." On Segel's Favourite Shrinking Character Jason: "It may be surprising, but my favourite character is Derek, Ted McGinley's character, because to me, he is the best of us. He represents being unencumbered by doubt. He's just a guy who wants everyone to be having a good time. Don't sweat the small stuff. I wish my life felt more like that. I wish that my life felt more like how Derek feels on a day-to-day basis. Like 'oh hey great, we get to take a drive today? Oh, hot dogs — great!' What a way to live, right?" On What Gets Lawrence Excited About a New Project After Making TV for More Than Three Decades Bill: "I think that the day that I'm not excited to get paid to write stories for a living, I will go teach and hang it up, because I don't need any extra juice to get me going. I'm so lucky to do this. The only other job I ever had was painting the houses, and I wasn't that good at it. And so I hope people know that I'm grateful every day. I think the thing that makes me excited to do it now is I get to work with young people that want to get into this industry. I get to work with people that still show up and are like 'wow, a TV show!', and it's impossible to be cynical and jaded when you get to be around that. I get to talk to people like yourself that, I would argue, would not be doing this unless they grew up as TV and movie nerds like I did, and wanted to talk about all this stuff. I didn't expect to have a career renaissance in my 50s, but I'm going to ride it out as long as I can, and until people realise that they've made a grave mistake, and just keep having fun and working with friends." Shrinking streams via Apple TV+. Read our review of season one.
When I was 16 my dad forced me to learn to drve in a 1986 Pajero. It was a boxy seven-seater that I actually thought was hot as shit for seven years, until it conked out two days before the epic road trip I’d promised to my friends. Comedian Zoe Combes Marr brought her own 1986 Pajero — which, as she points out, literally means ‘Wanker’ in Spanish — as an attempt to validate her own existence through travel. The thing exploded about two hours down the open road. This is the great thing about the autobiographical performances at The Horse’s Mouth festival. They’re like fantastic extremes of situations that most people can relate to. You may not be a Sydney sex worker but you’ve probably seen one out in The Cross, you’ve probably had a special relationship with an elderly person even if they weren’t into Mexican wrestling and, though preventing your children from going outside is pretty extreme, you probably know what it’s like to have at least one overprotective parent. The festival presents nine autobiographical performances spread over three different programmes — Bolted, Hell for Leather and One Trick Pony — and also includes night sessions by the famous Sydney Story Club. Entwined with the humour of wanker cars and wrestling masks are serious issues about family relationships, and difficult questions such as ‘if home is where the heart is, does a broken heart lead to a broken home?’
After enormous success with recent productions of Carrie the Musical and Bloody Bloody Andrew Jackson, Squabbalogic are establishing themselves as the company for indie musical theatre. Aiming to provide a stage for Australia's finest emerging artists, the company presents exciting and dynamic works while nurturing a completely professional, creative environment. The concept is simple in their latest project, The Drowsy Chaperone. A musical theatre buff (Jay James-Moody's 'Man in Chair') plays a record of his favourite 1920s musical, the fictitious Drowsy Chaperone. Oh, and subsequently, within the four walls of his rundown New York apartment, the show comes to life. We watch him watch the show, occasionally narrating and constantly observing, in between cups of tea and protein bars. Doubling as the production's director, it seems almost unfair how good James-Moody is, not once switching off from what is an understated but completely compelling performance. In a role previously played by the likes of Geoffrey Rush (Melbourne Theatre Company 2010), James-Moody certainly holds his own and is the show's standout. The only issue is how hard it is to tear your eyes away from him to watch the rest of the action. But boy, are you in for a treat once you do. The entire cast is excellent, boasting brilliantly comedic performances, and with not a bad note to be heard. Following rave reviews for Carrie, Hilary Cole again shines in the lead — her voice outstanding as a bold showgirl trying to find and hold on to her true love. And Tom Sharah's Spanish sex god Aldolpho is ludicrously funny. Although set design is, in parts, a little naff (cut-outs in the window panes to depict a cityscape), the company generally does an impressive job, given the restricted budget. Creative touches see actors emerging from the refrigerator and ironing boards used as aeroplane wings. Costume design is bright and vivacious and live music from backstage is a highlight. This is the musical poking fun at musicals: heartfelt, hilarious and a guaranteed good time, whatever your feelings towards musical theatre. With subtle yet affecting comments on society, race, marriage and gender stereotypes, this fresh and highly topical show boldly addresses the great desire in all of our hearts to be entertained. "Let this be a good show. A short show, one that's free of audience participation. And let it have a story and a few good songs that will take me away," they say. And that it certainly does.
Now, here's a race that brings a whole new meaning to the concept of 'taking the plunge'. The Sydney Skinny returns for its seventh annual nude ocean swim, hitting Middle Harbour's Cobblers Beach, near Mosman, on Sunday, March 17, and it promises to help you to squash a few fears, all for an excellent cause. Punters are invited to shed their clothes and take part in a spectator-free, secluded swim, clocking either 300 or 900 metres, on their choice of timed wave (including a womens-only wave). With a focus on inclusivity and self-challenge, the liberating event sees participants strip down only for the swim and those few moments before diving in, with sarongs waiting for everyone as they emerge at the finish line. As well as boosting confidence and breaking down a few mental barriers, the race helps raise much-needed funds for the Charlie Teo Foundation, in support of brain cancer research. As well as a $45 entry fee, swimmers are encouraged to raise additional funds through an Everyday Hero page.
It's the season that originally wasn't going to happen, telling the story that's still ongoing IRL, wrapping up a seven-year run for a star-studded regal drama that's proven a royal hit. On Thursday, December 14, The Crown will come to an end with the final six episodes in its sixth and last go-around. The focus in the just-dropped trailer for this big wave goodbye: the changing attitudes towards the British monarchy and what Queen Elizabeth II (Imelda Staunton, Downton Abbey: A New Era) sacrificed when she became a sovereign. The Peter Morgan (The Queen)-created show's farewell began in mid-November, with the release of the first four episodes of season six. Accordingly, this final run also began by paying plenty of attention to the relationship between Princess Diana (Elizabeth Debicki, Guardians of the Galaxy Vol. 3) and Dodi Fayed (Khalid Abdalla, Moon Knight), including the tragic events of their trip to Paris. Now, the remainder of the season keeps exploring the aftermath to take the award-winning series to its conclusion. On the way: Prince William (Ed McVey) going back to Eton, then attending St Andrew's University and forming a crush on Kate Middleton (Meg Bellamy). The Crown's last hurrah will also include Princess Margaret's (Lesley Manville, Mrs Harris Goes to Paris) stroke and lifestyle changes, and the Queen entering her ninth decade, as well as what that means for Prince Charles (Dominic West, The Pursuit of Love). Stepping into William and Kate's shoes, McVey and Bellamy are both screen debutants playing a couple whose tale has never been away from the headlines — and digging into the part of this narrative that even those with zero interest in the royal family know from such incessant coverage. Season six's cast also includes Luther Ford (short Dream Between) as Prince Harry, Olivia Williams (The Father) as Camilla Parker Bowles, Jonathan Pryce (Slow Horses) as Prince Philip, Claudia Harrison (Delicious) as Princess Anne and Bertie Carvel (Dagliesh) as Tony Blair. When The Crown began, it kicked off with Queen Elizabeth II's life from her marriage to Prince Philip back in 1947. The first season made its way to the mid-50s, the second season leapt into the 60s, and season three spanned all the way up to the late 70s. In season four, the royal family hit the 80s, while season five hopped to the 90s. News around the show's fifth and sixth seasons has changed a few times over the past few years. At the beginning of 2020, Netflix announced that it would end the royal drama after its fifth season. Then, the streaming platform had a change of heart, revealing it would continue the series for a sixth season after all. Check out the trailer for the second part of The Crown season six below: The second part of The Crown's sixth season will hit Netflix on Thursday, December 14. Images: Daniel Escale, Netflix / Leftbank.
Everyone likes being spoiled at Christmas. This year, when it comes to taking a holiday, Australians will also be spoiled for choice. The nation's borders are reopening to international travel from November, and overseas destinations have started announcing when Aussies can make the trip again — so if you haven't already booked a getaway to Fiji, or jumped on flights to London or the US, you can now make a date with Thailand. On Friday, October 22, Thailand's Ministry of Foreign Affairs unveiled a list of places around the globe — covering 45 countries and one territory — that it is deeming low-risk in terms of travel restrictions. So, if you hail from one of these 46 places, you'll be permitted into Thailand from Monday, November 1. And yes, Australia is named. Other countries identified include New Zealand, the US, the UK, France, Germany, Italy, Japan and South Korea. The list is set to be revised again in mid-November and at the beginning of December, so it's expected to grow again soon. Folks from these low-risk nations will be allowed to enter Thailand, with three options available — including ditching quarantine if you've been double-vaccinated. For the unvaxxed, either ten or 14 days quarantine still applies, depending on whether you're arriving by air or land. For the double-jabbed, there's two choices. You can take a PCR test within 72 hours of travelling, then undergo another one upon arrival and wait in a designated hotel for one night until you get a negative result. Or, you can take advantage of the country's 'Sandbox' scheme. It lets you stay in designated 'Sandbox' provinces around the country for seven days — in Phuket, Bangkok, Chiang Mai, Krabi and more — undertaking COVID-19 tests upon arrival and again on day six or seven of your trip. After that week, passes you can then venture elsewhere in Thailand. Qantas has already revealed that it's restarting travel from Sydney to both Phuket and Bangkok, too, kicking off on Wednesday, January 12 and Friday, January 14, respectively. That news came before Thailand's border announcement, however, so fingers crossed that flights might recommence even earlier now. For more information about Thailand's reopening plan, head to the Thai Government's website and Facebook page.
"Isn't she LVLY," Sydneysiders will be crooning about emergency gifting saviours LVLY from August 1 onward. The same-day gift delivery service is expanding their Melbourne operations to offer their cheeky selection on both sides of the bridge. LVLY wants to buck cliches with its floral gift range featuring seasonal posies in their trademark You LVLY F*cker floral jars (with non-sweary options available for Mum-bound gifts). There's also succulents to combat a drab desk or body care items like the Soft Hands Strong Hearts hand cream if self-gifting is your thing — which it absolutely should be. Things get a bit saucy in the chocolate section thanks to Tall Dark and Handsome and Dreamy and Creamy dark chocolate. And, their gifts often sneak in a life affirming message; take the You Da Bomb ginger cookie or You LVLY Hottie canvas beauty bag, for example. LVLY also packages gifts in bundles, as seen in the Day Maker with all of their signature items, Legend with artisan beer and nuts to relish, and the espresso martini-laden Pick-me Up. And, making a great service even better, they partner with local businesses for limited edition gifts; Melbourne was treated to a Short Stop Donuts collaboration (drool), so keep your fingers crossed. Originally Bondi Beach housemates, co-founders Hannah Spilva and Verity Tuck are excited to bring the service home after growing its base out of their kitchen in Melbourne. Hannah says the gifts are designed help you celebrate the good days, bad days and everything in between. Gifts start at $39, and you can select same day delivery if ordering before 1pm (it'll get to you by 6pm) or pre-order for a future date. Their delivery zone doesn't disappoint, spanning from Barrenjoey to Parramatta and beyond. Delivery prices differ based on suburb so plug in your postcode to check what's what, with shipping free for orders over $79. For more information about LVLY, head to their website.
First, hobbits tuck into breakfast. Then, they enjoy second breakfast. In fact, in both JRR Tolkien's books and the movie adaptations that've brought them to the screen so far, they like their meals frequently and with the smallest of gaps between them. That seems to be an approach that Prime Video is taking to The Lord of the Rings: The Rings of Power, its upcoming Middle-earth series, too — at least when it comes to dropping sneak peeks at the long-awaited show. The Rings of Power seems like it has been in the works forever, because it's now been 21 years since the first of The Lord of the Rings movies had everyone rushing to cinemas, obsessing over hobbits and elves, and saying "precious" too many times — and, it's also been five years since it was initially revealed that a TV series was in the works. The show will drop in September, starting on Friday, September 2, but early glimpses have been as rare as a pacifist orc until this month. Now, in the space of just a fortnight, Prime Video has dropped not just one, not two, but three new trailers. The latest arrived during San Diego Comic-Con, aka the reason that other big fantasy titles such as Game of Thrones prequel House of the Dragon and game-to-screen adaptation Dungeons & Dragons: Honour Among Thieves have also released trailers this week — and it's the longest look at The Rings of Power yet. It also provides the most complete overview of the show's storyline, which jumps back into Middle-earth's Second Age, bringing that era from the LOTR realm to the screen for the first time. In past trailers — including the initial sneak peek back in February — gorgeous settings, elves, dwarves, harfoots (aka hobbit ancestors), stormy seas, strange skies, cave trolls, raging fires and orc battles have all popped up. This new trailer pieces together more of the plot around them. The focus: the rise of Sauron, how that gave rise to the rings and the impact across Middle-earth. Also seen in the new sneak peek: more orcs, and even a balrog. The Rings of Power features a young Galadriel (Morfydd Clark, Saint Maud) and a young Elrond (Robert Aramayo, The King's Man), too — and, this time, New Zealand's natural splendours stand in for the Elven realms of Lindon and Eregion, the Dwarven realm Khazad-dûm, the Southlands, the Northernmost Wastes, the Sundering Seas and the island kingdom of Númenór. Amazon first announced the show back in 2017, gave it the official go-ahead in mid-2018 and set its premiere date back in 2021. In-between, it confirmed that it wouldn't just remake Peter Jackson's movies. Rather, as per the show's official synopsis, it follows "the heroic legends of the fabled Second Age of Middle-earth's history," with the action set thousands of years before the novels and movies we've all read and watched. If you're a little rusty on your LOTR lore, the Second Age lasted for 3441 years, and saw the initial rise and fall of Sauron, as well as a spate of wars over the coveted rings. Elves feature prominently, and there's plenty to cover, even if Tolkien's works didn't spend that much time on the period — largely outlining the main events in an appendix to the popular trilogy. The series will "take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien's pen threatened to cover all the world in darkness," the synopsis continues. "Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth. From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone," it also advises. That's a hefty tale to tell, and The Rings of Power has amassed a hefty cast to tell it — and some impressive talent behind the scenes. Among the other actors traversing Middle-earth are Ismael Cruz Córdova (The Undoing) as Arondir, Nazanin Boniadi (Bombshell) as Bronwyn, Owain Arthur (A Confession) as Prince Durin IV, Charlie Vickers (Palm Beach) as Halbrand and Sophia Nomvete (The Tempest) as Princess Disa. There's also Tom Budge (Judy & Punch), Joseph Mawle (Game of Thrones), Cynthia Addai-Robinson (The Accountant), Maxim Baldry (Years and Years), Peter Mullan (Westworld), Benjamin Walker (The Underground Railroad) and comedian Lenny Henry. And, the series is being overseen by showrunners and executive producers JD Payne and Patrick McKay, while filmmaker JA Bayona (A Monster Calls, Jurassic World: Fallen Kingdom) directs the first two episodes. Check out the latest The Rings of Power trailer below: The Lord of the Rings: The Rings of Power will be available to stream via Prime Video from Friday, September 2, 2022. Images: Matt Grace / Ben Rothstein.
The dream of home ownership has been quietly slipping out of reach for a generation of Australians, and the 2026 federal budget has just moved to change that. Treasurer Jim Chalmers' budget speech confirmed a sweeping overhaul of negative gearing and the capital gains tax (CGT) discount — two tax breaks that have shaped the Australian property market for more than two decades — alongside a new minimum tax rate on capital gains. The government estimates the changes will help around 75,000 Australians achieve home ownership. From July 2027, negative gearing will be limited to newly built homes, and the 50 per cent CGT discount will be replaced with inflation-adjusted indexation — what Chalmers described in his budget speech as a way to "restore the taxation of real gains." Both changes apply prospectively, meaning existing property investors will be grandfathered into the current arrangements. New builds will also retain the option to use the existing 50 per cent discount, as a sweetener to keep investment flowing into fresh housing supply. There's a less-flagged piece in the package: a new minimum 30 per cent tax rate on capital gains kicking in from July 2027, with the same minimum rate extending to discretionary trusts from July 2028. The change applies across asset classes — meaning the reforms reach well beyond residential property into the wider investment market. In his speech, Chalmers framed the changes as long overdue. "Since 1999, house prices have risen over 400 percent, more than twice as fast as average incomes," he said. Earlier in the day, the Treasurer told reporters in Canberra that "the status quo in the housing market and in the tax system is not working for too many Australians." So what does it actually mean if you're trying to buy your first home? Senior economist Saul Eslake told the Nine Network's Today show that the changes weren't a "magic bullet" but could "remove some of the competition" young homebuyers are facing. Eslake said 80 percent of lending to property investors currently goes to existing homes, where investors are "effectively outbidding homebuyers and therefore forcing them to rent." A Parliamentary Budget Office analysis cited by the ABC found 80 percent of CGT discount benefits flow to the top 10 percent of salary earners, while 60 percent of negative gearing benefits go to the top 20 percent. Not everyone is convinced. At a news conference reported by the Guardian, Shadow Treasurer Tim Wilson said "the Australian people have woken up to the new taxes on the self-starters of this nation", accusing the government of breaking its election promise not to touch negative gearing. The budget also includes $2 billion for councils and state utility companies to deliver the roads, pipelines and wires needed to support construction of 65,000 new homes over a decade. The full 2026 federal budget is now available, with the new property tax rules taking effect from July 2027 — giving would-be investors just over a year to act under the existing rules. Lead image: TBC — editor to source. Like what you see? Subscribe to the Concrete Playground Newsletter to get stories just like these straight to your inbox.
Grab your music-loving mates because Night At The Barracks is coming back to North Head for a 2024 edition. Prepare to be captivated by some of Australia's biggest names in music against the stunning backdrop of Sydney Harbour this September. The lineup of live gigs features a bunch of big-ticket Australian acts. On opening night, the legendary Icehouse, led by singer Iva Davies, will perform followed by the revered Pete Murray on night two. The second weekend opens with the chart-topping Birds of Tokyo bringing the vibes for an undoubtedly spectacular Friday night show then a performance from rock legend Jon Stevens. Closing out that weekend is the Australian Rock Collective performing their greatest hits. Week three is going to be quite the party. The seating will be stripped out for a pumping Friday night show by EDM legends The Presets and shooting stars Bag Raiders. The following night will see NZ pop rock stars SIX60 take to the stage then closing the weekend is the show for all you Swifties out there — T Swift tribute act, Taylor Made, starring Alex the Astronaut, Clare Bowditch, Charley, Lucy Durack and more. For the grand finale weekend, Friday night is all about Matt Corby and his band before the one and only Jessica Mauboy on Saturday and a conclusion to the series from Xavier Rudd. Whether you're a long-time fan or a first-timer, mark your calendars and be ready to grab your tickets when they're released on Wednesday, May 29. Night at the Barracks is returning from Friday, September 13 to Sunday, October 6, 2024. Tickets are on sale now at nightatthebarracks.com.au
Sometimes an exhibition gets gallery patrons exploring one artist's work. Sometimes it pays tribute to a specific person, heads back to a certain chapter of the past, or fills walls and halls around a theme. A particular object might be in the spotlight, or a movie franchise. Then there's The NBA Exhibition, which is celebrating hoop dreams and all things basketball in its first-ever Australian visit. After premiering in Warsaw, Poland in 2021, The NBA Exhibition gets bouncing in Brisbane from Thursday, November 9 — and bounds through basketball history at the same time. Catnip for fans of Air and Winning Time: The Rise of the Lakers Dynasty, this sports-focused showcase is big in scope and size, surveying the culture of hopping onto the court and the lifestyle that goes with basketball, too, in a hefty two-level display. Visitors can traverse 1000 square metres and make their way through 20 themed sections. Created with the National Basketball Association, The NBA Exhibition aims to lure in b-ball diehards, casual followers and folks that haven't thought about the sport since their school PE lessons alike — and attendees of all ages. Looking at basketball memorabilia is part of the presentation, but so is throwing a ball around yourself and, thanks to the virtual and augmented reality aspect of the showcase, taking snaps with your favourite NBA players. So, you can get a photo with the Larry O'Brien Championship Trophy, too — aka the coveted prize that each year's NBA Finals' winner receives — and shoot hoops, see how far you can jump and test your reflexes as well. Fancy a picture showing that you can slam dunk, even if you can't? There's a section of The NBA Exhibition for that. Eager to watch NBA highlights using VR goggles? That's also on the agenda. Keen to get surrounded by iconic NBA moments? That's what the infinity room is for. With names like Michael Jordan and Shaquille O'Neal obviously featuring — and Kobe Bryant, Steph Curry, Giannis Antetokounmpo, Magic Johnson and Larry Bird as well — other elements of The NBA Exhibition include a heap of balls and shoes on display; footwear and hand prints from past and present players; art that was commissioned for a pop-up NBA Gallery exhibit in Sydney in 2022, featuring Australian and First Nations artists; and celebrating NBA players that've made the jump from Australia, which is likely to feature Patty Mills, Ben Simmons, Luc Longley, Andrew Gaze and more. Brisbane's Queens Plaza hosts The NBA Exhibition's debut Aussie stop — just as it did with The Art of Banksy: Without Limits, which also hails from entertainment platform Fever, earlier in 2023. Updated Thursday, November 30, 2023.
This well-loved Bondi establishment run by two talented Kiwis is a mecca for eastern suburbs sugar slaves. And boy, can they make a good doughnut. Several, actually. The vanilla custard and raspberry jam is divine but perhaps risks being overshadowed by the newer, sinful 'Bronut' — a dark-hued beast filled with moreish chocolate custard and dusted in cocoa powder. Be prepared for a very messy, multiple-napkin eating experience (even those of you who pride yourself on eating tacos neatly). The custard doughnuts come in two sizes: regular ($5.50) and the still satisfying mini ($3.50). For those who don't dig custard, their cinnamon doughnut ($3.50), dusted with Rapadura sugar (the pure juice extracted from sugar cane that's supposedly a healthier alternative to white sugar), also scores big points. Appears in: The Best Bakeries in Sydney for 2023
When it comes to annual traditions, the release of a new ensemble Christmas movie is among the most reliable. That doesn’t mean that it’s good — it just means that another festive feature seems to reach screens every year, overflowing with star power as well as predictability. This year's entry is Love the Coopers, and if you've seen a holiday flick before, you can probably already guess the storyline. On Christmas Eve, a dysfunctional family has to overcome their differences and learn to appreciate each other — and yes, the film really is that routine. That's not the only dash of formula director Jessie Nelson (I Am Sam) and writer Steven Rogers (P.S. I Love You) sprinkle throughout their big screen attempt to deck cinemas with some yuletide cheer. There's nothing like a last chance at happiness, aka a potentially final Christmas together as a group, to up the stakes. And, when following a big group getting into the spirit of the season, why not flit between individual stories before weaving them all together in the manner of Valentine's Day and New Year's Eve? Indeed, on the checklist of standard elements in occasion-oriented offerings, Love the Coopers ticks all the boxes. The characters continue the trend, including bickering, long-married parents Sam and Charlotte (John Goodman and Diane Keaton), and troubled adult children Hank and Eleanor (Ed Helms and Olivia Wilde). Sam and Charlotte are about to separate, but haven't told anyone yet. Hank has just divorced from Angie (Alex Borstein), struggles with sharing custody of his three kids and can't find a job, while Eleanor is sick of being judged for being single, so she convinces Joe (Jake Lacy), a soldier she meets in an airport bar, to pretend to be her boyfriend. Throw in a few other stragglers — Charlotte's jealous sister Emma (Marisa Tomei), who spends her day dispensing amateur counselling to a closeted cop (Anthony Mackie); Aunt Fishy (June Squibb), the requisite eccentric elderly person with a failing memory; and family patriarch Bucky (Alan Arkin), who's closer to the waitress (Amanda Seyfried) at his local diner than his family — and the scene is set for the usual festive hijinks. Arguing and hugging ensue, and then more of the same. Presents and food are often in the frame. It's all as predictable as eating too much at Christmas dinner, only not at all filling. Narration links what are essentially intertwined short films; however the feature falls victim not just to cheesy clichés, but to blandness. Wilde and Lacy's segment invests a little energy into proceedings, and Arkin and Seyfried share the sweetest story, but they're the highlights of an average-at-best lot. The performances meet the same fate, with the rest of the high-profile cast largely squandered. Wasted, too, is any sincerity and good cheer, as an overdose of sentiment and contrivance leaves the bulk of the movie veering in tone and feeling forced. Sweeping camerawork can't improve matters, nor can a schmaltzy soundtrack. The end result: Love the Coopers isn't a seasonal gift, but a holiday chore.
Nothing screams romance like a walk along the water at sunrise or sunset, and Kamay Botany Bay National Park offers some of the best views near our city. Located in Kurnell, close to Cronulla, the park is bordered by Botany Bay on one side and the Pacific Ocean on the other. The region is steeped in Aboriginal culture and its coastal beauty will impress even the most seasoned trekker. Start by visiting the Kurnell Visitors Centre to learn about the Indigenous inhabitants of the area and how they lived prior to the First Fleet's arrival in 1770. If you're up for an easy walk, the 700m Banks-Solander loop showcases plenty of native plants — and it links to the longer Cape Baily and Yena tracks if you want more of a challenge. If you continue along the Cape Baily trail, you'll reach the lighthouse. From there you can continue to Cape Solander, which offers epic views along the coast and back towards the city and is considered one of the best whale-watching spots in Sydney. This might be a nice spot to pause for a drink and snack while you wait to catch a glimpse of some marine life. Or, you could head back to one of the picnic areas — Yena or Commemoration Flat. [caption id="attachment_761930" align="alignnone" width="1920"] Destination NSW[/caption] Image: Destination NSW
