When Sex and the City scored a sequel series back in 2021, it let fans of the HBO hit reunite with its beloved New York-based characters; however, not everyone was present and accounted for. Sarah Jessica Parker, Kristin Davis and Cynthia Nixon all returned, as did many of the men in their lives. But Kim Cattrall has been sitting out And Just Like That... — until season two arrives this winter. Variety reports that Samantha Jones is a part of the show's new batch of episodes, albeit just in a cameo. Cattrall (How I Met Your Father) will only be in one scene, chatting with Carrie (Parker, Hocus Pocus 2). And, it's believed that she shot her contribution solo, without interacting with her longterm co-stars. [caption id="attachment_791681" align="alignnone" width="1920"] Sex and the City[/caption] As well as dropping that news, And Just Like That... has just released its full trailer for season two. Unsurprisingly, there's no sign of Cattrall. But the sneak peek does explain why John Corbett (To All the Boys: Always and Forever) is reprising his role as Aidan Shaw, adding to the series' parade of Sex and the City faces. Cosmos at the ready, obviously. Your next excuse to sip vodka, Cointreau, cranberry juice and lime juice will arrive from Thursday, June 22 on Binge in Australia and Friday, June 23 on Neon in New Zealand. If you've spent any part of the past two-and-a-half decades dreaming about being a fabulously dressed Big Apple writer who seems to do very little work but can still afford a fantasy wardrobe — or if you've just filled it drinking a lot of pink-coloured cocktails — then you'll already be excited. And, you'll know that when the first season of And Just Like That... arrived, it did so 17 years after Sex and the City wrapped up its HBO run. Two years later, the show will explore more of Carrie, Miranda (Nixon, The Gilded Age) and Charlotte's (Davis, Deadly Illusions) lives and friendships in their 50s, when things are even more complicated than they were two decades ago. Season two will also feature Sara Ramírez (Madam Secretary), Sarita Choudhury (Ramy), Nicole Ari Parker (Chicago PD), Karen Pittman (The Morning Show), Mario Cantone (Better Things), David Eigenberg (Chicago Fire), Evan Handler (Power), Christopher Jackson (Space Oddity), Niall Cunningham (Poker Face), Cathy Ang (My Best Friend's Exorcism) and Alexa Swinton (Old), all similarly returning from season one. A reminder: due to Kim Cattrall's absence so far, And Just Like That... has been badged as a "new chapter' in the Sex and the City story, rather than an additional season of the existing 1998–2004 program. Parker, Davis and Nixon are also executive producers on And Just Like That..., alongside Michael Patrick King, who worked as a writer, director and executive producer on the original (and on the two terrible 2008 and 2010 Sex and the City movies). Check out the full trailer for And Just Like That..., season two below: And Just Like That... season two will start streaming via Binge in Australia from Thursday, June 22 — and from Friday, June 23 on Neon in New Zealand. Images: HBO.
Upstate's pace isn't letting up, with its brand of high-octane fitness studios ready to debut in Sydney. Having swept Melbourne by storm over the last 15 years, Upstate recently launched its first interstate location in Palm Beach on the Gold Coast. Now, Sydneysiders are invited to discover this cult-favourite pilates hub, renowned for its bold, bright and upbeat approach to movement — and the studio is celebrating its opening with free classes all weekend. Touching down in Five Dock on Saturday, September 20, this buzzing Great North Road location is more than just a place to get a solid workout in. Featuring vivid interiors, community-fuelled energy and fitness classes that ensure each session gives you a full-body burn, bringing new vibes to your next sweat session is made easy. Inside the new two-room studio, expect Upstate's signature Hot Mat Room and a dedicated Reformer Pilates space, where a full schedule of classes delivers the dynamic movement guests crave. Choose from Hot Mat Pilates, Hot Power Yoga or Reformer Pilates when amping up, then wind down with restorative classes like Yin and Sound Bath Meditation. Keen to experience the new space? We've got two unlimited three-month memberships to give away to readers. "Five Dock has this amazing mix of local charm and energetic pace — it's a perfect match for our brand," says Upstate Co-Founder and Co-CEO Gail Asbell. "We're thrilled to continue Upstate's journey into Sydney with a studio that reflects everything we stand for: positivity, movement, and connection." Slotting into Five Dock's leafy streets, the latest Upstate location is also set within touching distance of top-notch cafes and lush waterfront havens. This way, getting a pre- or post-workout coffee and snack is but a few steps away. Like most of the brand's studios, it's all about combining fitness with a vibrant lifestyle-driven ethos. "As with every Upstate space, the Five Dock studio has been created to feel empowering, inclusive, and high-vibe," says Asbell. "It's an exciting step forward in our growth, while staying true to our mission of uplifting and energising through movement." Upstate Five Dock will open on Saturday, September 20, at 156 Great North Road, Sydney, and will offer free classes from September 20–21. Visit the website for more information and enter to win a three-month membership.
This weekend, Hay St Market at Paddy's transforms into a vibrant Italian piazza to celebrate one of Italy's most beloved summer holidays — Ferragosto. Picture a three-day cultural extravaganza with decadent Italian delights, including hand-rolled gnocchi and piped-to-order cannoli, and of course, an Aperol Spritz. Ferragosto traditionally marks the height of the summer harvest in Italy, celebrating with a day of rest and feasting with family. While it might not be summer here, the holiday is reimagined with music, colour and the aromas of regional Italian cooking taking over Haymarket. From Friday, August 15 to Sunday, August 17, the 3,000 square-metre market will be filled with roaming food carts and market stalls serving golden saffron arancini, schiacciata-stuffed porchetta rolls with salsa verde and crackling, and slow-cooked stews over creamy polenta. Plus, desserts like tiramisu trays, cinnamon-dusted bomboloni and scoop after scoop of gelato. On Saturday, August 16, from 12–3pm, a live Italian band will soundtrack your spritz-sipping and market wandering, making it the perfect afternoon of indulgence. Hay St Market Culinary Director George Diamond has worked closely with market traders to curate the menu and capture the spirit of Ferragosto "with every bite". Entry to Buon Farragosto is free, so make sure you head down at some point over the weekend and enjoy this flavour-packed Italian getaway in the heart of Sydney. Find out more about the food on offer at the Hay St Market website.
Sydney is expanding its international film production capabilities with a new proposal from the NSW Government for a new production hub in Western Sydney. Open now to Expressions of Interest from industry partners, the $100 million project will expand on the established Disney Studios Australia in Moore Park and the state government's three-year NSW Screen & Digital Games Strategy. Disney Studios Australia has been in operation for decades as Australia's only major film studio, playing a role in the production of international feature films like Mission Impossible 2, Moulin Rouge!, Mad Max: Fury Road, The Great Gatsby, Peter Rabbit, The Fall Guy, Kingdom of the Planet of the Apes and Apex. [caption id="attachment_954854" align="aligncenter" width="1920"] (L-R): Soona (played by Lydia Peckham) and Noa (played by Owen Teague) in 20th Century Studios' KINGDOM OF THE PLANET OF THE APES. Photo courtesy of 20th Century Studios. © 2023 20th Century Studios. All Rights Reserved.[/caption] The EOI will be open to proposals on both private and government-owned land. To support the process, three government-owned sites in Western Sydney (at Bungarribee, Eastern Creek and Prospect) have been identified that respondents may consider when preparing a proposal. EOI submissions will be evaluated against the NSW Government's objectives to strengthen capacity, attract international blockbusters, support local production, create local jobs, and ensure NSW remains the nation's screen powerhouse. [caption id="attachment_952103" align="aligncenter" width="1920"] Ryan Gosling is Colt Seavers in THE FALL GUY, directed by David Leitch[/caption] The EOI process will be open to proposals for those who think they can deliver the critically needed screen infrastructure to support the project's scale – including six sound stages minimum. It will close in May, before being evaluated and considered by the NSW Government. Yesterday, Blacktown City Mayor Brad Bunting said Western Sydney is "well placed" to support the continued growth of Australia's screen industry. "Western Sydney is alive with creativity. Our young and diverse population represents a powerful pipeline of talent and new opportunities for Australia's screen industry," he said. "We have the space, with large-scale productions requiring space for sound stages, workshops and backlots, Western Sydney has the scale and infrastructure needed for projects of that size. It makes sense." This article originally appeared on Rolling Stone AU/NZ. Lead image: 'Mad Max: Fury Road', courtesy of Roadshow.
When SXSW Sydney first started revealing details of its 2025 lineup, it promised more free programming on this year's bill. If you're keen to head along to the event's third year — after making its Harbour City debut in 2023, then returning in 2024 — without spending a cent, you'll want to make a date with Tumbalong Park, then. Again, the spot is playing host to the fest's budget-friendly activities, including everything from live music to movies, as well as DJ sets, talks, fashion showcases, pop-ups and more. Free sessions have always been a component of SXSW Sydney, but adding more was never not going to be a welcome move. Accordingly, after outlining that there'd be a significant expansion of its free programming, the festival has upped its Tumbalong Park lineup to 85-plus hours of events. At SXSW Sydney Unlocked, as the hub has been dubbed, there'll be more than 200 options to engage in the fest between Monday, October 13–Sunday, October 19. This part of the lineup runs every day, but will feature extended hours from Thursday–Sunday. Weekday lunch breaks are a particular focus, spanning programming from 12–1.30pm Monday–Friday, as are happy-hour sessions from 4.30pm Tuesday–Friday. So, SXSW Sydney clearly wants the city to join in whenever suits everyone's daily schedules — and via everything from guest appearances to surprise hosts, too. Highlights include the return of FOMA: Fabrics of Modern Australia on the runway; gigs by Indonesian hip hop stars Tenxi, Filipino folk-pop singer Angela Ken, J-Pop boy band Psychic Fever and Chinese Tencent singer Tia Ray; and Blak to the Future: A Celebration of First Nations Creatives' celebration of Indigenous filmmaking. Or, hit up twilight gigs in the Seymour Centre courtyard, get line-dancing lessons and see a range of country talent — Max Jackson, The Washboard Union, Lewis Love and Big Wheels — at Tumbalong Honky Tonk, and explore the Australian Space Agency's space-themed hub. There's also Small Fry Rock for families, with Grinspoon's Phil Jamieson and Little Birdy's Katy Steele taking to the stage. The Rubens are set to celebrate ten years of 'Hoops', while K-pop is also getting a moment. On the Saturday, if you fancy attending the Games Showcase and Innovation Expo without bothering your wallet, that's also on the agenda. "SXSW Sydney Unlocked represents the very heart of what SXSW Sydney is all about: access, discovery and connection. We're incredibly proud to offer a dynamic, free program that invites everyone, from families and students to workers on their lunch break, to experience the energy and ideas that define this global event," said SXSW Sydney Co-Managing Director Simon Cahill. "Whether you're watching a runway show, getting hands-on with future tech at our expo, or dancing with your kids in the park, this is a celebration of ideas and imagination, and everyone's invited." SXSW Sydney 2025 will run from Monday, October 13–Sunday, October 19 at various Sydney venues, including Tumbalong Park. Head to the SXSW Sydney website for further details. Images: Jess Gleeson, Paul McMillan and Ben Gibson.
The Tinder trawl just got a little more rom-com; brand new dating app Happn aims to take your missed Meet Cutes and turn them into potential dates. Using the GPS function on your phone, Happn encourages you to "find the people you've crossed paths with" in an attempt at fast-tracked 'romance'. If you've ever wondered if the babe in the cereal aisle was giving you the eyeball, now you can check without risking an ego-shattering diss. Invented by three Frenchmen (growth hacker Fabien Cohen, entrepeneur Didier Rappaport and computer engineer Antony Cohen), Happn is generating serious buzz in Europe with its cut-to-the-chase hook up philosophy. While Tinder's flick left or right mechanism is undoubtedly based on looks, lack of Southern Cross tattoos and inclusion of Distracting Hot Friends in profile pics, Tinder also brings up shared interests (if you both like Game of Thrones on Facebook, it'll show up so there's something to talk about rather than "Sup, wanna bang?"). Happn leaves this behind in favour of distance to dates. If you're within 250 metres of each other, Happn uses your phone's GPS to flag your potential romance-o-meter. Of course, your mystery spunk has to have Happn installed on their phone too (so you might be waiting a while to hear from your eyelash-battering stranger if they ain't connected). The timeline shows you the profiles of all the people you’ve crossed paths with, in real-time. Every time you come across someone in real life, their profile appears on your app. Passing someone in the supermarket aisle just got a little more loaded. Happn's sole philosophy is based around celebrating coincedence, "boosting luck" and saving you from "missed connections." But although it sounds simultaneously romantic and an easy carnal escapade, the whole GPS situation is creeping some of us out. Importantly, your position on Happn isn't saved and remains completely invisible to other members — the coordinates of where you passed another Happn user is the only thing registered; the bus stop where That Guy hopped on, the record store where you noticed Her in the hip hop section, the park where your terrier 'accidentally' found itself off leash and headed toward a swoonworthy husky owner. But what of unwanted attention from creepos using technology to be predatory, like many, many creepos tend to do? "The app is designed to guarantee the safety of all users and the confidentiality of their data," say the Happn team. "You can decide at any given time that a profile doesn’t interest you anymore; you’ll never cross paths with each other on Happn again, and they’ll never know. Also, you can report any unwanted behaviour or block a profile by clicking on the little flag at the bottom of every profile." Avoid the creeps, follow up your Meet Cute and let us know where the reception's at. You can download Happn in the Google Play Store or Apple App Store. Via Guardian.
2005 movie Mr & Mrs Smith isn't the first time that title adorned a spy caper about a literally killer couple. That honour goes not to the Brad Pitt (Babylon)- and Angelina Jolie (Eternals)-starring, Brangelina-sparking film, but to a 90s TV series. No one remembers 1996's Mr & Mrs Smith, where Scott Bakula (who was not long off Quantum Leap at the time) and Maria Bello (Beef) took on the eponymous parts. It didn't last, with just nine episodes airing and a further four made but left unseen. But its existence gives 2024's Mr & Mrs Smith a full-circle vibe, with Donald Glover (Atlanta) and Maya Erskine's (PEN15) now both adopting the monikers and ushering the premise back to episodic storytelling. Bakula and Bello's Mr & Mrs Smith didn't inspire Pitt and Jolie's; however, the latter did give rise to Glover and Erskine's. Their version isn't the first time that television has taken the Brangelina picture's lead, either. In 2007, a pilot was made of a spinoff from the then-recent film featuring Martin Henderson (Virgin River) and Jordana Brewster (Fast X), but didn't go any further. Thankfully, as streaming via Prime Video from Friday, February 2, the latest eight-part Mr & Mrs Smith hasn't suffered the same fate. All that history isn't mere trivia. Instead, it speaks to a concept that's so appealing that it keeps being reused, whether coincidentally or knowingly, and to an idea that's now being given its full Mr & Mrs Smith due, in line with True Lies and The Americans: that relationships are mysteries, missions and investigations. The backstory behind Glover and Erskine bringing glorious chemistry to John and Jane Smith doesn't stop there, because Mr & Mrs Smith circa 2024 has been in the works for three years. When announced in February 2021, it was with Atlanta-meets-Fleabag hopes, with Glover co-starring and co-creating with Phoebe Waller-Bridge (Indiana Jones and the Dial of Destiny). Then creative differences with Glover saw Waller-Bridge — who also co-wrote the No Time to Die screenplay and created Killing Eve — leave the project within six months. While it's impossible to know how that iteration of Mr & Mrs Smith would've turned out, whether with more overt comedy, talkier or boasting a darker tone, Glover's interpretation with fellow Atlanta alum Francesca Sloane lives up to the promise of two creatives from one of the 21st century's best dramedies turning their attention to espionage and romance. There's an intimacy, a lived-in feel and hangout charm to this Mr & Mrs Smith, even as it swaps Brangelina's already-wed pair discovering that they're assassin rivals for a duo only tying the knot for the gig. This John and Jane solely make each other's acquaintance via their shadowy new employer, who they exclusively interact with online (they nickname their supervisor "hihi" because that's how every message from them starts). After a vetting process, complete with questions about their individual willingness to leave their loved ones and current existence behind, the new Mr and Mrs Smith are soon inhabiting a just-renovated New York brownstone so lavish that their neighbour (Paul Dano, Dumb Money) is wowed. They're both fresh to the job, leaping into the spy world with their own baggage. They're unsurprisingly also fresh to fake marriages. They now have an array of cases to navigate and, slowly but heatedly, real feelings to grapple with. Alongside the self-contained exploits in each episode, surrounding Mr & Mrs Smith's stars with a feast of other talents is a highlight. The wealth of well-known names includes Ron Perlman (Poker Face), Alexander Skarsgård (Infinity Pool), Sarah Paulson (The Bear), John Turturro (Severance), Parker Posey (Beau Is Afraid), Wagner Moura (The Gray Man), Eiza González (Ambulance), Michaela Coel (Black Panther: Wakanda Forever) and Sharon Horgan (Bad Sisters). Fellow Smiths, rich bigwigs, targets, a couples' therapist with no clue what John and Jane do for a paycheque (software engineers is their cover): Glover, Sloane, and their co-scribes Stephen Glover (also Atlanta), Carla Ching (Home Before Dark), Yvonne Hana Yi (Raising Dion), and Adanne Ebo and Schuyler Pappas (both screenwriting first-timers) enlist the supporting cast in all of the above roles, keeping John, Jane and audiences on their toes. No one among the guest performers puts a foot wrong, but this is always the ever-excellent Glover and Erskine's time to shine. There's not just suaveness but also patience and vulnerability in his portrayal, while she goes for hyper-competent and enigmatic with equal skill. This Mr and Mrs Smith always feel like humans rather than character types — messily, engagingly, complicatedly so. With love no longer a given from the outset in this spin on the story, Glover and Erskine's growing rapport also couldn't be more crucial. John is clearly interested in being more than just colleagues early, Jane is more tentative about mixing work and pleasure, and everything about them falling for and bickering with each other plays as authentically as every Atlanta scene between Earn and Van (Zazie Beetz, Black Mirror). The slinky series handles its mix of Mission: Impossible and wedlock comparably: although it's always an espionage effort, it's about John and Jane as people, and as a pair getting amorously entangled, first and foremost. "Spies but relatable" could've been the tagline as the show's protagonists juggle life, love and work. They trot the globe, receive secretive instructions, shoot to kill and make the stylishly crafted action sequences count. They also struggle with disposing of bodies, and are visibly shaken by explosions, deaths and other necessities of their line of work. They argue over doing the dishes, too, then clash over trying to truly get to know each other, tussle with trust and weather the minutiae of living together. That lived-in atmosphere plays two ways, in fact: in the intricacies of John, Jane and their connection; and in the cooped-up, pandemic-appropriate scenario that is thrusting folks together to make the most of it. Behind the camera, Hiro Murai directs the first two episodes after notching up 26 instalments of Atlanta, plus helming the Glover-led Guava Island and several Childish Gambino music videos ('This Is America' being one). She Dies Tomorrow's Amy Seimetz similarly took the reins on Atlanta, while Christian Sprenger was the cinematographer on 34 episodes and Guava Island. Karena Evans has fellow movie-to-TV adaptation Dead Ringers on her resume — and when Glover himself directs Mr & Mrs Smith's finale, which makes stunning use of costuming for both him and Erskine, that he's calling the shots is evident. This is a series to commit to, embrace and relish. All the history that comes with TV's latest mining of cinema's wares (see also: Irma Vep, A League of Their Own, What We Do in the Shadows, Interview with the Vampire and Monarch: Legacy of Monsters, to name just a few), Brangelina and all, melts away in this gem. Check out the trailer for Mr & Mrs Smith below: Mr & Mrs Smith streams via Prime Video from Friday, February 2, 2024.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from September's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL HEARTBREAK HIGH Teen-focused dramas always reflect the generation they're made for, and returning Australian favourite Heartbreak High is no different. Today's high school-set shows often come with more than a few nods backwards as well, though. Just like Beverly Hills, 90210, Saved by the Bell and Gossip Girl before it — like Degrassi's multiple go-arounds across more than four decades now, including a new take that's set to land in 2023 — Heartbreak High 2.0 knows it has a history and doesn't dream of pretending otherwise. 90s worship is in fashion anyway, so all those Doc Martens, nose rings, baggy jeans, slip dresses and oversized band t-shirts not only could've adorned the initial show's cast. As this revival returns to what worked so well the first time around, takes a few cues from Euphoria, Sex Education and Never Have I Ever as well, and finds its own intensity, that blast-from-the-past aesthetic proves a natural fit. Sporting such decade-crossing attire is a fresh-faced — and fresh-to-the-franchise — cohort of Hartley High students. The years and teens have changed, but the location, like plenty of the outfits, remains the same. When the eight-episode new season begins, Amerie (Ayesha Madon, The Moth Effect) and Harper (Asher Yasbincek, How to Please a Woman) are life-long best friends, but their sudden rift after a drunken night at a music festival changes everything. Amerie doesn't know why Harper has suddenly shaved her head, let alone cut all ties with her. She's just as shocked when the mural they've graffitied in an unused school stairwell, chronicling who's dated, had a crush on and slept with who among the year 11s, is scandalously outed. And their classmates, including the non-binary Darren (screen first-timer James Majoos), their bestie Quinni (Chloe Hayden, Jeremy the Dud), heartthrob Dusty (Josh Heuston, Thor: Love and Thunder), his smug pal Spider (Bryn Chapman Parish, Mr Inbetween), mullet-wearing food delivery driver Ca$h (Will McDonald, Home and Away), and Bundjalung basketballer Malakai (Thomas, Troppo), all get drawn into the resulting (and immediately easy-to-binge) chaos. Heartbreak High streams via Netflix. Read our full review. WE'RE ALL GOING TO THE WORLD'S FAIR "Hey guys, Casey here. Welcome to my channel. Today I'm going to be taking the World's Fair Challenge." So says We're All Going to the World's Fair's protagonist (feature newcomer Anna Cobb) twice to start this absorbing horror film, to camera, in what makes a spectacular opening sequence. Next, an eerie wave of multicoloured light flashes across her face. Watching her response brings the also-excellent She Dies Tomorrow to mind, but Casey has her own viral phenomenon to deal with. She's doing what she says she will, aka viewing a strobing video, uttering a pivotal phrase and then smearing blood across her laptop screen — and she promises to document anything that changes afterwards, because others have made those kinds of reports. Written, directed and edited by fellow feature debutant Jane Schoenbrun, the instantly eerie and intriguing We're All Going to the World's Fair is that record. Schoenbrun's film is more than that, however. It also charts the connections that spring and splinter around Casey just by joining the online trend, where her videos spark others in return — and the spirals she goes down as she watches, which then sparks a response in her own way, too. A portrait of isolation and alienation as well, while chronicling the after effects of playing a virtual horror game, We're All Going to the World's Fair is also a picture of an always-recorded world. Take your lockdown mindset, your social-media scrolling, all that Zooming that defined the beginning of the pandemic and a gamer vibe, roll them all together, and that's still not quite this arresting movie — which keeps shifting and evolving just like Cobb's enigmatic and evocative performance. The entire flick earns that description and, not that it needs an established name's tick of approval, the fact that The Green Knight and A Ghost Story director David Lowery is an executive producer speaks volumes. We're All Going to the World's Fair streams via Shudder. RAMY In the dramedy that bears his name, Ramy Youssef (Don't Worry, He Won't Get Far on Foot) is a quintuple threat. He created Ramy, plays Ramy, executive produces, and also frequently writes and directs — and, in a show about a Queens-born first-generation American Muslim raised in New Jersey to Egyptian parents, as Youssef himself is, there's no doubting that the stories he's telling are personal. There's a difference between bringing your own exact existence to the screen and conveying the truth behind your experiences, however, with Ramy falling into the second category as it charts its eponymous figure's struggles as his faith conflicts with his lifestyle. Since its first season in 2019, the series has always been so deeply steeped in the lived reality of feeling torn between two cultures, and so specific in its details, too. And yet, it's also so universal and relatable in its emotions and insights. None of the above changes in season three, welcomely so, in what's one of Ramy's finest moments yet. In this ten-episode third run, the lives of Ramy and his loved ones are rarely blessed with fine moments — and Ramy Hassan, Youssef's on-screen alter-ego, keeps threatening his own heart, mind and soul with his choices. Season two ended with a short-lived marriage and the fallout still lingers, but Ramy has thrown himself into making his Uncle Naseem's (Laith Nakli, Ms Marvel) diamond business a success as a distraction. He has money, his own place and, soon, his own jewellery outfit, although that doesn't herald happiness. For his sister Dena (May Calamawy, Moon Knight), nor has striving hard to take the bar exam, especially when her parents Maysa (Hiam Abbass, Succession) and Farouk (Amr Waked, Wonder Woman 1984) are open about how differently they see her and her future to Ramy. As the elder Hassans also grapple with Farouk being out of work, plus decades of feeling like they're treading water, Ramy remains a stunningly perceptive and engaging exploration of the battle to remain true to oneself — and one's hopes, dreams and religion — while also proving a rich, poignant and devastatingly well-acted comedy. May more come. Ramy streams via Stan from Friday, September 30. DO REVENGE Sequels aren't the only way to get nostalgic, or to thrust a beloved old-school film — or several — into the now. A high school-set comedy about exactly what it's moniker describes, Do Revenge joins Heathers, The Craft, Jawbreaker and Jennifer's Body in charting teens chasing vengeance. Mean girls abound, too, and when 'Kids in America' starts playing, it's a Betty of a Clueless nod (and just one of many, including pastel uniforms that could've been pulled out of Cher Horowitz's computerised wardrobe). Casting Sarah Michelle Gellar as the principal and dropping 'Praise You'? The Cruel Intentions winks keep thrilling like a young Ryan Phillippe. The list goes on, to the never-grow-up delight of, well, everyone — because writer/director Jennifer Kaytin Robinson (Someone Great) and co-scribe Celeste Ballard (Space Jam: A New Legacy) clearly know and love the type of movie they're making as much as the rest of us. Unleashing more references than a school library doesn't always play well — in the latest Scream movie, it gets repetitive and fast; in whodunnit parody-slash-homage See How They Run, it's a touch too clever-clever — but Do Revenge radiates pure fun and affection. At its centre: queen bee Drea (Camila Mendes, Riverdale), who climbed her exclusive private school's social ladder, hid her modest background and dated the dream boy Max (Austin Abrams, Euphoria) until a sex scandal tarnishes her reputation. With newcomer Eleanor (Maya Hawke, Stranger Things), who also has her own grudge against one of their classmates, she hatches a Stranger on a Train-esque plan: they'll avenge each other's wrongs and bring down their respective tormentors. Robinson and Ballard have a ball getting savage yet sweet, as does a cast that also includes Game of Thrones' Sophie Turner, 13 Reasons Why's Alisha Boe and Ms Marvel's Rish Shah — and devilish twists come with the self-aware fandom. Do Revenge streams via Netflix. HOCUS POCUS 2 Twist the bones and bend the back, Hocus Pocus has returned for another horror-comedy attack — and there's no doubting that this 29-years-later sequel adores its predecessor. Disney loves reviving and extending its popular past hits, whether as new remakes, followups or ever-sprawling franchises. In the majority of cases, it's committed to sticking to the same already-winning formula, too. So, pushing the cackling Sanderson sisters to the fore again, Hocus Pocus 2 unsurprisingly doesn't overly mess with the tried-and-tested template. Once again starring Bette Midler (The Addams Family 2), Sarah Jessica Parker (And Just Like That...) and Kathy Najimy (Music), it's another family-friendly tale of Salem witches trying to eat children to remain alive and youthful forever. And, it doubles down on everything that the Mouse House thinks made the OG flick such a beloved 90s favourite to begin with — more songs, more OTT siblings, more teens trying to foil their plans to run amok, amok, amok and more Massachusetts-set mayhem, namely That means that Hocus Pocus 2 plays like a greatest-hits do-over as much as a second effort. New movie, same setup, a few fresh faces and an obvious yearning to keep the saga's black flame candle burning: that's director Anne Fletcher (Hot Pursuit) and screenwriter Jen D'Angelo's (Young Rock) film. After adding an origin story for Winnie (Midler), Mary (Najimy) and Sarah (Parker), as well as Billy Butcherson (Doug Jones, What We Do in the Shadows), they're all unleashed upon modern-day Salem by 16-year-old Becca (Whitney Peak, Gossip Girl), her best friend Izzy (Belissa Escobedo, Sex Appeal) and magic shop owner Gilbert (Sam Richardson, The Afterparty) — and nostalgically entertaining hijinks ensue. Hocus Pocus 2 isn't subtle or restrained, or keen to do much more than worship its predecessor, but spells do work more than once. Hocus Pocus 2 streams via Disney+ from Friday, September 30. BLONDE Usually when a film leaves you wondering how it might've turned out in other hands, that isn't a great sign — but Blonde, the years-in-the-making adaptation of Joyce Carol Oates' fictionalised Marilyn Monroe biography of the same name, demands a watch. It's a fascinating movie, including for what works astoundingly well and what definitely doesn't. In the first category: Ana de Armas (The Gray Man) as Norma Jeane Mortenson, the woman who'd become not just a star and a sensation during her life, but an icon across the six decades since. Also exceptional: the almost-uncanny recreations of oh-so-many images that captured Mortensen/Monroe, including a plethora that are iconic themselves. In the second camp, however, falls Blonde's decision to filter its central figure's story through her death, as though that was the most important thing about her — and that it was inevitable. No one ever wants to be defined by one thing. Monroe certainly didn't, as Blonde itself depicts. She fiercely yearned to be known as more than a sex symbol who drew crowds to cinemas and attracted intense media interest — but being objectified was a part of her Hollywood experience, including here from the moment that a first studio meeting ends horrifically. As written and directed by Australian filmmaker Andrew Dominik, in his latest feature to unpack larger-than-life true tales after Chopper and The Assassination of Jesse James by the Coward Robert Ford, Blonde reductively sees that awful treatment, her childhood struggles, her tumultuous marriages and romances, her miscarried or aborted pregnancies, and her late-career on-set antics as all leading to the conclusion that's long been a matter of history. Far more engrossing is the movie's efforts to unpack the truth and pain behind all of Monroe's career-defining images, and to plunge the audience into a fraught headspace with her — and that soulful and phenomenal lead performance. Blonde streams via Netflix. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK LOS ESPOOKYS In the US, it was one of the best new shows of 2019. In Australia, thanks to a hefty delay in bringing it to our screens, it earned that distinction in 2021. The one silver lining for the latter? The gap between Los Espookys' first season and its second has proven much shorter Down Under — but more of this Spanish-language HBO comedy was always going to be worth the wait. The premise is a gem; the cast is a delight; the cavalcade of horror references is so savvily worked in that it almost puts every other winking, nodding, nudging show or movie to shame; and there remains nothing else on television or streaming like it. Sharp, witty, absurd, affectionate, insightful, charming, oh-so-distinctive, perhaps the best unofficial (and unrelated) successor to The Mighty Boosh yet: that's Los Espookys again and again, even more so in season two, although it's also a must-see that's best experienced rather than described. The same rings true for the Los Espookys gang and their business: horror IRL. It genuinely is a business for genre devotee Renaldo (Bernardo Velasco, Museo) and his pals Andrés (Julio Torres, Shrill), Úrsula (Cassandra Ciangherotti, This Is Not a Comedy) and Tati (Ana Fabrega, Father of the Bride), turning a passion into a line of work with a steady-enough list of customers. In an always-unpredictable affair co-created by Torres, Fabrega and Our Flag Means Death's Fred Armisen, the group stages spooky setups for folks willing to pay — gloriously outlandish and OTT scenarios, always with a tactile and DIY feel, resulting in both impressive and hilarious outcomes. Those installations keep coming, and so does both personal and interpersonal chaos for the crew (plus Renaldo's parking valet uncle Tico, as played by Armisen), particularly after Tati can't quite adjust to marriage, Andrés navigates life beyond the luxury he grew up in, Renaldo keeps being haunted and Úrsula tries to fend off persistent TV offers. Los Espookys streams via Binge. THE LORD OF THE RINGS: THE RINGS OF POWER Like knowing that House of the Dragon was coming, and winter as well, it's been impossible to avoid news about The Lord of the Rings: The Rings of Power. The stunning-looking series has been in the works for five years, and is already locked in for five seasons, all jumping back to Middle-earth's Second Age. That's a period of elves, men, dwarves and harfoots — precursors to hobbits — and of the lurking evil of Sauron, plus orcs, trolls and more. It's also when the titular jewellery is forged. On the page, it's largely been covered in an appendix to Tolkien's Lord of the Rings books, taking this new series into previously unseen on-screen territory. And, as The Rings of Power focuses on, it's where Galadriel and Elrond's tales truly kicked in, with Morfydd Clark (Saint Maud) taking over from Cate Blanchett and Robert Aramayo (The King's Man) doing the same for Hugo Weaving, with their characters thousands of years younger. The young Galadriel narrates The Rings of Power's explanatory introduction, setting the scene for the show's fight against Sauron — and slowly putting the pieces in place for the compilation of a fellowship to do so. She tells of the dark lord Morgoth and his defeat in wide-ranging wars. She notes that the elf Finrod (Will Fletcher, The Road Dance) was convinced that Sauron, Morgoth's apprentice, still lingered afterwards. And she advises that such a belief and the search to prove it right cost Finrod, her brother, his life. Alas, during relative peace, as Middle-earth has been under since Morgoth was vanquished, isn't a prime time to take up that fight. But she's still scouring far and wide for Sauron, even if High King Gil-galad of the Elves (Benjamin Walker, The Ice Road) wants to bathe her in glory for past victories instead. If that's the path she took, there wouldn't be much of a series — and that's just the start of a thrilling show that also spends time with the dwarves of Khazad-dum, fellow elf Arondir (Ismael Cruz Córdova, The Undoing) among the humans, and harfoot Nori Brandyfoot (Markella Kavanagh, True History of the Kelly Gang) and her fellow diminutive creatures. The Lord of the Rings: The Rings of Power streams via Prime Video. Read our full review. ANDOR When it arrived in 2016 between Star Wars: Episode VII — The Force Awakens and Star Wars: Episode VIII — The Last Jedi, Rogue One: A Star Wars sent a message in its own spy-slash-heist flick way: it wouldn't be slavishly beholden to the Star Wars franchise's established and beloved universe. It felt earthier and murkier, more urgent and complicated, and far more steeped in everyday reality — within its science-fiction confines, of course — and more concerned with the here and now of its specific narrative than the bigger saga picture. It was certainly and unshakeably bleaker, and felt like a departure from the usual template, as well as a welcome risk. The same proves true of impressive streaming prequel Andor, which slips into its namesake's routine five years prior. The Galactic Empire reigns supreme, the Rebel Alliance is still forming and, when the series opens, Cassian (the returning Diego Luna, If Beale Street Could Talk) is a wily thief living on the junkyard planet of Ferrix. A Blade Runner-esque sheen hovers over a different place, however: the industrial-heavy, corporate-controlled Morlana One, which couldn't be further under the boot of the Empire if it tried. As Monos-style flashbacks to Cassian's childhood aid in fleshing out, he's searching for his sister, but his latest investigatory trip results in a confrontation and the Preox-Morlana Authority on his trail. Back on Ferrix, he endeavours to hide with the help of his friend/presumed ex/mechanic/black-market dealer Bix Caleen (Adria Arjona, Morbius) and droid B2EMO (Dave Chapman, Star Wars: Episode IX — The Rise of Skywalker), while keeping his latest antics a secret from his adoptive mother Maarva (Fiona Shaw, Killing Eve). But, even after being told to drop the case, persistent Imperial Deputy Inspector Syril Karn (Kyle Soller, Poldark) and higher-ranking officer Dedra Meero (Denise Gough, Under the Banner of Heaven) aren't willing to give up. Andor streams via Disney+. Read our full review. ATLANTA You can't escape yourself. As Atlanta sent Earnest 'Earn' Marks (Donald Glover, Guava Island), his cousin and rapper Alfred 'Paper Boi' Miles (Brian Tyree Henry, Bullet Train), their Nigerian American pal Darius (Lakeith Stanfield, Judas and the Black Messiah) and Earn's ex Vanessa (Zazie Beetz, also Bullet Train) around Europe in the show's third season earlier in 2022, that truth became inescapable, too. Hopping everywhere from Amsterdam to Paris and London, the group saw the daily reality of being Black Americans linger with them at every destination — and their personal ups and downs as well — no matter how wild, weird, bleak or hopeful the circumstances they were in. Arriving mere months later, season four kicks off by also exploring that point, including in a debut episode that sees Atlanta, the city, haunt the show's main players. They're back home and there's no way they couldn't know it, whether they're on scavenger hunts, stuck in carparks or being chased. Just a handful of episodes in, Atlanta's fourth season also examines another truth that's always sat at the core of the show: that for better and for worse, there's no place like home. That applies to the physical location, but also to the homes we make with other people — family, friends and everything in-between. Earn and Van gravitate closer together, but their relationship has always ebbed and flowed. Al keeps pondering what success really means, too. In the process, Glover's superbly smart, blistering and often-surreal unpacking of race relations lays bare the nation it usually calls home, as it did so incisively in its first two seasons, while never failing to challenge, surprise and swing big. That the show's final season also clearly muses on legacies obviously couldn't be more fitting; however it ends, no doubt in a thoroughly unpredictable and yet also ridiculously apt way, it'll always be a great on Glover, Henry, Stanfield and Beetz's resumes. Atlanta streams via SBS On Demand. THE PATIENT In one of 2022's new streaming standouts, Bad Sisters, Brian Gleeson tries to get to the bottom of a suspicious death. In another, The Patient, Domhnall Gleeson plays a serial killer. The two shows have more differences than commonalities, but it's clearly a great time for the Frank of Ireland-co-starring Gleeson brothers and twisty tales about crime. For Run's Domhnall, he co-leads a show about a murderer who enlists a therapist to try to stop his homicidal urges. Sam Fortner does indeed sit in Alan Strauss' (Steve Carell, Minions: The Rise of Gru) office and seek his help, but as well as hiding his eyes and face behind sunglasses, he keeps his real name, the bulk of his personal details and bloody pastime to himself. It's only after Strauss wakes up chained in Fortner's house that the latter feels comfortable enough to come clean and truly ask for assistance, albeit under terrifying circumstances for his captive. Domhnall Gleeson's on-screen resume isn't short on highlights, including Ex Machina and Brooklyn. Carell's has blatantly boasted many, spanning both comedies (Anchorman: The Legend of Ron Burgundy and The Office, obviously) and dramas (including his Oscar-nominated work in Foxcatcher). Accordingly, it should astonish no one that they're both instantly gripping in The Patient, as their characters bounce off of each other in inherently grim circumstances; however, they're each also in career-best form. The psychological-thriller series works as two commanding, textured and high-stakes character studies as Fortner demands Strauss' professional best, and ensures he isn't capable of refusing — and works through their respective baggage cat-and-mouse-style from there. In fact, it hits its marks so well that the show's concise format (each episode clocks in at between 20–25 minutes) keeps viewers wanting more. The Patient streams via Disney+. RICK AND MORTY The longer that Rick and Morty continues, the more it galaxy- and time-hopping mayhem it slings at the screen, aka whatever out-there sci-fi situations that creators Justin Roiland (Solar Opposites) and Dan Harmon (Community) can conjure up. But the more that this Back to the Future-inspired animated hit continues, too, the more that it proves a tragedy about choices made and not — and how even having all the science-fiction gadgetry in this and every other world and dimension can't make everything perfect always, because that's just not human (or alien, animal or Birdperson) nature. Season six of the series was always going to get contemplative given how the past season ended, of course, and because that's been baked into the show since day one. Still, the oft-quoted "wubba lubba dub dub" feels particularly weighty this time around, considering what it really means: "I am in great pain, please help me". Rick Sanchez (voiced by Roiland) has been saved, but that initially tears the Smith family apart — by now, they know (and we know) that Rick and his daughter Beth (Sarah Chalke, Firefly Lane), son-in-law Jerry (Chris Parnell, Archer), grandson Morty (also Roiland) and granddaughter Summer (Spencer Grammer, Tell Me a Story) aren't quite the versions of themselves they once were. Also part of the season's first few episodes: Beth getting close to Space Beth, also with consequences throughout her household; exploring what it means to offload parts of your life you're not happy with; and a good ol'-fashioned "yippee ki-yay!"-shouting Die Hard parody. In other words, it's all quintessential Rick and Morty, just getting deeper with each new run of episodes. Naturally, when Peter Dinklage (Cyrano) voices an alien equivalent of Hans Gruber, it's gold, and yet another classic Rick and Morty moment. Rick and Morty streams via Netflix. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July and August this year. You can also check out our running list of standout must-stream 2022 shows so far as well — and our best 15 new shows from the first half of this year, top 15 returning shows and best 15 straight-to-streaming movies.
This is a true story: in 2014, Hollywood decided to take on a task that was destined to either go as smoothly as sliding on ice or prove as misguided as having a woodchipper sitting around. Revisiting Fargo was a bold move even in pop culture's remake-, reboot- and reimagining-worshipping times, because why say "you betcha" to trying to make crime-comedy perfection twice? The Coen brothers' 1996 film isn't just any movie. It's a two-time Oscar-winner, BAFTA and Cannes' Best Director pick of its year, and one of the most beloved and original examples of its genre in the last three decades. But in-between credits on Bones, The Unusuals and My Generation, then creating the comic book-inspired Legion, writer, director and producer Noah Hawley started a project he's now synonymous with, and that's still going strong five seasons in. For the TV version of Fargo, the setup mirrors the film. "This is a true story," all iterations of Fargo claim. "At the request of the survivors, the names have been changed," each season of the series goes on, as the movie did before them. "Out of respect for the dead, the rest has been told exactly as it occurred," they also advise. What follows from there is always a twisty tale set in America's midwest, as filled with everyday folks in knotty binds, complicated family ties, crooks both bumbling and determined trying to cash in, and intrepid cops investigating leads that others wouldn't. Hawley's stroke of genius: driving back into Fargo terrain by making an anthology series built upon similar pieces, but always finding new tales about greed, power, murder and snowy landscapes to tell — including the latest, which starts releasing episodes via SBS On Demand in Australia and Neon in New Zealand from Wednesday, November 22. Consider Fargo a Coen brothers remix, too, nodding to its inspiration while existing in the same universe, and also winking at the sibling filmmakers' other features. It's a series where stars from Joel and Ethan's movies have key roles, such as The Man Who Wasn't There's Billy Bob Thornton, A Serious Man's Michael Stuhlbarg and The Big Lebowski's David Thewlis, to mention a few. References to The Big Lebowski's white russians, mugshots that ape Raising Arizona, O Brother Where Art Thou?-esque bluegrass and calling someone "friendo" No Country for Old Men-style also happily pop up. Lines of dialogue, monikers, shots, scenes, character types, plot specifics: from Blood Simple and Barton Fink to Burn After Reading and Hail, Caesar! — and Miller's Crossing, The Hudsucker Proxy, True Grit, Inside Llewyn Davis and The Ballad of Buster Scruggs as well — the links keep coming. Hawley's Fargo adores the Coenverse overall, enthusiastically scouring it for riches like it's the TV-making embodiment of Kumiko, the Treasure Hunter's namesake. That film hailed from Damsel's David Zellner instead, and took cues from the urban legend surrounding the purported Fargo ties to the IRL death of Japanese office worker Takako Konishi; however, wanting the contents of the Coen brothers' brains to become your reality is clearly a common thread. Of course, for most of the fictional figures who've walked through the small-screen Fargo's frames, they'd like anything but caper chaos. Scandia, Minnesota housewife Dot Lyon (Juno Temple, Ted Lasso) is one of them in season five. North Dakota sheriff, preacher and rancher Roy Tillman (Jon Hamm, Good Omens) isn't as averse to a commotion if he's the one causing it. Minnesota deputy Indira Olmstead (Richa Moorjani, Never Have I Ever) and North Dakota state trooper Witt Farr (Lamorne Morris, Woke) just want to get to the bottom of the series' new stint of sometimes-madcap and sometimes-violent mayhem. The events depicted in Fargo season five take place in 2019, after the film's 1987 timing, then season one's 2006 setting, season two's jump back to 1979, season three unfurling in 2010 and season four using 1950 as a backdrop. This is the most current of the franchise's interconnected stories in two ways, with America's recent political climate and corresponding polarisation key to its ten-episode narrative. Indeed, when Dot and her tween daughter Scotty (Sienna King, Under the Banner of Heaven) are introduced in the fifth season's opening scene, it's at a PTA meeting-turned-brawl. After Dot busts out a taser to escape the mob, her presence in the melee ends with an arrest by Olmstead, worry from her car salesman Wayne (David Rysdahl, Oppenheimer), disapproval from his debt collection company CEO mother Lorraine (Jennifer Jason Leigh, Hunters) and the latter's in-house lawyer Danish Graves (Dave Foley, The Kids in the Hall) snapping into action. Similarly a consequence: the dawning realisation by those around her that this stay-at-home mum has secrets. Fans of the movie are in for a treat as Hawley treads in its footsteps more directly than ever, but still cleverly, entertainingly, and while reinforcing the idea that basic human nature sparks tales like this over and over. A home invasion and kidnapping, dispatched criminals doing a job that goes awry, a massive face wound and the line "it's a beautiful day" — uttered here by Olmstead — all feature. As Dot joins Fargo's array of indomitable women, so do Olmstead and Lorraine, offering three stripes on an upstanding, ruthless and caught in-between flag. And the saga's savaging exploration of masculinity? The Trumpian Tillman, who sees the law as a mere guide, is all about boosting his own status, has son Gator (Joe Keery, Stranger Things) following his lead and also sports the Anton Chigurh doppelgänger Ole Munch (Sam Spruell, The Gold) on the payroll, is its primary target. Season five kicks off with a title card in addition to the playful "this is a true story" spiel (it's well-established by now that Fargo trades in anything but, at least where narrative facts are involved). Defining "Minnesota nice" as "an aggressively pleasant demeanour, often forced, in which a person is chipper and self-effacing, no matter how bad things get" gives way to the school riot. In mere minutes, Hawley hammers home the truth that even putting on niceties is a rare occurrence in today's America — and 2019's. The season unpacks this notion, setting its sights on the society, attitudes, leaders and powerbrokers perpetuating self-serving fractures so deep that smiling and pretending to get along isn't possible. Fargo sees the fightback, too, both when class and gender are involved, and especially in the resourceful Dot. She could give MacGyver a run for his money, gets compared to a tiger and, out of necessity, never stops notching up ways to outsmart her foes. Add Temple's lead performance to Fargo's long list of standout portrayals; Frances McDormand received her first of three Best Actress Oscars (before also winning for Three Billboards Outside Ebbing, Missouri and Nomadland) for the film, after all. Add Hamm to the franchise's can't-look-away villains, swapping his Mad Men charm for the prickliest of confidence. And, add another delight of a run to the show's pile, this time delivering a striking service station siege, the memorable use of The Prodigy's 'Smack My Bitch Up' and multiple references to The Nightmare Before Christmas along the way. Here's another genuinely true story: Fargo keeps proving one of the best film-to-TV adaptations there is. Check out the trailer for Fargo season five below: Fargo season five streams via SBS On Demand in Australia and Neon in New Zealand from Wednesday, November 22. Images: Michelle Faye/FX.
When Freaks and Geeks first aired on Australian TV, it was one of those series that you had to actively search the television guide for. If you were devotedly scouring the listings at the time, then you already knew that the Paul Feig (Another Simple Favour)-created show was instantly among the coming-of-age greats, and also destined for a cult following. The past quarter century has proven that true of this glimpse at 80s-era suburban high-school life, but here's something that viewers back in the late-90s and early-00s couldn't have foreseen: a 14-hour marathon featuring all 18 episodes of the series screening at SXSW Sydney in 2025. Feig has already been announced as SXSW Sydney's Screen Festival keynote speaker and its first recipient of the new SXSW Sydney Screen Pioneer Award. When that was revealed, so was the news that the Harbour City fest would pair his visit, chat and accolade with a retrospective of his work this year. That lineup has now been unveiled, spanning three key titles from across the filmmaker's career, including that all-day stint with Freaks and Geeks. If you're keen to binge-watch the Jason Segel (Shrinking)-, Linda Cardellini (Nonnas)-, Seth Rogen (The Studio)-, Busy Phillips (Girls5eva)-, John Francis Daley (Game Night)- and Martin Starr (Tulsa King)-starring show on the big screen, that's on the agenda at the Ritz Cinema in Randwick on Saturday, October 18, kicking off at 9.30am. Or, a few days earlier, you can see the cinematic comedy sensation that is Bridesmaids, complete with Feig in attendance and taking part in a Q&A. If you have any burning questions about the Maya Rudolph (Loot)-, Kristen Wiig (Palm Royale)- and Rose Byrne (Physical)-led flick, Wednesday, October 15 is your chance to ask them. For the film's wedding-themed chaos, you'll also be heading to the Ritz Cinema. The third part of the retrospective program is a Sunday, October 19 session of The Heat, Feig's odd-couple buddy-cop comedy with Sandra Bullock (The Lost City) and Melissa McCarthy (Only Murders in the Building), also at the same venue. Beyond its tribute to the director, writer, producer and actor who also helmed Unaccompanied Minors, Spy, Ghostbusters, A Simple Favour, Last Christmas, The School for Good and Evil and Jackpot! — and co-starred in the OG Sabrina the Teenage Witch, and has The Housemaid with Sydney Sweeney (Echo Valley)-, Amanda Seyfried (Long Bright River) and Brandon Sklenar (Drop) on the way — SXSW Sydney's Screen Festival lineup already includes six other features. So, as announced earlier, you'll be able to catch By Design, $POSITIONS, Dead Lover, Zodiac Killer Project, The Last Sacrifice and Bokshi. Among that group, body-swap effort By Design features Juliette Lewis (The Thicket), Mamoudou Athie (Kinds of Kindness) and Robin Tunney (Dear Edward); horror-comedy Dead Lover is a SXSW Austin award-winner; Charlie Shackleton (The Afterlight) digs into a famed serial killer; and everything from comedy to folk horror features. [caption id="attachment_1010540" align="alignnone" width="1920"] Frank Micelotta[/caption] [caption id="attachment_1015902" align="alignnone" width="1920"] NBCU Photo Bank[/caption] SXSW Sydney 2025, including the SXSW Sydney Screen Festival, runs from Monday, October 13–Sunday, October 19 at various Sydney venues — with the Paul Feig retrospective showing from Wednesday, October 15–Sunday, October 19. Head to the SXSW Sydney website for further details and tickets.
In a dimly lit room in a grimy train station, a capuchin monkey sits at a table. In walks a detective, who then starts smoking a cigarette and interrogating the animal in front of him. They chat, bantering back and forth as the cop asks questions and the primate answers. At one point, the monkey even sings. Queries range from "do you know anything about birds?" to "you ever ride the rodeo?", all in a quest to solve a murder. A chicken also pops up, and a waitress. If the above scenario sounds more than a little surreal, that's because it is — especially given that it's part of David Lynch's new 17-minute short film. Called What Did Jack Do?, the black-and-white piece also stars the inimitable Lynch as the detective. At this stage of the acclaimed director's career, that just sounds natural, really. Intrigued? If you're a fan of the filmmaker's work — spanning everything Eraserhead and Blue Velvet to three seasons of Twin Peaks across nearly three decades — then of course you are. And thanks to Netflix, you can now spend a small chunk of your day watching the latest unique, delightful and inescapably odd work by one of the most distinctive auteurs to ever stand behind a camera. While first screened at Paris' Fondation Cartier pour l'Art Contemporain back in 2017, and then playing Lynch's own in Festival of Disruption in New York in 2018, What Did Jack Do? hadn't been widely seen until now. And although Netflix isn't known for stacking its catalogue with shorts, when it adds one, it's worth checking out — like last year's also far-from-ordinary Paul Thomas Anderson and Thom Yorke collaboration. Check out a clip of What Did Jack Do? below: https://www.youtube.com/watch?v=Crzwq4CjhvA What Did Jack Do? is currently available to stream on Netflix.
For three months from Friday, August 8 to Saturday, November 8, legendary Japanese drinks company Suntory is turning Whisky Thief inside Sydney's Prefecture 48 precinct into ground zero for highballs, international guest bartenders, chefs and exclusive experiences. Suntory Bar features bespoke snacks by award-winning chef Tetsuya Wakuda. It's an exclusive chance to experience his food, with dishes created just for the residency in collaboration with the head chef of Prefecture 48's kaiseki restaurant, Garaku. The menu leans into Japanese technique with a modern edge. You'll find fried oysters with citrus mayonnaise and ikura, tuna tartare with shiso and ponzu and a "Wagyu Hambagu Burger" with Patatas Fritas. It's all designed to pair with Suntory's signature Highballs, but if you're trying the exclusive Tetsuya Wakuda snack, the recommended choice is the Hakushu Highball — a smoky take on the classic, crisp whisky and soda that's huge in Japan. The drinks cover plenty of ground, offering a deep dive into the full Suntory portfolio. You'll find a range of beers, spirits and creative cocktails showcasing Toki Whisky, Roku Gin, Haku Vodka and more. There's also a Haku-inspired Japanese slipper, BOSS Coffee reworked into an Irish coffee, whisky flights, a delicious Minus 196 spritz, and pours of Suntory The Premium Malt's beer. And for something unexpected, try Hibiki Harmony served neat over ice cream - call it a whisky take on an affogato if you will. Over the three-month stint, the bar will also host guest bartenders from around the world. They'll drop in for takeovers, special events and limited-time additions to the menu. The main Suntory Bar is open for walk-ins and bookings, Tuesday to Saturday each week. Suntory Bar is spread over two levels of Prefecture 48, a Japanese dining hub home to restaurants like Ibushi, Garaku and Omakase. The space has been given a full seasonal refresh to channel a modern Japanese garden and will bring the best parts of Japan's dining and drinking culture — including a post-work nomikai (drinking ritual) — to the heart of Sydney. If you're into Japanese spirits, rare collabs or just want a good reason to finish work on time, this one's worth locking in. Suntory Bar runs from Friday, August 8–Saturday, November 8 at Whisky Thief in Prefecture 48, 230 Sussex Street Sydney. It's open Tuesday–Thursday from 5–11pm and Friday–Saturday from 5pm–midnight. For more details and bookings head to the website.
When the annual World's 50 Best Restaurants announced its picks in 2023, Australia was completely absent, missing out on spots in both the top 50 itself and the 51–100 longlist. Which eateries have made the cut in 2024 is only just starting to be unveiled, beginning with the tail end of the choices — and trust Josh and Julie Niland to help get Aussie hospitality back among the rankings. Saint Peter has taken out 98th place on the 2024 51–100 longlist, and it's the only Australian restaurant named so far. The top 50 itself will be unveiled on Wednesday, June 5, so there's still hope that some more love will be sent Down Under. The last time that there was an Aussie showing in the full 100 was in 2022, when Andrew McConnell's Melbourne diner Gimlet at Cavendish House came in at 84 for its World's 50 Best debut. [caption id="attachment_952313" align="alignnone" width="1920"] Christopher Pearce[/caption] Named ahead of its move in July into The Grand National Hotel, Saint Peter is similarly a new entry, earning praise for the Nilands' famed nose-to-tail approach to the ocean's finest. That ethos has already seen Josh's applauded The Whole Fish Cookbook win him the prestigious James Beard Book of the Year Award back in 2020, becoming the first Australian to ever take out the prize. In 2022, he was the only Australian chef to feature in The Best Chefs Awards for 2022 — aka the list of the top 100 best globally — too. The same year, both Josh and Julie picked up the Game Changer Award from France's La Liste. "Not every restaurant can legitimately claim to be spearheading a movement. Yet this cool concept from Josh Niland takes the great Australian seafood tradition to previously unexplored heights," said the team behind 2024's World's 50 Best Restaurants 51–100 list in this year's rankings. "Known as 'the fish butcher', Niland favours techniques typically associated with meat. With a gill-to-fin approach, he utilises as much of the fish as possible, from eyes to organs, bones to scales – and everything in between. The innovative menu changes daily to reflect that morning's catch," the shoutout went on. [caption id="attachment_952314" align="alignnone" width="1920"] Christopher Pearce[/caption] Australia's hospitality scene hasn't ever dominated the World's 50 Best Restaurants gongs, but not placing at all for 2023 didn't escape attention. Just two Aussie restaurants claimed spots in 2021's awards, both of them Victorian, with Dan Hunter's Brae placing 57th and Ben Shewry's Ripponlea fine diner Attica coming in at number 97. There were no awards in 2020, but Brae and Attica also placed in the longlist in 2019. In 2018, Attica came in 20th and Brae 58th. Australia has had up to four restaurants in the top 50 before, including three when the awards debuted in 2002. The World's 50 Best awards are chosen by a panel of over 1000 culinary experts, guided by a strict voting procedure. They're now hosted by a different country each year, with Melbourne playing host city back in 2017. In 2023, Central in Lima, Peru acme in first. The year's other picks included Disfrutar in Barcelona in second, Diverxo in Madrid in third, Atxondo's Asador Etxebarri in fourth and Copenhagen's Alchemist in fifth. Next came Maido in Lima, Lido 84 in the Gardone Riviera, Atomix in New York, Quintonil in Mexico City and Table by Bruno Verjus in Paris to round out the top ten. Wondering about the best places to eat Down Under, regardless of what the World's 50 Best Restaurants chooses? Check out our picks for the best Sydney and best Melbourne restaurants. [caption id="attachment_811440" align="alignnone" width="1920"] Nikki To[/caption] To check out the World's 50 Best Restaurants 51–100 list, head to the awards' website. The top 50 will be announced on Wednesday, June 5 — and we'll update you then. Top image: Christopher Pearce.
In Westworld's vision of the future, technologically advanced amusement parks let people pay to experience Wild West times, and to interact with androids that are indistinguishable from humans. That's how the hit HBO series started in 2016, before stepping outside of the titular attractions, into both sibling venues and the show's mid-21st-century version of the real world. But in our very existence and its actual future going forward, Westworld and its thrills will now no longer exist. HBO has announced that it has cancelled the series after four seasons, the last of which debuted in mid-2022 and wrapped up in August. Westworld will cease all motor functions, putting an end to a show that kept questing the nature of reality and humanity right up until the end, and proved unnerving from the get-go. That eeriness is all there in the basic premise, which actually first unfurled on-screen back in 1973 thanks to the Michael Crichton-directed movie of the same name. Here, in the eponymous android amusement park, humans pay to live out their fantasies while surrounded by supremely realistic-looking androids. What could go wrong? Everything, obviously — and yes, high-concept theme parks gone wrong was one of Crichton's fascinations, clearly. Across its second season in 2018, third batch of episodes in 2020 and fourth run in 2022, the TV version of Westworld has built upon this idea, twisting in wild, strange, violent and surreal directions. Once some of the robot theme park's electronic hosts started to break their programming, make their own decisions and question their creators, the show's chaos just kept expanding. Westworld has also boasted one of the best casts on TV during its four-season existence, including Evan Rachel Wood (Kajillionaire), Thandiwe Newton (All the Old Knives), Ed Harris (Top Gun: Maverick), Jeffrey Wright (The Batman), Tessa Thompson (Thor: Love and Thunder), Luke Hemsworth (Bosch & Rockit), James Marsden (Sonic the Hedgehog 2), Aaron Paul (Better Call Saul), Anthony Hopkins (Armageddon Time), Angela Sarafyan (Reminiscence) and 2022 West Side Story Oscar-winner Ariana DeBose. The show's creators Jonathan Nolan and Lisa Joy are still pondering the future in new Prime Video series The Peripheral, if you need something to watch to fill that just-opened Westworld-shaped gap in your viewing. Check out the original trailer for Westworld's first season below: Westworld's four-season run is available to stream via Binge in Australia and Neon in New Zealand. Via Variety. Images: HBO.
Sydney has Lune fever. In the lead-up to the world-renowned Melbourne bakery finally opening a pair of Sydney stores — one in Darlinghurst and another in Martin Place — excitement for the renowned croissants is at fever pitch. Now, Sydneysiders will be able to get their hands on the flaky baked goods for three days before the two official stores swing open their doors. Lune Croissanterie has teamed up with Koko Black to unveil a limited-edition new croissant collaboration named The Belgian Truffle. Why? To celebrate World Chocolate Day on Friday, July 7. This decadent creation takes Lune's signature pastry and adds a gooey Koko Black cocoa frangipane and Guanaja fondant centre. It's also topped with tempered chocolate shards, salted cookie crumb, mascarpone chantilly and Koko Black Belgian truffles. In Sydney, this delectable treat will be available at selected Koko Black stores, and at a special one-off Lune pop-up that's coming to the QVB for the weekend. If you want to get your hands on a croissant, Friday, July 7–Sunday, July 9 are the dates to mark down in your diary. You can either head to the Lune pop-up in the QVB, or Koko Black's stores at Westfield Pitt Street, The Strand Arcade and David Jones Bondi Junction. These pastries are set to be in high demand, so it's best to head down early to avoid disappointment. The Strand, Westfield Sydney and the QVB stores will all open at 8am on Friday, and 9am on Saturday and Sunday. Over at the Bondi Junction outpost, it'll open at 9.30am on Friday, 9am on Saturday and 10am on Sunday.
For the past five years, Josh Niland has been showcasing his seafood prowess to Sydneysiders, with the acclaimed chef first opening restaurant Saint Peter in 2016, then launching fishmonger Fish Butchery in 2018. Last year, he shared his recipes in The Whole Fish Cookbook, letting seafood fiends everywhere follow in his footsteps at home. And now that ocean-focused text has just picked up the prestigious James Beard Book of the Year Award. On Wednesday, May 27 in the US, Niland nabbed the coveted prize — which is considered the top culinary book award in America and worldwide. Handed out by the culinary-focused non-profit James Beard Foundation each year, the James Beard Awards recognise food-centric media across a number of categories, including chefs and restaurants, books, journalism and broadcast media. They also bestow prizes in fields such as restaurant design, leadership, humanitarian work and lifetime achievement. In receiving the Book of the Year Award, Niland became the first Australian to ever take out the prize. And, he scored a second honour as well, with The Whole Fish Cookbook also winning in the Restaurant and Professional field. Niland's debut cookbook, The Whole Fish Cookbook champions his culinary philosophy, with an ethical and sustainable approach to seafood paramount to his cooking. The book's recipes include cod liver pate on toast, fish cassoulet, roast fish bone marrow, and the chef's 'perfect' version of fish and chips. [caption id="attachment_771910" align="aligncenter" width="1920"] Rob Palmer[/caption] The Whole Fish Cookbook has been picking up praise and accolades since it was first published last September, with the James Beard Book of the Year Award joining a long list of gongs. It also received the Food Book Award at the 2019 André Simon Awards, was named illustrated book of the year at the 2020 Australian Book Industry Awards, earned photographer Rob Palmer the National Portrait Gallery's National Photographic Portrait Prize 2020 for one of his photos of Niland, and has been longlisted for the Australian Booksellers Association Booksellers' Choice Awards 2020. To peruse the full list of 2020 James Beard Award winners, visit the awards' website. For more information about The Whole Fish Cookbook, head to publisher Hardie Grant's website. Top images: Rob Palmer.
For most of the year, European cinema doesn't get much representation in Australia. That is, until Europa! Europa rolls around. Returning for its fifth edition, the festival draws on the rich cinematic talent of continental Europe to create a lineup of 43 of the latest and greatest pictures from 22 countries. Importing them to screens across Australia and New Zealand, you're invited to watch from Thursday, February 19—Thursday, March 19. Leading this year's program is the opening night ANZ premiere of Norwegian director Mona Fastvold's The Testament of Ann Lee, starring Amanda Seyfried in a Golden Globe-nominated performance as the founder of the devotional Christian sect known as the Shakers in the mid-18th century. Other highlights include Willem Dafoe starring in Miguel Angel Jiménez's The Birthday Party, and the Australian premiere of Wunderschöner, the sequel to the 2022 German box-office hit Wunderschön. https://www.youtube.com/watch?v=ZT25stsAtqg "I am excited for audiences to encounter the full breadth of this year's program," Europa! Europa Artistic Director Spiro Economopoulos told Concrete Playground. "Beyond The Testament of Ann Lee, there are bold debut features and new work from established directors, films shaped by moral tension and political pressure without easy answers. That conversation sits at the heart of Europa." Beyond the headline-grabbing films, there are literary adaptations, stories about European musicians, European-made animated films, LGBTQIA+ films, historical stories, documentaries, and a pair of striking retrospectives delving into the work of directors Michelangelo Antonioni and Éric Rohmer. Marking the festival's first Australia- and New Zealand-wide program, film-lovers can catch Europa's incredible flicks at cinemas in Sydney, Melbourne, Brisbane and Hobart, plus Auckland if you live across the ditch. Europa! Europa is happening at Melbourne's Classic Cinemas and Lido Cinemas until Thursday, March 19, and Cameo Cinemas until Monday, March 2; Ritz Cinemas in Sydney until Thursday, March 19, Brisbane's Angelika Cinemas and Hobart's State Cinema until Sunday, March 1, and Bridgeway Cinema in Auckland until Wednesday, March 4. Head to the website for more information.
Do call it a comeback: in 2023, beloved TV shows dropped new seasons everywhere. Whether you're a fan of thoughtful dramedies about Indigenous American teenagers, savage family feuds or culinary chaos, this year delivered another serving — and of vampire sharehouse antics, British spies, and angels and demons palling around as well. Some of the above series not only waved hello again, but also goodbye forever after releasing their latest episodes. Others among the year's absolute best returning series have at least one more round in their future. Either way, 2023 hasn't been short of tried-and-tested gems that've kept proving why that's the case again. When the year reached its halfway point, we named and celebrated the top already-obsessed-over TV shows of the year so far. Now that 2023 is saying farewell itself, we've surveyed the entire past 12 months of small-screen efforts. Here's the results: the best 15 returning television shows of the year, and one helluva list of recommendations for finally seeing what everyone's been talking about or spending time with an old favourite. RESERVATION DOGS There's only one thing wrong with the third season of Reservation Dogs: now that it's over, the show has come to an end. There's a skill in knowing when something's time has come, but this teen-centric comedy about restless Indigenous North American adolescents is so rich in stories, perspectives and minutiae — and so resonant as well — that it feels like more and more could (and should) just keep following. Ending Reservation Dogs with this ten-episode run is also an example of the series taking its own message to heart, however. As co-created, executive produced and written by Sterlin Harjo (Mekko) and Taika Waititi (Thor: Love and Thunder) — the former as its guiding force — Reservation Dogs knows that little lasts. It hangs out with its characters as they learn about life's transience at every moment, whether they're chasing their dreams of leaving the reservation that they've always called home or they're grappling with loss. So, of course the series is moving on. In the process, its farewell season proved even more moving and thoughtful than ever, even after its debut year delivered one of the best new TV shows of 2021 and its second spin served up one of the best returning shows of 2022. The last time that viewers saw the Rez Dogs — the OG quartet of Bear (D'Pharaoh Woon-A-Tai, Beans), Elora (Devery Jacobs, Rutherford Falls), Willie Jack (Paulina Alexis, Ghostbusters: Afterlife) and Cheese (Lane Factor, The Fabelmans), plus Jackie (Elva Guerra, Dark Winds), the somewhat-reluctant newcomer to the group — they had finally made the trip to California that they'd been working towards their entire lives. Season three picks up with the crew still far away from home, and still journeying even when they do return. Elora considers both her past and her future. Bear goes wandering on his own, including through several revelatory encounters. Harjo still isn't afraid to veer away from his leads along the way, whether sliding into history to explore myths, traditions or horrors inflicted upon Indigenous children. Reservation Dogs finds a story, be it big or small, for everyone within its frames. Bear, Elora, Willie Jack and Cheese especially will be deeply missed, but Woon-A-Tai, Jacobs, Alexis and Factor shouldn't ever be far from screens after this exceptional breakthrough. Reservation Dogs streams via Binge. Read our full review. SUCCESSION Endings have always been a part of Succession. Since it premiered in 2018, the bulk of the HBO drama's feuding figures have been waiting for a big farewell. The reason is right there in the title, because for any of the Roy clan's adult children to scale the family company's greatest heights and remain there — be it initial heir apparent Kendall (Jeremy Strong, Armageddon Time), his inappropriate photo-sending brother Roman (Kieran Culkin, Scott Pilgrim Takes Off), their political-fixer sister Siobhan (Sarah Snook, Pieces of a Woman), or eldest sibling and presidential candidate Connor (Alan Ruck, The Dropout) — their father Logan's (Brian Cox, Remember Me) tenure needed to wrap up. The latter was always stubborn. Proud, too, of what he'd achieved and the power it's brought. And whenever Logan seemed nearly ready to leave the business behind, he held on. If he's challenged or threatened, as happened again and again in the Emmy-winning series, he fixed his grasp even tighter. Succession was always been waiting for Logan's last stint at global media outfit Waystar RoyCo, but it had never been about finales quite the way it was in its stunning fourth season. This time, there was ticking clock not just for the show's characters, but for the stellar series itself, given that this is its last go-around — and didn't it make the most of it. Nothing can last forever, not even widely acclaimed hit shows that are a rarity in today's TV climate: genuine appointment-viewing. So, this went out at the height of its greatness, complete with unhappy birthday parties, big business deals, plenty of scheming and backstabbing, and both Shiv's husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat) and family cousin Greg (Nicholas Braun, Cat Person) in vintage form — plus an early shock, at least two of the best episodes of any show that've ever aired on television, one of the worst drinks, a phenomenal acting masterclass, a The Sopranos-level final shot and the reality that money really can't buy happiness. Succession streams via Binge. Read our full review. BARRY Since HBO first introduced the world to Barry Berkman, the contract killer played and co-created by Saturday Night Live great Bill Hader wanted to be something other than a gun for hire. An ex-military sniper, he was always skilled at his highly illicit post-service line of work; however, moving on from that past was a bubbling dream even before he found his way to a Los Angeles acting class while on a job. Barry laid bare its namesake's biggest wish in its 2018 premiere episode. Then, it kept unpacking his pursuit of a life less lethal across the show's Emmy-winning first and second seasons, plus its even-more-astounding third season in 2022. Season four, the series' final outing, was no anomaly, but it also realised that wanting to be someone different and genuinely overcoming your worst impulses aren't the same. Barry grappled with this fact since the beginning, of course, with the grim truth beating at the show's heart whether it's at its most darkly comedic, action-packed or dramatic — and, given that its namesake was surrounded by people who similarly yearn for an alternative to their current lot in life, yet also can't shake their most damaging behaviour, it did so beyond its antihero protagonist. Are Barry, his girlfriend Sally Reid (Sarah Goldberg, The Night House), acting teacher Gene Cousineau (Henry Winkler, Black Adam), handler Monroe Fuches (Stephen Root, Succession) and Chechen gangster NoHo Hank (Anthony Carrigan, Bill & Ted Face the Music) all that different from who they were when Barry started? Have they processed their troubles? Have they stopped taking out their struggles not just on themselves, but on those around them? Hader and his fellow Barry co-creator Alec Berg (Silicon Valley, Curb Your Enthusiasm) kept asking those questions in season four to marvellous results, including after making a massive jump, and right up to the jaw-dropping yet pitch-perfect finale. Barry being Barry, posing such queries and seeing its central figures for who they are was an ambitious, thrilling and risk-taking ride. When season three ended, it was with Barry behind bars, which is where he was when the show's new go-around kicked off. He wasn't coping, unsurprisingly, hallucinating Sally running lines in the prison yard and rejecting a guard's attempt to tell him that he's not a bad person. With the latter, there's a moment of clarity about what he's done and who he is, but Barry's key players have rarely been that honest with themselves for long. Barry streams via Binge. Read our full review. THE BEAR The more time that anyone spends in the kitchen, the easier that whipping up their chosen dish gets. The Bear season two is that concept in TV form, even if the team at The Original Beef of Chicagoland don't always live it as they leap from running a beloved neighbourhood sandwich joint to opening a fine-diner, and fast. The hospitality crew that was first introduced in the best new show of 2022 isn't lacking in culinary skills or passion. But when bedlam surrounds you constantly, as bubbled and boiled through The Bear's Golden Globe-winning, Emmy-nominated season-one frames, not everything always goes to plan. That was only accurate on-screen for Carmen 'Carmy' Berzatto (Jeremy Allen White, Fingernails) and his colleagues — aka sous chef Sydney (Ayo Edebiri, Bottoms), baker-turned-pastry chef Marcus (Lionel Boyce, Hap and Leonard), veteran line cooks Tina (Liza Colón-Zayas, In Treatment) and Ebraheim (Edwin Lee Gibson, Fargo), resident Mr Fixit Neil Fak (IRL chef Matty Matheson), and family pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings). For viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. The Bear serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling second season. Actually make that ten more courses, one per episode, with each new instalment its own more-ish meal. A menu, a loan, desperately needed additional help, oh-so-much restaurant mayhem: that's how this second visit begins, as Carmy and Sydney endeavour to make their dreams for their own patch of Chicago's food scene come true. So far, so familiar, but The Bear isn't just plating up the same dishes this time around. At every moment, this new feast feels richer, deeper and more seasoned, including when it's as intense as ever, when it's filling the screen with tastebud-tempting food shots that relish culinary artistry, and also when it gets meditative. Episodes that send Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3), get Richie spending a week learning the upscale ropes at one of Chicago's best restaurants and jump back to the past, demonstrating how chaos would've been in Carmy's blood regardless of if he became a chef, are particularly stunning. The Bear season two streams via Disney+. Read our full review. THE OTHER TWO Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it also went hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider gave the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek were happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they were equally thrilled for her. But ChaseDreams, their little brother's stage name, was always a constant reminder that their own ambitions keep being outshone. In a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around, Cary and Brooke were never above getting petty and messy about being the titular pair. In season three, however, they didn't just hang around with stars in their eyes and resentment in their hearts. How did they cope? They spent the past few years constantly comparing themselves to Chase, then to Pat, but then they were successful on their own — and still in a shambles, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they were faking it or making it, nothing was ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wondered whether her dream manager gig is trivial after living through a pandemic, she started contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he got envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). The Other Two streams via Binge. Read our full review. PARTY DOWN Sometimes, dreams do come true. More often than not, they don't. The bulk of life is what dwells in-between, as we all cope with the inescapable truth that we won't get everything that we've ever fantasised about, and we mightn't even score more than just a few things we want. This is the space that Party Down has always made its own, asking "are we having fun yet?" about life's disappointments while focusing on Los Angeles-based hopefuls played by Adam Scott (Severance), Ken Marino (The Other Two), Ryan Hansen (A Million Little Things), Martin Starr (Guillermo del Toro's Cabinet of Curiosities) and more. They'd all rather be doing something other than being cater waiters at an array of California functions, and most have stars in their eyes. In the cult comedy's first two seasons back in 2009–10, the majority of its characters had their sights set on show business, slinging hors d'oeuvres while trying to make acting, screenwriting or comedy happen. Bringing most of the original gang back together — including Jane Lynch (Only Murders in the Building) and Megan Mullally (Dicks: The Musical) — Party Down keeps its shindig-by-shindig setup in its 13-years-later third season. Across its first 20 instalments as well as its new six, each episode sends the titular crew to a different soirée. This time, setting the scene for what's still one of the all-time comedy greats in its latest go-around, the opening get-together is thrown by one of their own. Kyle Bradway (Hansen) has just scored the lead part in a massive superhero franchise, and he's celebrating. Ex-actor Henry Pollard (Scott) is among the attendees, as are now-heiress Constance Carmell (Lynch) and perennial stage mum Lydia Dunfree (Mullally). Hard sci-fi obsessive Roman DeBeers (Starr) and the eager-to-please Ron Donald (Marino) are present as well, in a catering capacity. By the time episode two hits, then the rest of the season, more of the above will be donning pastel pink bow ties, the series keeps unpacking what it means to dream but never succeed, and the cast — especially Scott and the ever-committed Marino — are in their element. Party Down streams via Stan. Read our full review of season three. YELLOWJACKETS For Shauna (Melanie Lynskey, The Last of Us), Natalie (Juliette Lewis, Welcome to Chippendales), Taissa (Tawny Cypress, Billions), Misty (Christina Ricci, Wednesday), Lottie (Simone Kessell, Muru) and Van (Lauren Ambrose, Servant), 1996 will always be the year that their plane plunged into the Canadian wilderness, stranding them for 19 tough months — as season one of 2021–2022 standout Yellowjackets grippingly established. As teenagers (as played by The Kid Detective's Sophie Nélisse, The Boogeyman's Sophie Thatcher, Scream VI's Jasmin Savoy, Shameless' Samantha Hanratty, Mad Max: Fury Road's Courtney Eaton and Santa Clarita Diet's Liv Hewson), they were members of the show's titular high-school soccer squad, travelling from their New Jersey home town to Seattle for a national tournament, when the worst eventuated. Cue Lost-meets-Lord of the Flies with an Alive twist, as that first season was understandably pegged. All isn't always what it seems as Shauna and company endeavour to endure in the elements. Also, tearing into each other occurs more than just metaphorically. Plus, literally sinking one's teeth in was teased and flirted with since episode one, too. But Yellowjackets will always be about what it means to face something so difficult that it forever colours and changes who you are — and constantly leaves a reminder of who you might've been. So, when Yellowjackets ended its first season, it was with as many questions as answers. Naturally, it tore into season two in the same way. In the present, mere days have elapsed — and Shauna and her husband Jeff (Warren Kole, Shades of Blue) are trying to avoid drawing any attention over the disappearance of Shauna's artist lover Adam (Peter Gadiot, Queen of the South). Tai has been elected as a state senator, but her nocturnal activities have seen her wife Simone (Rukiya Bernard, Van Helsing) move out with their son Sammy (Aiden Stoxx, Supergirl). Thanks to purple-wearing kidnappers, Nat has been spirited off, leaving Misty desperate to find her — even enlisting fellow citizen detective Walter (Elijah Wood, Come to Daddy) to help. And, in the past, winter is setting in, making searching for food and staying warm an immense feat. Yellowjackets streams via Paramount+. Read our full review, and our interview with Melanie Lynskey. I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been filling streaming queues with assholes since 2019, as usually played by the eponymous Detroiters star, and long may it continue. In season three, the show takes its premise literally in the most ridiculous and unexpected way, so much so that no one could ever dream of predicting what happens. That's still the sketch comedy's not-so-secret power. Each of its skits is about someone being the worst in some manner, doubling down on being the worst and refusing to admit that they're the worst (or that they're wrong) — and while everyone around them might wish that they'd leave, they're never going to, and nothing ever ends smoothly. In a show that's previously worked in hot dog costumes and reality TV series about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its gallery of the insufferable. In fact, the more absurd and anarchic that I Think You Should Leave with Tim Robinson gets, the better. No description can do I Think You Should Leave with Tim Robinson's sketches justice, and almost every one is a comedic marvel, as again delivered in six 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors and designated drivers to HR training and street parking is in Robinson's sights this time, and people who won't stop talking about their kids, wedding photos and group-think party behaviour as well. Game shows get parodied again and again, an I Think You Should Leave staple, and gloriously. More often than in past seasons, Robinson lets his guest stars play the asshole, too, including the returning Will Forte (Weird: The Al Yankovic Story), regular Sam Richardson (The Afterparty), and perennial pop-ups Fred Armisen (Barry) and Tim Meadows (Poker Face). And when Jason Schwartzman (The Hunger Games: The Ballad of Songbirds & Snakes) and Ayo Edebiri (The Bear) drop in, they're also on the pitch-perfect wavelength. I Think You Should Leave with Tim Robinson streams via Netflix. Read our full review. WHAT WE DO IN THE SHADOWS Following in Taika Waititi and Jemaine Clement's footsteps isn't easy, but someone had to do it when What We Do in the Shadows made the leap from the big screen to the small. New format, new location, new vampires, same setup: that's the formula behind this film-to-TV series, which has notched up five seasons so far. Thankfully for audiences, Matt Berry (Toast of London and Toast of Tinseltown), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga) and Kayvan Novak (Cruella) were enlisted as the show's three key bloodsuckers in this US spinoff from the New Zealand mockumentary, all in roles that they each seem born for. The trio play three-century-old British aristocrat Laszlo, his 500-year-old creator and partner Nadja and early Ottoman Empire warrior Nandor, respectively, who share an abode and the afterlife in Staten Island. In cinemas, the film already proved that the concept works to sidesplitting effect. Vampire housemates, they're just like us — except when they're busting out their fangs, flying, avoiding daylight, sleeping in coffins, feuding with other supernatural creatures and leaving a body count, that is. On TV, What We Do in the Shadows illustrates that there's not only ample life left in palling around with the undead, but that there's no limit to the gloriously ridiculous hijinks that these no-longer-living creatures can get up to. It was true as a movie and it's still true as a television show: What We Do in the Shadows sparkles not just due to its premise, but when its characters and cast are both as right as a luminous full moon on a cloudless night. This lineup of actors couldn't be more perfect or comedically gifted, as season five constantly demonstrates via everything from mall trips, political campaigns, pride parades and speed dating to trying to discover why Nandor's long-suffering and ever-dutiful familiar Guillermo (Harvey Guillén, Werewolves Within) hasn't quite started chomping on necks despite being bitten himself. Berry's over-enunciation alone is the best in the business, as is his ability to play confident and cocky. His line readings are exquisite, and also piercingly funny. While that was all a given thanks to his Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace history, What We Do in the Shadows is a group effort. Demetriou and Novak keep finding new ways to twist Nadja and Nandor's eccentricities in fresh directions; their characters have felt lived-in since season one, but they're still capable of growth and change. What We Do in the Shadows streams via Binge. Read our full review. SLOW HORSES In gleaming news for streaming viewers, Mick Herron's Slough House novel series boasts 12 entries so far. In an also ace development, several more of the British author's books have links to the world of veteran espionage agent Jackson Lamb. That thankfully means that Slow Horses, the small-screen spy thriller based on Herron's work, has plenty more stories to draw upon in its future. It's now up to its third season as a TV series, and long may its forward path continue. Apple TV+ has clearly felt the same way since the program debuted in April 2022. In June the same year, the platform renewed Slow Horses for a third and fourth season before its second had even aired. That next chapter arrived that December and didn't disappoint. Neither does the latest batch of six episodes, this time taking its cues from Herron's Real Tigers — after season one used the novel Slow Horses as its basis, and season two did the same with Dead Lions — in charting the ins and outs of MI5's least-favourite department. Slough House is where the service rejects who can't be fired but aren't trusted to be proper operatives are sent, with Lamb (Gary Oldman, Oppenheimer) its happily cantankerous, slovenly, seedy and shambolic head honcho. Each season, Lamb and his team of losers, misfits and boozers — Mick Jagger's slinky ear worm of a theme tune's words — find themselves immersed in another messy case that everyone above them wishes they weren't. That said, Slow Horses isn't a formulaic procedural. Sharply written, directed and acted, and also immensely wryly funny, it's instead one of the best spy series to grace television, including in a new go-around that starts with two intelligence officers (Babylon's Katherine Waterston and Gangs of London's Ṣọpẹ́ Dìrísù) in Istanbul. When the fallout from this season's opening events touches Lamb and his spooks, they're soon thrust into a game of cat-and-mouse that revolves around secret documents and sees one of their own, the forever-loyal Catherine Standish (Saskia Reeves, Creation Stories), get abducted. The talented River Cartwright (Jack Lowden, The Gold) again endeavours to show why being banished to Slough House for a training mistake was MI5's error, while his boss' boss Diana Taverner (Kristin Scott Thomas, Rebecca) reliably has her own agenda. Slow Horses streams via Apple TV+. Read our full review. I HATE SUZIE TOO Watching I Hate Suzie Too isn't easy. Watching I Hate Suzie, the show's first season, wasn't either back in 2020. A warts-and-all dance through the chaotic life, emotions and mind of a celebrity, both instalments of this compelling British series have spun as far away from the glitz and glamour of being famous as possible. Capturing carefully constructed social-media content to sell the fiction of stardom's perfection is part of the story, as it has to be three decades into the 21st century; however, consider this show from Succession writer Lucy Prebble and actor/singer/co-creator Billie Piper, and its blood pressure-raising tension and stress, the anti-Instagram. The unfiltered focus: teen pop sensation-turned-actor Suzie Pickles, as played with a canny sense of knowing by Piper given that the 'Honey to the Bee' and Penny Dreadful talent has charted the same course. That said, the show's IRL star hasn't been the subject of a traumatic phone hack that exposed sensitive photos from an extramarital affair to the public, turning her existence and career upside down, as Suzie was in season one. Forget The Idol — this is the best show about being a famous singer that you can watch right now. In I Hate Suzie Too, plenty has changed for the series' namesake over a six-month period. She's no longer with her professor husband Cob (Daniel Ings, Sex Education), and is battling for custody of their young son Frank (debutant Matthew Jordan-Caws), who is deaf — and her manager and lifelong friend Naomi (Leila Farzad, Avenue 5) is off the books, replaced by the no-nonsense Sian (Anastasia Hille, A Spy Among Friends). Also, in a new chance to win back fans, Suzie has returned to reality TV after it helped thrust her into the spotlight as a child star to begin with. Dance Crazee Xmas is exactly what it sounds like, and sees her compete against soccer heroes (Blake Harrison, The Inbetweeners), musicians (Douglas Hodge, The Great) and more. But when I Hate Suzie Too kicks off with a ferocious, clearly cathartic solo dance in sad-clown getup, the viewers aren't charmed. Well, Dance Crazee Xmas' audience, that is — because anyone watching I Hate Suzie Too is in for another stunner that's fearless, audacious, honest, dripping with anxiety, staggering in its intensity, absolutely heart-wrenching and always unflinching. I Hate Suzie Too streams via Stan. Read our full review. JUSTIFIED: CITY PRIMEVAL The man knows how to rock a hat: Timothy Olyphant (Full Circle), that is. He knows how to play a determined lawman with a piercing stare and an unassailable sense of honour, too, and television has been all the better for it for nearing two decades. Pop culture's revival culture has benefited as well — first with HBO's 2004–06 western masterpiece Deadwood returning as 2019's Deadwood: The Movie, and now with 2010–15's US Marshal drama Justified making a comeback as miniseries Justified: City Primeval. Olyphant was perfect in both the first time around, and proves the same the second. Indeed, Deadwood: The Movie's only problem was that it was just a made-for-TV film, not a another season; Justified: City Primeval's sole issue is that it spans only eight episodes, and that a next date with the Stetson-wearing Raylan Givens hasn't yet been locked in. This continuation of Justified's initial six seasons arrives eight years after the show ended for viewers, but also finds Raylan with a 15-year-old daughter. And it's with Willa (Vivian Olyphant, Timothy Olyphant's real-life offspring) that he's hitting the road when a couple of criminals reroute their plans. Now based in Miami, Florida rather than Justified's Harlan, Kentucky, Raylan is meant to be taking Willa to camp, only to be forced to detour to Detroit, Michigan to testify. It isn't a brief stop, after the Deputy US Marshal makes the wrong impression on Judge Alvin Guy (Keith David, Nope), then is personally requested to investigate an assassination attempt against the same jurist — teaming up with local detectives who are adamant about Detroit's particular ways, including Maureen Downey (Marin Ireland, The Boogeyman), Norbert Beryl (Norbert Leo Butz, The Girl From Plainville) and Wendell Robinson (Victor Williams, The Righteous Gemstones). You can take Raylan out of rural America and into the Motor City, as Justified: City Primeval does, but even with silver hair atop his calm glare he's still Raylan. So, he'll always stride around like a lone gunslinger who has seen it all, will confront anything, and is perennially valiant and resolute — and silently exasperated about humanity's worst impulses, too — as Justified: City Primeval welcomes. New location, passing years, the responsibilities of fatherhood, more and more lowlife crooks (including Boyd Holbrook, Indiana Jones and the Dial of Destiny): they haven't changed this character, and audiences wouldn't have wanted that to happen. Justified: City Primeval streams via Disney+. Read our full review. GOOD OMENS Since 2019, witnessing David Tennant utter the word "angel" has been one of the small screen's great delights. Playing the roguish demon Crowley in Good Omens, the Scottish Doctor Who and Broadchurch star sometimes says it as an insult, occasionally with weary apathy and even with exasperation. Usually simmering no matter his mood, however, is affection for the person that he's always talking about: book-loving and bookshop-owning heavenly messenger Aziraphale (Michael Sheen, Quiz). With just one term and two syllables, Tennant tells a story about the show's central odd-couple duo, who've each been assigned to oversee earth by their bosses — Crowley's from below, Aziraphale's from above — and also conveys their complicated camaraderie. So, also since 2019, watching Tennant and Sheen pair up on-screen has been supremely divine. Good Omens, which hails from Terry Pratchett and Neil Gaiman's award- and fan-winning 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, was always going to be about Aziraphale and Crowley. And yet, including in its second season, it's always been a better series because it's specifically about Sheen as the former and Tennant as the latter. In this long-awaited return, neither Aziraphale nor Crowley are beloved by their higher-ups or lower-downs thanks to their thwarting-the-apocalypse actions. Season one saw them face their biggest test yet after they started observing humans since biblical times — the always-foretold birth of the antichrist and, 11 years later, cosmic forces rolling towards snuffing out the planet's people to start again — and saving the world wasn't what their leaders wanted. One fussing over his store and remaining reluctant to sell any of its tomes, the other continuing to swagger around like Bill Nighy as a rule-breaking rockstar, Aziraphale nor Crowley have each carved out a comfortable new status quo, though, until a naked man walking through London with nothing but a cardboard box comes trundling along. He can't recall it, but that birthday suit-wearing interloper is the archangel Gabriel (Jon Hamm, Fargo). He knows he's there for a reason and that it isn't good, but possesses zero memory otherwise. And, in the worst news for Aziraphale and Crowley, he has both heaven and hell desperate to find him — which is just the beginning of season two's delightful journey. Good Omens streams via Prime Video. Read our full review. ONLY MURDERS IN THE BUILDING Corpses and killings don't normally herald joy on-screen, even in pop culture's current murder-mystery comedy wave, but Only Murders in the Building isn't just another amusing whodunnit. There's a particular warmth to this series. In each of its three seasons to-date, the New York-set show has unleashed amateur gumshoes upon a shock death, with its key trio sifting through clues and podcasting the details. Along the way, it has also kept telling a winning story about second chances and finding the folks who understand you. Only Murders in the Building's ten-episode third season relays that tale again, expanding its portraits of artist Mabel Mora (Selena Gomez, The Dead Don't Die), theatre director Oliver Putnam (Martin Short, Schmigadoon!) and veteran actor Charles-Haden Savage (Steve Martin, It's Complicated) — and of their friendship. Once more, it embraces the power of chemistry, both within its narrative and for audiences. That isn't new; when the show debuted in 2021, it felt like the murder-mystery comedy genre's version of a cosy embrace because its three leads were so perfectly cast and their odd-throuple characters so full of sparks. While Mabel, Oliver and Charles wouldn't be a trio if it wasn't for a building evacuation, a murder and a love of true-crime podcasts, their connection isn't merely fuelled by chatting about the murders in their building, with crossing each other's paths changing their respective lives. There's a death in season three's initial episode — it first occurred in season two's dying moments, to be precise — and, of course, ample sleuthing and talking about it follows. The victim: Ben Glenroy (Paul Rudd, Ant-Man and the Wasp: Quantumania), a silver-screen star best-known for playing a zoologist who fights crime by turning into a snake in the blockbuster CoBro franchise. (Yes, if those movies weren't just Only Murders in the Building's Ant-Man gag, existed IRL and starred Rudd, they'd be a hit.) But Only Murders in the Building's latest run also opens with Mabel, Oliver and Charles in places that they wouldn't be if they were solo. Largely, that applies emotionally: Mabel is more grounded and open, and now thinking about the future more than the past; Oliver has faced his career fears, resurrecting his showbiz bug with a new show; and Charles is less misanthropic and more willing to take new chances. They're also frequently in a different location physically thanks to Oliver's comeback production Death Rattle (which is where Meryl Streep fits in). No, the series isn't now called Only Murders in the Building and on Broadway. Only Murders in the Building streams via Star on Disney+. Read our full review. FARGO This is a true story: in 2014, Hollywood decided to take on a task that was destined to either go as smoothly as sliding on ice or prove as misguided as having a woodchipper sitting around. Revisiting Fargo was a bold move even in pop culture's remake-, reboot- and reimagining-worshipping times, because why say "you betcha" to trying to make crime-comedy perfection twice? The Coen brothers' 1996 film isn't just any movie. It's a two-time Oscar-winner, BAFTA and Cannes' Best Director pick of its year, and one of the most beloved and original examples of its genre in the last three decades. But in-between credits on Bones, The Unusuals and My Generation, then creating the comic book-inspired Legion, writer, director and producer Noah Hawley started a project he's now synonymous with, and that's still going strong five seasons in. What keeps springing is always a twisty tale set in America's midwest, as filled with everyday folks in knotty binds, complicated family ties, crooks both bumbling and determined trying to cash in, and intrepid cops investigating leads that others wouldn't. Hawley's stroke of genius: driving back into Fargo terrain by making an anthology series built upon similar pieces, but always finding new tales about greed, power, murder and snowy landscapes to tell. Hawley's Fargo adores the Coenverse overall, enthusiastically scouring it for riches like it's the TV-making embodiment of Kumiko, the Treasure Hunter's namesake. That film hailed from Damsel's David Zellner instead, and took cues from the urban legend surrounding the purported Fargo ties to the IRL death of Japanese office worker Takako Konishi; however, wanting the contents of the Coen brothers' brains to become your reality is clearly a common thread. Of course, for most of the fictional figures who've walked through the small-screen Fargo's frames, they'd like anything but caper chaos. Scandia, Minnesota housewife Dot Lyon (Juno Temple, Ted Lasso) is one of them in season five. North Dakota sheriff, preacher and rancher Roy Tillman (Jon Hamm, Good Omens) isn't as averse to a commotion if he's the one causing it. Minnesota deputy Indira Olmstead (Richa Moorjani, Never Have I Ever) and North Dakota state trooper Witt Farr (Lamorne Morris, Woke) just want to get to the bottom of the series' new stint of sometimes-madcap and sometimes-violent mayhem. Fargo streams via SBS On Demand. Read our full review. Looking for more viewing highlights? We also rounded up the 15 best new TV series of 2023, as well as 15 excellent new TV shows of 2023 that you might've missed — plus the 15 top films, another 15 exceptional flicks that hardly anyone saw in cinemas this year and the 15 best straight-to-streaming movies of the year as well. And, we've kept a running list of must-stream TV from across the year, complete with full reviews. Also, you can check out our regular rundown of film and TV streaming recommendations, which is updated monthly.
Of the many pies that Succession's Roy family had their fingers in, pharmaceuticals wasn't one of them. For virtually that, Mike Flanagan gives audiences The Fall of the House of Usher. The horror auteur's take on dynastic wealth gets a-fluttering through a world of decadence enabled by pushing pills legally, as six heirs to an addiction-laced kingdom vie to inherit a vast fortune. Flanagan hasn't given up his favourite genre for pure drama, however. The eponymous Usher offspring won't be enjoying the spoils of their father Roderick's (Bruce Greenwood, The Resident) business success, either, in this eight-parter that streams from Thursday, October 12. As the bulk of this tale is unfurled fireside, its patriarch tells federal prosecutor C Auguste Dupin (Carl Lumbly, SWAT) why his children came to die within days of each other — and, with all the gory details, how. As with The Haunting of Hill House and The Haunting of Bly Manor before it, plus The Midnight Club as well, Flanagan's latest Netflix series finds its basis on the page. The author this time: Edgar Allan Poe, although The Fall of the House of Usher isn't a strict adaptation of the iconic author's 1840 short story of the same name, or just an adaptation. Character monikers, episode titles and other details spring from widely across Poe's bibliography. Cue ravens, black cats, masks, tell-tale hearts, pendulums and a Rue Morgue. What if the writer had penned Succession? That's one of Flanagan's questions — and what if he'd penned Dopesick and Painkiller, too? Hailing from the talent behind the exceptional Midnight Mass as well, plus movies Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep, the series that results is a gloriously creepy and involving modern gothic horror entry. The Poe minutiae is everywhere, as constantly thumping whenever someone's name is mentioned. Alongside Roderick and his twin sister Madeline (Mary McDonnell, Veronica Mars), everyone of importance harks back to one piece of prose or another. Dupin was Poe's fictional investigator, a role that still applies here to a man that's spent much of his life trying to bring Roderick to justice. Indeed, he's as close as he's ever been to that feat via a trial when the kids start dropping in gruesome ways. Each one earns an episode, from smarmy eldest Frederick (Henry Thomas, Pet Sematary: Bloodlines), Goop-style wellness entrepreneur Tamerlane (Samantha Sloyan, Minx) and ruthless medical engineer Victorine (T'Nia Miller, The Peripheral) to games designer Napoleon (Rahul Kohli, iZombie), family publicist Camille (Kate Siegel, The Wrath of Becky) and wannabe bar owner Prospero (Sauriyan Sapkota, The Midnight Club). Greed, violence, paranoia: as happened in Poe's pages, all three bubble through The Fall of the House of Usher. So does death, obviously, including loss, decay and the deceased haunting the living, as Roderick's children do in macabre jolts. Applying Poe's favourite themes to the affluent and privileged is a satisfyingly entertaining touch, even if it's never subtle. The same proves true of the show's twisted dive into a Sackler-style realm. All the Beauty and the Bloodshed's Nan Goldin hasn't achieved such comeuppance in her war on money and influence amassed through the opioid crisis, and therefore through other people's suffering and lives, but Flanagan channelling Poe imagines quite the visually ravishing and narratively riveting undoing. Roderick's empire is Fortunato Pharmaceuticals' empire, as built upon peddling a highly addictive painkiller that's been spruiked as the exact opposite. As he and Dupin sit on a midnight dreary in a crumbling home that's as dilapidated as the Ushers' souls — well, most of them — he shares that story as well. In addition to the tightly wound how's-it-going-to-happen suspense of each child's demise, The Fall of the House of Usher flits back to Roderick (Zach Gilford, Criminal Minds) and Madeline's (Willa Fitzgerald, Reacher) early days at the company. How early sins become inescapable coffins is teased out, inevitability dripping through the series stronger than blood, of which there's no shortage of. Eating the rich is on the menu, as is carving into the avarice-fuelled lust for power and prosperity at any cost under capitalism. Rich applies to much about The Fall of the House of Usher. The treasure trove of Poe nods and borrowings fit the description, of course, but that's just the beginning. With his regular cinematographer Michael Fimognari, Flanagan splashes around an alluringly opulent look whether the show is glistening or getting grisly, or — as is frequently the case — achieving both at once. He's also a master of unrelenting tension, especially leading up to each gratifyingly inventive brought-it-on-themselves death. Setpieces abound, one as lushly staged and riveting as the next — and as grim. The outcome of a masquerade dance party that also owes Eyes Wide Shut a debt is particularly retina-searing. A bounty of jewels resides in Flanagan's plotting, passion, love of lyrically penned monologues and melodrama, too, and his cast of familiar faces. He isn't just piecing together Poe elements and playing with them. As his resume attests, he's long adored doing the same with his actors. So, almost everyone boasts ties to the filmmaker's past works, and often several. The Fall of the House of Usher's stars nail the current brief as well, from Lumbly (and The Fugitive's Malcolm Goodwin as the younger Dupin) as the picture of earnestness in the pursuit of what's right to the entitlement glistening across Thomas and company in every way possible, plus the nerve-shredding mystery that Carla Gugino (Gunpowder Milkshake) slinks through the show in an enigmatic part. Star Wars legend Mark Hamill is a Flanagan newcomer as get-things-done Usher family lawyer Arthur Pym, but slides right in like he's always been telling horror stories with his co-stars. (Whatever comes next for the writer/director and his favourite talents, don't be surprised if Hamill goes with them.) Flanagan's Netflix shows repeatedly get remotes pressing "next episode" with can't-stop-watching urgency. It's hardly surprising, then, that The Fall of the House of Usher joins the auteur's The Haunting of Hill House and Midnight Mass as the kind of compulsive viewing that audiences can easily lose a day to. Ending most episodes with an extravagantly staged offing helps; however, as wicked downfalls plague a brood that's made its own bleak fate, this dark, operatic and gleefully OTT affair never stops being a delight. Here's hoping that the house of Flanagan horror never falls. Check out the trailer for The Fall of the House of Usher below: The Fall of the House of Usher streams via Netflix from Thursday, October 12. Images: Eike Schroter / Netflix.
If Melbourne's famous for anything, it's a sense of discovery. Nothing beats the absolute thrill of ducking down a laneway, following the scent of coffee, and stumbling into something you didn't even know you were looking for. In one particularly special part of the city — Little Collins street — that discovery will bring you to Hotel Indigo Melbourne Little Collins. The hotel and its close neighbours are stitched together from historic buildings that once housed everything from Turkish baths to grand music retailers. Inside, things get even cooler. Its interiors are threaded with local stories, from a statement spiral staircase inspired by the drapery sold by Sidney Myer (yes, the founder of the eponymous department store) to a huge lobby mural by renowned Melbourne artist Lisa King. Best of all, the hotel's position on Little Collins street puts you right in the centre of Melbourne's CBD. Here's how to plan your next weekend exploring the neighbourhood. Begin in the Laneways Forget Google Maps for a while. The best part of this Melbourne neighbourhood is its grid-like layout, meaning it's almost impossible to get lost. In fact, the laneways around Little Collins are best explored without a plan. Hosier Lane is the obvious icon, its walls splashed with artwork and graffiti. But veer off course and you'll also stumble upon AC/DC Lane with its nod to Aussie rock, or Centre Place where tiny cafes and restaurants are packed with the local lunch crowd. Take Coffee Seriously It might sound cliché, but in this neighbourhood coffee really is the fuel that keeps everything moving. Pellegrini's, which opened in 1954, is a time capsule of Melbourne's espresso beginnings, when Italian immigrants kickstarted the city's coffee culture. Nearby, Brother Baba Budan is instantly recognisable for the chairs hanging from its ceiling, and Dukes on Flinders Lane is where the locals queue for their morning fix. Staying nearby means you're never more than a few minutes from a genuinely great cup. Dine Like a Local Melbourne is nothing if not a food city and around Little Collins, you'll find flavours from every corner of the globe within walking distance. Fern Bar and Dining, tucked inside Hotel Indigo, is a slick all-day spot where menus lean into seasonal Victorian produce and good vibes. It's perfect for a pre-theatre bite or early-morning brekky. Venture outside the hotel and you're spoiled for choice: Cumulus Inc serves refined share plates in a converted warehouse, Grossi Florentino is your go-to for old-school Italian, and Embla is the best place to crack a bottle of natural wines and seriously good bar food. Our best advice? Come hungry. Soak Up The Architecture From gothic banks to Victorian-era buildings and Art Deco beauties, Melbourne's skyline is a result of decades of boom and reinvention. Design lovers will want to check out the Gothic Revival spires atop the Manchester Unity Building, look up at Gaunt's Clock in Royal Arcade, and explore the intricate mosaic floors inside the Block Arcade. If you're planning a trip for next winter, Open House Melbourne also gives you the rare chance to peek inside heritage buildings usually closed to the public. Around here, even the spaces between buildings are just as interesting as what's inside them. The Perfect Base When you're done wandering, Hotel Indigo Melbourne Little Collins makes for a fitting place to land. Home to 179 modern, stylish rooms, it's built in a historic building and filled with nods to the neighbourhood. With a beautiful lobby area, luxe outdoor courtyard garden, and views across the city from almost every window, the space feels less like a cookie-cutter hotel and more like a continuation of the streets outside. Want to stay in the thick of it? Find out more about Hotel Indigo Melbourne Little Collins here.
The more time that anyone spends in the kitchen, the easier that whipping up their chosen dish gets. The Bear season two is that concept in TV form, even if the team at The Original Beef of Chicagoland don't always live it as they leap from running a beloved neighbourhood sandwich joint to opening a fine-diner, and fast. The hospitality crew that was first introduced in the best new show of 2022 isn't lacking in culinary skills or passion. But when chaos surrounds you constantly, as bubbled and boiled through The Bear's Golden Globe-winning, Emmy-nominated season-one frames, not everything always goes to plan. That was only accurate for Carmen 'Carmy' Berzatto (Jeremy Allen White, Shameless) and his colleagues on-screen, however; for viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. Streaming via Disney+ Down Under from Wednesday, July 19 — arriving a month after it hit the US, making Australian and New Zealand audiences wait for a repeat reservation just like last year — The Bear season two serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling stretch. Actually make that ten more courses, one per episode, with each new instalment its own more-ish meal. A menu, a loan, desperately needed additional help, oh-so-much restaurant mayhem: that's how this second visit begins, as Carmy and sous chef Sydney (Ayo Edebiri, I Think You Should Leave with Tim Robinson) endeavour to make their dreams for their own patch of Chicago's food scene come true. So far, so familiar, but The Bear isn't just plating up the same dishes this time around. At every moment, this new feast feels richer, deeper and more seasoned, including when it's as intense as ever, when it's filling the screen with tastebud-tempting food shots that relish culinary artistry, and also when it gets meditative. For Carmy, Syd, the former's sister Natalie aka Sugar (Abby Elliott, Indebted), and lifelong pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings) — plus The Beef and now The Bear's baker-turned-pastry chef Marcus (Lionel Boyce, Hap and Leonard), veteran line cooks Tina (Liza Colón-Zayas, In Treatment) and Ebraheim (Edwin Lee Gibson, Fargo), and resident Mr Fixit Neil Fak (IRL chef Matty Matheson) — it's all systems go from the instant that the show's second season starts. With his James Beard Award and experience at the world's top restaurants, Carmy has never been one to take things slowly or calmly. Relaunching the space that he inherited after his brother Mikey's (Jon Bernthal, We Own This City) death is no different, even after Carmy found $300,000 in cash sealed tins of tomatoes to close out season one. In cooking, money just buys ingredients and equipment. Here, while The Beef team has scored itself a hefty stash, those funds can't quite purchase enough. Swiftly, Carmy and Syd enlist Sugar as their project manager so that they can focus on conjuring up the new restaurant's customer-courting spread — and they're asking the Berzattos' uncle Cicero (Oliver Platt, Chicago Med), their main investor, for extra aid just as promptly. Creator Christopher Storer (Ramy, Dickinson and Bo Burnham: Make Happy), also the dramedy's frequent writer and director, brings the heat and the bedlam early. He tests and stresses his kitchen-obsessed characters in their favourite surroundings, where they spent the opening season just surviving. Season two pushes them towards thriving by growing and learning, though, complete with new insights into Carmy and company, plus new ways to drizzle out their hopes, wants, fears and hungers. The Bear's smorgasbord of havoc continues, then, but paired with savouring what quieter moments everyone can manage to stick on their forks. When Carmy runs into his old friend Claire (Shiva Baby and Booksmart's Molly Gordon), who is now a doctor, he finds something to enjoy beyond being a chef for the first time in far too long (certainly the first time in the show's narrative). Their relationship blossoms, taking the workaholic's focus away from his about-to-open restaurant. That causes struggles, too, but The Bear has always appreciated life's unexpected alchemies. When Carmy ditches plans to hop around town with Syd to glean culinary inspiration for the menu, for instance, she's initially peeved. Then her tasting tour of the Windy City, which is also a visual tour of some of its famous places and names for viewers, proves both revelatory and rewarding. The clock keeps ticking, with Cicero's extra cash speeding up the opening date. The deadline: 12 weeks. Whenever The Bear is at The Bear, the non-stop pressure-cooker energy blisters like grabbing a steel-handled saucepan off the stove with your bare hands. Season one was exceptional at thrusting its audience into the hustle and bustle of working in hospitality as if they were really there, warts, woes and all. Season two doesn't falter on that front. But when The Bear isn't at The Bear, it lets its usually frantic figures make themselves over, including by sending Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3) and getting Richie to spend a week learning the upscale ropes at one of the city's best restaurants. This season's performances as a result: exquisite. Marcus' trip to Denmark spans an entire episode, the only chapter in the show's 18 across both seasons to-date that isn't directed by either Storer or executive producer Joanna Calo. Instead, Ramy Youssef steps in, invests the lived-in feel that's so much a part of his own impressive series, and revels in the eye-opening minutiae of being a visitor in a new place learning fresh skills. Storer is back at the helm of Richie's dedicated instalment, but it too benefits from broadening its horizons and getting out of its comfort zone. So does Cousin. In his typically abrasive way, he isn't happy about being sent away, taking it as punishment. In one of The Bear's finest exchanges yet, however, he has his entire perception altered in a touching conversation that adds Oscar-winner Olivia Colman (Secret Invasion) to the season's guest stars. Well-known names must've been lining up to join The Bear: fellow Academy Award-recipient Jamie Lee Curtis (Halloween Ends) also features, likely nabbing herself a 2024 Best Guest Actress Emmy, alongside Bob Odenkirk (Lucky Hank), Sarah Paulson (Ratched) and John Mulaney (Bupkis). That smattering of talent appears in a double-lengthy episode that jumps back to the past, demonstrates how chaos would've been in Carmy's blood regardless of if he became a chef — including when food is involved — and is as nerve-shredding and brilliantly acted as the series gets. You can't just taste the same bites over and over again, season two's detours advise. You're chomping into history whenever you sink your teeth into anything, this particular episode also conveys. The Bear burns brighter thanks to both trains of thought and, even with season one stetting such a high bar, couldn't be more appetising and satisfying. Long may it keep spending time in streaming's kitchen, bettering something that's already proven perfect. Check out the trailer for The Bear season two below: The Bear season two streams via Disney+ Down Under from Wednesday, July 19. Read our full review of season one. Images: Chuck Hodes/FX.
He's going to Newport: Johnny Cash, that is. Twice in A Complete Unknown, the iconic singer-songwriter graces the lineup at the famous folk festival in Rhode Island in the 60s. Twice in the Bob Dylan biopic, he crosses paths with the film's subject at the event. The details depicted are in the service of Dylan's story — while James Mangold is in the director's chair, he's not remaking Walk the Line — but these wouldn't be the moments that they are, and nor would A Complete Unknown be the movie that it is, without Boyd Holbrook (The Bikeriders) as Cash opposite Timothée Chalamet's (Dune: Part Two) Dylan. The term "goes electric" will always be synonymous with Dylan at 1965's Newport Folk Festival, where he dared to play an electric guitar in one of his sets — and the response as much as the act ensured that it went down in history. Cash helped him get there, not only by picking up the same type of instrument at the same place the year before, but through his pen-pal friendship with and encouragement of Dylan. The eight-time Oscar-nominated picture makes clear how much that Cash's words, and the effort of him taking time to commit them to paper, meant to Dylan. It goes electric, too, when Chalamet and Holbrook share scenes. A Complete Unknown is a movie with Chalamet as Dylan, Monica Barbaro (Fubar) as Joan Baez, Edward Norton (Asteroid City) as Pete Seeger and Scoot McNairy (Speak No Evil) as Woody Guthrie. So, it's a flick filled with impressive actors portraying music greats. Given that this a film by Walk the Line director Mangold, however, it's also a picture that gives Holbrook a completely different job to his co-stars, since he's portraying Cash. What happens when the filmmaker behind an Academy Award-winning Man in Black biopic asks you to be the next actor to slip into the legend's shoes? Holbrook had been keen on a different role in the feature, he tells Concrete Playground, at a time when Cash wasn't even in the script — then found himself with a "daunting task". Still, for anyone who has charted Holbrook's career since his 2008 big-screen debut in Milk — a span that's taken him through Behind the Candelabra, The Skeleton Twins, Gone Girl, Jane Got a Gun, The Predator, Narcos and The Sandman, just to name a few projects — it should come as no surprise that he feels like he's been preparing for this part for more than a decade. It helped that he'd made two previous films with Mangold, Logan (which uses a Cash song over its closing credits and in its trailer) and Indiana Jones and the Dial of Destiny. In fact, he sees his relationship with the filmmaker as similar to Dylan and Cash's, but with Mangold as the mentor and Holbrook the protégé. And, it equally assists that he'd also perfected swagger on-screen, which can be an elusive trait, including in his two prior roles in The Bikeriders and Justified: City Primeval. Yes, his A Complete Unknown performance meant facing "the Joaquin element", Holbrook explains — with Joaquin Phoenix (Joker: Folie á Deux) Oscar- and BAFTA-nominated, and the winner of a Golden Globe, for playing Cash two decades back for Mangold. But he also knew that the filmmaker, who worked with fellow screenwriter Jay Cocks (Silence) to adapt Elijah Wald's 2015 book Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties, had a fresh angle into Cash here. As Mangold himself also told us about the pair's relationship as pen pals, "this correspondence suddenly became central to me, because as I was trying to assemble — as much as I was trying to tell Dylan's story, he is a bit inscrutable, and I felt like you could learn more by also telling the story of those that surrounded Dylan, and the way his genius affected each of them differently". "And what was so necessary about bringing Johnny into the story was that he's the devil on that shoulder. If you have Pete and Lomax and Joan Baez all on this shoulder saying 'stick with the team; don't cross over to that dangerous, suspicious popular music', you had Johnny Cash on the other shoulder who was saying 'track mud on someone's carpet'," Mangold continued. "Which was literally one of Johnny's lines in his letters to Bob. And that he made it his business to encourage Dylan to stay bold and to stay on the leading edge, was so wonderful to me." For Holbrook, taking on the part meant exaggerating his music skills to Mangold to begin with; however, the quest to make good on that promise became a key part of his preparation process. We also chatted with Holbrook about his repeat collaborations with Mangold, perfecting swagger on-screen, drunk acting as Cash in one of the movie's standout scenes, and what excites him about working on a new movie or TV show — next he'll pop up in season four of The Morning Show — at this stage of his filmography. On Having a Cash-and-Dylan Relationship with Director James Mangold After Logan, Indiana Jones and the Dial of Destiny and Now A Complete Unknown "I don't think I would have gone anywhere near the Johnny Cash character unless it was Jim making the movie. And it was odd, because I'd read the script before we did Indiana Jones together, and I was angling at a part that I was probably too young for, but the Johnny Cash role wasn't even in there yet at the time. And so we went off and did Indiana Jones, and then I got a call, like maybe six months before we made it. And he said 'hey, I want you to play Johnny Cash'. And I said 'how's that possible? He's not in the script'. And so he had added him because he didn't know that when he made Walk the Line that him and Bob Dylan were these pen pals. And so by his research into Bob, he found out this because Bob had kept the letters and Johnny hadn't kept the letters. So he really just let me go off and do what I had to do, which is conjure up a character and an impression in the daunting task of playing Johnny Cash. Jim really gives you a lot of space. And the great thing about when you get to work with Jim, on the day, if you come in prepared, he enhances your performance in a very cinematic way." On Exaggerating His Music Skills Going Into the Film — and How Learning to Make Good on That Promise Helped Holbrook Step Into Cash's Shoes "I knew at the end of the day that they could shoot from here up [Holbrook motions to his mid-chest] and we could get by. But it feels like I've been preparing for the last 15 or ten years to play this part. Because I played guitar. I couldn't count music. I couldn't hold a tune. I couldn't play and sing at the same time. But there is this awesome opportunity where if I just eat, breathe and sleep this character, I can pull it off. And I think there's something really exciting about that amount of pressure, being a performer — I want to have a performance and I want to build this thing. So it almost bottlenecks down into the day of this, like 'well, you're going to sink, or you're going to swim'. And I think that's pretty exciting. So yeah, I think the week of it all started like 'okay, I can do it at the tempo' — and it wasn't just hanging on. I was able to control the song and control the voice, control the pacing." On Bringing Swagger to the Screen — as Johnny Cash, and Across Holbrook's Career "Film acting is really different from theatre acting, and there's also the practical of being relaxed enough that, you know, there's this 800-pound gorilla being the camera staring at me at all times. Like, how do I just relax and embody this? And really it's from a bunch of stuff of the art of not giving a fuck — being really adamant that 'this is who I am, take it or leave it'. And having a sense of humour about yourself. And doing all this so many times that it's just become existence. I'm not even thinking about it anymore. I'm sort of lost in what I'm doing. It comes down to that. It comes down to a lot of rehearsals, a lot of preparation. I almost prefer the preparation to making a movie than making the movie." On What Went Into Capturing Not Just the Essence of Cash, But the Essence of Drunk Cash "It was from one line in particular, 'I saw the ocean', that I just knew how. I just knew where he was in a daydream. You catch yourself doing laundry or whatever around the house and you are just in a dream, and you kind of see the performance, or I do — and you just understand it. So now it's a real idea. Then it just takes the physicalisation of staying on a word and just finding it, or whatever it is. The super subtlety of that is difficult to verbalise, but comes down to playing around with it. I definitely wouldn't recommend going method on a long work day like that." On Whether the Unique Task of Playing an IRL Figure for a Filmmaker Who Has Already Made a Separate Movie About Him Helped Holbrook Prepare "I was concerned that I had to portray someone who was an iconic person and so people, so many people, have strong memories of him and who he is. Then there's the Joaquin element, facing his great performance and following that up. But I think that Jim and I made the film, and he really understood the importance of Johnny's role in Bob's life at that time, because Johnny had been so — he's doing 200 shows a year on the road. I mean, you are a road dog. You have so much experience in this. And when you're becoming the most-famous person in the world within a year's time, Johnny was able to meet him at that fork in a road where 'hey, it's going to get weird if you don't keep your voice' or 'it's going to be okay if you just stay true to who you are'. And I think in commerce and industries and stuff like that, when a lot of money is on the table, your voice can be compromised — and I think it's really all about that moment in the film where Bob is choosing what his voice is telling him, what he wants to say, how he wants to express himself. And that's going electric in that particular time, because he's just skyrocketing with creativity. And so I think Johnny was able to nudge him in the right direction, remind him who he is." On What Excites Holbrook About a New Project, Including A Complete Unknown, at This Stage in His Career "The performance element. I never really have never sang in front of a bunch of people before. There is a sensation that goes along with that that's exciting. I just did The Morning Show and I found out that the guy was a stand-up comic. I don't know how funny I am, but I like to be funny. I like to practice being funny. But I'd never been onstage and done a set in of people. So that's exciting. That's like 'wow', that's slightly — not terrifying at all, but I want to know what that feels like and to do that. And I think there's all an art and a craft to how the instrument of our humanness can be used. So I just love seeing which way I can bend and which way I can go — and how different I can sound, how different I can look? 'What is this character? What is this character going to go through? At what level? Is it kind of like he's going through like a number-two heartbreak?' But no, I want a number ten on everything. And so I really look for that highest value of expression." A Complete Unknown released in cinemas Down Under on Thursday, January 23, 2025. Images: courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
UPDATE, September 17, 2020: Crazy Rich Asians is available to stream via Google Play, YouTube Movies and iTunes. It's a throwaway joke in a film filled with smarter, funnier dialogue. Still, when Crazy Rich Asians compares its own plot to The Bachelor, the line sticks. The movie doesn't involve women competing for a man on television, thankfully. There's no cheesy host talking the audience through proceedings either, and the flick, while fictional, doesn't feel as fake and contrived as reality TV. But the big-screen adaptation of Kevin Kwan's best-selling novel does willingly, gleefully champion a world of indulgence — a world where romance has to shine twice as bright against the glittering trappings of wealth. And, just like The Bachelor, the film remains both fluffy and breezy and over-the-top and melodramatic at the same time. Of course, there's more than a little winking and nodding evident when Crazy Rich Asians connects its opulent, soap opera-like theatrics to a popular televised dating contest. Director John M. Chu (Now You See Me 2) and his screenwriters Peter Chiarelli (The Proposal) and Adele Lim (TV's Dynasty) know exactly what they're doing, and they're not backing away from it. Combining a wealth of elements within its light and luxe confines, Crazy Rich Asians is many things, including extravagant, irreverent and entertaining. It's a rom-com about love and money, a comedy about class and culture clashes, and a modern-day fairytale about an ordinary girl falling for Singapore's equivalent of royalty — and, wholly in the service of its story, it refuses to dial down any of its excess. Indeed, there's a straightforward reason that the movie bathes in ultra-rich glitz and glamour to an almost ostentatious degree: it's giving audiences the same experience as the film's protagonist. One day, Rachel Chu (Constance Wu) is a New York economics professor from a working-class, single-parent household, and simply thinking about finally meeting her boyfriend Nick's (Henry Golding) parents. The next, she's flying first class to Asia, finding out that her beloved is well and truly loaded, and discovering the kind of life such a vast fortune can buy. Like falling down a rabbit hole, she's in unfamiliar, fantastical territory. Expecting to attend a low-key family dinner, she finds herself at a decadent blowout filled with folks wearing evening gowns. Heading to a bachelorette party for one of Nick's pals, she's helicoptered to a private resort. Even when she's just hanging out with her college buddy Peik Lin (Awkwafina), she's sitting in a gold-adorned mansion. What follows is a whirlwind introduction to the filthily, ridiculously rich, and it has consequences within the narrative. Rachel is understandably overwhelmed, Nick's mother Eleanor (Michelle Yeoh) is vocal about her disapproval, and Nick is caught in the middle. Accordingly, as Crazy Rich Asians tracks the chaos that ensues — and the battle between romance, finances and family — the film is devoted to plunging viewers into the lavish lifestyle at its centre in order to align them with its protagonist. Every filmmaking choice ramps up the indulgence, be it in the onslaught of colour, the lingering shots of sumptuous parties and homes, or the upbeat editing. Chu also uses his aesthetics to heighten the story's rampant fantasy, linking the movie not just with The Bachelor, but with fairytales like Cinderella. You can't make a film called Crazy Rich Asians without stressing every part of the title, after all. That doesn't just encompass the mania and the wealth, but also the pictures' dedication to representation. Among its many guises, the movie not only presents a rare and refreshing celebration of Asian culture in general, but puts stellar Asian talent front and centre on the cinema screen. Wu is spot-on as the relatable heroine, Yeoh is at her icy best, Ken Jeong and Awkwafina reliably steal scenes, and even Australian TV favourite Ronnie Chieng makes a brief appearance. The very existence of this cast really can't be downplayed — you have to go back to 1993's The Joy Luck Club and 2001's Memoirs of a Geisha to find other Hollywood films starring so many actors of Asian descent. Blend all of the above, and a few things happen. Much of Crazy Rich Asians glimmers with emotion, exuberance and cultural specificity, engagingly and enjoyably so. That said, some parts — its largely by-the-numbers narrative, and the fact that it presents rather than probes its excess-laden surroundings — also prove a little too neat and easy. The end result is a shiny piece of big-screen jewellery filled with gems, and while not every aspect sparkles as much as the next, the overall package still looks and works a treat. Or, to use a different analogy, the film is like the abundance of delicious-looking food that graces its frames: a huge, elaborate banquet that doesn't quite perfect every dish, but nonetheless satisfies the appetite — not to mention sating cravings for something with a bit more flavour than the usual fare. https://www.youtube.com/watch?v=14ZHRBfpeNg
UPDATE: July 6, 2020: Call Me By Your Name is available to stream via Netflix, Google Play, YouTube and iTunes. With Call Me By Your Name, Italian director Luca Guadagnino spins a tale of first love in all of its stages. The initial sparks of attraction. The jittery excitement of making a connection. The all-consuming passion. With a script by veteran filmmaker James Ivory, as adapted from André Aciman's book of the same name, it's a picture about yearning and desire; a romance that knows the importance of every look and touch. Weaved from quiet, tender, everyday encounters that pepper every love story, it swells and surges, taking both its characters and its viewers on an emotional rollercoaster ride. Think of it as perhaps the greatest example of cinematic show and tell there is: to watch it is to experience the same heady, heated feelings as its central couple. "Call me by your name, and I'll call you by mine," grad student Oliver (Armie Hammer) whispers to 17-year-old Elio (Timothée Chalamet) in the film's most intimate moment. It's this idea — of losing yourself in someone so completely that the lines between you fade away — that provides the movie with its fluttering pulse. The two young men meet during a sweltering Italian summer in 1983, their initial awkwardness slowly blossoming into affection. Oliver's assured swagger seems as foreign to the tentative Elio as the older American's fondness for saying "later", but the teenager is soon ignoring his somewhat girlfriend Marzia (Esther Garrel) to spend as much time with his new companion as possible. Beneath ravishing blue skies, soaked in streaming sunlight, the pair laze around by the pool, stroll through the orchard and cycle through their scenic surroundings. They accompany Elio's professor father (Michael Stuhlbarg, in an astonishingly sensitive and perceptive parental role) to look at archaeological finds, the real reason for Oliver's stay. During sultry nights, they party, drink and dance. It's a seemingly typical narrative, and yet the end result is anything but. Call Me By Your Name paints a detailed, nuanced portrait of Elio's sexual and emotional coming-of-age, and wholeheartedly conveys the uncertainties of a blooming gay romance played out in stolen moments. At the same time, the film speaks to anyone who has ever been overwhelmed by their feelings for someone else. It's a story that feels widely relatable while remaining deeply specific to queer relationships — drawing viewers into the intricacies of Oliver and Elio's dalliance while making everyone feel like, in some way, it's our own. Best known for the grief-tinged I Am Love and the chaotic interpersonal escapes of A Bigger Splash, Guadagnino crafts Call Me By Your Name as if he's sharing memories rather than relaying a fictional narrative. The stunning images lensed by cinematographer Sayombhu Mukdeeprom (Arabian Nights), with their precise, postcard-like composition and radiant warmth, seem as though they were etched into the filmmaker's mind long before the movie ever existed. The same also proves true of the moments between characters, with Guadagnino and his regular editor Walter Fasano giving every glance and spoken exchange the room to breathe and grow in a film where silence says more than even the most heartfelt of words. Still, for all its many charms, casting might be the feature's most crucial element. Call Me By Your Name is a triumph of acting, with Chalamet and Hammer both in sensational, career-best form. Indeed, as a precocious slip of a teen who finds his life forever changed, Chalamet delivers one of the best screen performances of recent years. Meanwhile, despite his lengthier resume, Hammer has never been more charismatic or vulnerable. It's their work, as much as anything around them, that helps immerse audiences in this seductive, sensual, personal and piercing account of romance's ebbs and flows. A film as infectious and intoxicating as the well-deployed strains of the Psychedelic Furs' 'Love My Way', Call Me By Your Name is the story that stories about first love will be judged against for many years to come. https://www.youtube.com/watch?v=R0UgXrhCPHo
If you're a fan of Australian music festivals, a feeling of déjà vu might be sinking in right now. In 2024, both Groovin the Moo and Splendour in the Grass announced dates and big lineups, then scrapped their festivals mere weeks afterwards. In 2025, one week after another, both fests have now cancelled their 2025 plans as well. After Splendour confirmed that it wouldn't be back this year, Groovin the Moo has done the same. The latter hasn't advised that it will definitely will return in 2026, either — but the team behind it are asking for lineup suggestions for future fests. View this post on Instagram A post shared by Groovin the Moo (@groovinthemoo) "Groovin the Moo won't be happening in 2025, while we work on finding the most-sustainable model for Australia's most-loved regional touring festival," the event's organisers said via social media. "We will really miss seeing the smiling faces of all our beloved Moo crew — and that means you! In the meantime, which artist would you most like to see on a GTM lineup?" In 2024, the long-running regional music event was due to play six stops: Adelaide, Canberra, Bendigo, the Sunshine Coast, Bunbury and Newcastle, with the latter marking its debut in the New South Wales city. Wu-Tang Clan's GZA, Spice Girl Melanie C doing a DJ set, The Kooks, The Beaches and Alison Wonderland were among the talents on the bill, alongside Stephen Sanchez, Armani White, Kenya Grace, King Stingray, DMA's, Jet, The Jungle Giants, Mallrat and San Cisco, plus Hot Dub Time Machine, Mura Masa, Claire Rosinkranz, Jessie Reyez, Meduza and The Rions — and others. When Groovin the Moo pulled the plug last year, it named poor ticket sales as the reason. "We are extremely disappointed to announce that the Groovin the Moo 2024 tour has been forced to cancel," advised the statement at the time. "Ticket sales have not been sufficient to deliver a regional festival of this kind." "We hope to be able to bring Groovin the Moo back to regional communities in the future." Groovin the Moo won't be taking place in 2025. For more information, head to the festival's Instagram. Images: Jordan Munns.
UPDATE, January 7, 2021: Pieces of a Woman screens in Sydney cinemas from Wednesday, December 30, and will be available to stream via Netflix from Thursday, January 7. Everyone has heard the claim that women forget the pain of childbirth, with hormones and maternal stirrings washing away the agony of labour once a mother meets their bundle of joy. How true that proves is the subject of debate, but if you've only seen life brought into the world via on-screen depictions, you can be forgiven for subscribing to such a school of thought. Childbirth, like sex, is usually sanitised for cinema. Courtesy of thrusts, groans, screams and part-exhilarated, part-exhausted smiles, films typically convey the gist, rather than the nitty gritty. The visceral reality rarely exists in a fictionalised world of convenient meet-cutes, perfect make-up adorned faces and zero signs of sweat; however, thanks to a tense and harrowing 23-minute delivery scene that plays out in one continuous take, Pieces of a Woman doesn't shy away from the mess and chaos. It doesn't evade the devastation when a planned home birth not only experiences hiccups, but leaves Boston-based expectant mother Martha (Vanessa Kirby, Fast & Furious: Hobbs and Shaw) struggling to cope, either. Martha won't forget what occurred when her water broke, her husband Sean (Shia LaBeouf, Honey Boy) remained by her side and midwife Eva (Molly Parker, Words on Bathroom Walls), a fill-in rather than the couple's first choice, delivered her baby. Neither will viewers of this daringly intimate drama from White God and Jupiter's Moon director-writer duo Kornél Mundruczó and Kata Wéber. The unbroken birthing scene isn't the movie's first, but it does precede its title card — with the filmmakers making it plain that, after getting a front-row seat to Martha's trauma, the audience will now witness her attempts to stitch herself back together. That's Pieces of a Woman's storyline. Shattered instead of feeling ecstatic and complete, as she had anticipated, the feature's protagonist tries to work out how to go on. But her marriage has lost its lustre, her overbearing mother Elizabeth (Ellen Burstyn, House of Cards) won't stop giving her two cents — and trying to throw around piles of money to help a problem that can't be fixed by cash — and, at Sean and Elizabeth's urging, there's also a court case to deal with. Pieces of a Woman doesn't lack narrative developments, involving both Martha and those in her bereaved orbit. Ex-alcoholic Sean also endeavours to process the situation, including falling back on old habits. His relationship with Elizabeth flips from bickering to conspiratorial, too; he's a construction worker, and his mother-in-law has always disapproved of his and Martha's class differences, but now they agree on what's best moving forward. Also having an impact: the involvement of Martha's lawyer cousin Suzanne (Sarah Snook, Succession), and the attention that comes from pursuing legal proceedings. Martha can't escape any of the above, but they're the film's scaffolding, rather than the main attraction. These external ups and downs will all pass, while Martha's maelstrom of despair and anger will remain. Accordingly, after stepping through her life-changing moment in realistic detail, the movie makes the bold choice to explore its protagonist's emotional and mental state. The Crown brought Kirby to broader fame and acclaim, earning her awards for her on-screen work after years of receiving them for her stage career — but, as stellar as she is in the regal drama, Pieces of a Woman is a career-best performance. She's tasked with weathering an ordeal rarely laid bare with such candour, and doing so via a dynamic and lived-in portrayal. She's asked to convey the torrential torment that Martha endures in every second after pushing through the contractions in Sean's embrace, holding their child in hers, and then suffering the worst type of absence. In the birth scene, she's primal and unfiltered in a way that's never seen on film. Afterwards, Kirby is glassy with and distant from those around Martha in a manner that rarely resonates as authentically as it does here. Pieces of a Woman is well-cast, and its star is ably matched — by Burstyn especially, particularly in one big monologue that rides a remarkable rollercoaster — but the intensity in Kirby as Martha crumples, yet remains resolute about her right to fracture and fray however she needs to, is near-overwhelming. Mundruczó and Wéber tackle an array of weighty notions through Martha, and through Kirby's performance, the ravenous monster that is grief being one. Pieces of a Woman is heartbreakingly unrestrained in showing how it feels to navigate loss, specifically the kind that isn't often addressed in society let alone in cinema. It does so with disarming potency, as if everything within its frames has been ripped from truth by the filmmakers. Just as effectively, the movie also unpacks how women are constantly expected to stick to set roles, even when tackling what might be the most distressing thing that'll ever happen to a mother. That's where all the struggles with Sean, Elizabeth and the court case really strike a chord — because, no matter what's going on, Martha is always supposed to fit a type dictated by long-held ideas about being a woman, and her husband, mum and anyone else with an opinion can't quite accept her refusal to adhere to convention. If Pieces of a Woman wasn't so deeply moving, some of its overt symbolism might've fallen flat, including repeated shots of a bridge being built by Sean, plus Martha's obsession with apples. And yet honesty reverberates from both, reflecting how easy it is to cling to anything and everything when life isn't progressing as planned. This excellent movie does spend its 126 minutes as intended, of course. From its attention-grabbing early sequence and intricate emotional landscape to its astonishing lead performance and its masterful direction — and its fittingly solemn score by Howard Shore (a two-time Oscar-winner for The Lord of the Rings) and roaming yet lingering visuals lensed by Benjamin Loeb (Mandy), too — it plunges viewers headfirst into Martha's experience. Nothing has been sanitised for anyone's comfort or protection here, either by the filmmakers or by their unforgettably real and raw central character. https://www.youtube.com/watch?v=1zLKbMAZNGI Top image: Benjamin Loeb / Netflix.
You mightn't usually be the kind of person who yells at the TV when you're watching something. In fact, you may have never exclaimed aloud during a streaming binge. But all bets are off when Curb Your Enthusiasm is on — because Larry David, playing a heightened and fictionalised version of himself, constantly behaves in a manner that'll make you shout an exasperated but still amused "Larry!?!?!?!" more than once. Across ten seasons since 2000, the series has followed the Seinfeld co-creator's life after that huge hit, including both his personal and professional ups and downs. Over that time, he's gotten the Seinfeld gang back together for a reunion, fallen asleep during Hamilton and starred in a Broadway production of The Producers — all within the show, that is. Larry isn't particularly fond of following social conventions, which is the source of much of Curb Your Enthusiasm's awkward comedy. There's no one better at it, actually, and much of the dialogue is improvised, too.
Alpha is a buzzing institution located in the heart of the CBD, next door to The Hellenic Club, slinging some of the best Greek food in Sydney. And now, it's home to one of our city's newest and smallest bars: Baraki. Baraki is colloquial Greek for 'small bar' and CEO Arthur Balayannis and Executive Chef Peter Conistis aren't kidding. Seating just eight people at the bar (with additional seating technically outside of the bar), the venue adjoining Alpha is heavily inspired by the famed Brettos bar in Plaka — one of the most historic neighbourhood in Athens. Inside, you'll find European liqueur, whiskey, Australian gins and, of course, ouzo as well as lesser-known (but very Mediterranean) raki, mastiha and rakomelo. A concise cocktail menu by Baraki bar manager Irek Luty has a evidently Greek focus, with drinks like the Cretan Warrior made with Toplou tsikoudia, cardamom, lime and cucumber and the Purple Poseidon, which includes Hendricks gin, Skinos mastiha, lavender and wild mountain tea. [caption id="attachment_717388" align="alignnone" width="1920"] Joe Cheng[/caption] For something to eat, Conistis is creating an ever-changing meze menu, with small plates such as dolmades stuffed with sour cherry and lemon; pastourmas, spiced cured beef with pears and lentil salad; karpouzi, watermelon and raki served with sheep's feta; and toursi, a dish with grilled marinated eggplant, black garlic and dill alongside dips and olives. Located on the ground floor of a historic Victorian building on Castlereagh Street, Alpha's weekday cafe transforms into Baraki after lunch and is the perfect spot for a post-work or pre-dinner tipple. Find Baraki on the ground floor at 240 Castlereagh Street, Sydney. It's open from 12pm till late Monday—Friday, and from 5pm on Saturday. Images: Joe Cheng.
From start to finish, Challengers plunges into a tennis match. Holding the racquets: Art Donaldson (Mike Faist, West Side Story) and Patrick Zweig (Josh O'Connor, La Chimera). The pair were childhood roommates and best friends, then doubles partners on the court. Meeting Tashi Duncan (Zendaya, Dune: Part Two), a ruthless tennis prodigy destined for big things, changed everything when they were teens — and now 13 years after first crossing her path, Art and Patrick are facing off at a competition that's basically a warm-up for the former, a multiple grand slam-winner is now married to Tashi and also coached by her, but represents Patrick's best route to a chance at big-time professional success. The bout that bounces back and forth throughout Challengers isn't the movie's only bit of tennis, of course. The latest film by Call Me By Your Name, Suspiria and Bones and All director Luca Guadagnino flits between moments in its main trio's life leading up to the pivotal bout, too, games included. So, as Art and Patrick compete in the movie's showcase showdown, years of complexity are batted back and forth alongside the ball — mentally and emotionally for the pair, and for Tashi as she watches on, seeing her husband and her ex-boyfriend do battle, and wishing that her career hadn't been ended by injury; plus literally for viewers quickly hung up on every serve and return. "I felt like we were just shooting this sequence for so long. And you're like 'dang, did we, what day is it? Wait, how is the character feeling at this point?'. Because you're still wearing the same outfits and it's supposed to be one game, but it's like the next week," explains Zendaya in Sydney, where she visited in late March on a promotional tour for Challengers accompanied by O'Connor and Faist. "I remember we had a storm, some weather issues, which ended up prolonging the process and all these kinds of things, but it was really special and cool. Sometimes I'd feel left out because I was sitting on the side watching them play and I was like 'hey guys'. But it was fun." Both in that match and whenever else Tashi, Art and Patrick are donning white and standing on green, tennis isn't just tennis in Challengers, though. "The tennis is the sex scene," notes O'Connor about a film that brings one word to mind over and over: sexy. This is a movie about three athletes in a complicated love triangle who are yearning to connect as much as they're lusting for tennis glory, as set to a propulsive and slinky electronic score by Trent Reznor and Atticus Ross (Oscar-winners for Soul). Saying that Guadagnino laces the feature with desire is an understatement — and as anyone who has seen his work, especially both Call Me By Your Name and Bones and All starring Zendaya's Dune and Dune: Part Two co-star Timothée Chalamet, will know, it's also one of his talents. [caption id="attachment_951455" align="alignnone" width="1920"] Caroline McCredie[/caption] The result: one of 2024's must-sees, no matter how you feel about tennis going in. It's also a flick with much to discuss, as Zendaya, O'Connor and Faist did when they made the trip Down Under to screen the film, and also get talking at a press conference. Similarly covered: Zendaya doing double duty as a producer on Challengers, the complexity of Tashi as a character, playing such competitive parts, the picture's love triangle and queer themes, its immersive cinematography by Call Me By Your Name and Suspiria's Sayombhu Mukdeeprom, if KC Undercover helped Zendaya prepare for her performance and making "codependency the movie", as she dubs it — and more. On Zendaya's Working Relationship with Luca Guadagnino as an Actor as Well as a Producer Zendaya: "It was really, really special. Producing is something that I'm definitely not new to, but for me it's always been a way to be creative in a different sense. I was always a shy kid, and so the more I do this, the more I love moving behind the camera. I love being able to learn from people and and grow from different directors, whether I'm a producer or not. I just like being on sets and learning and asking questions —and problem-solving and figuring out how things work. And then also I think it's being able to have — I learned quite early, I think, when I was younger, being able to have a real title allows you to be able to protect yourself in a lot of different spaces. It allows for you to be like 'actually, this is what's happening and I can be part of this conversation'. So it also allows me to protect my work and myself and people around me." On Tashi's Complexity and What Zendaya Was Most Looking Forward to Tackling in the Part Zendaya: "I guess the obvious thing to read — I mean, many things these characters do, but to read Tashi, you'd be like 'she's unlikable'. You judge her immediately. You're like 'she's too much'. It's messy. It's whatever. And so I think my job was trying to find her gooey centre, and trying to find her empathy, and why she makes the decisions and what pain it's coming from. And I think ultimately while she's ruthless, which I love, there is something to her that is — I think it's grief, I think it's grief over a career and a life that she never got to live. And I think her true love, her one true love, was always tennis. And she is trying whatever she can to be close to it, to touch it, to do it. And so she uses people to get that feeling, because she can't do it anymore on her own. And she's never really had a moment to just sit with it, and I think that she's never allowed herself a moment to feel bad for herself. She's just like 'moving on, what's next?'. [caption id="attachment_951462" align="alignnone" width="1920"] Eamonn M. McCormack/Getty Images for Warner Bros[/caption] I think we're watching that become a very real thing for her once her tangibility or her closeness to tennis is threatened by the fact that her husband's ready to be done. And she's like 'what? What do you mean?'. So these people are lifelines for her. It's her holding herself up and keeping herself alive. So yeah, I think it was figuring out her nuance and not just make her just bitchy, because I don't think she is. I think there's a reason behind everything she does, I hope." On the Competitive Nature of the Film's Lead Trio Josh: "I think the competitiveness is also out of an obsession with each other. At the beginning of this film, in terms of the competitiveness, when they're younger that's there but — I don't want speak to their characters, but Art is is on the way of falling out of love with tennis. And I think Patrick is just desperate for connection. I think all three of them are desperate for connection, whether it's Art seeking to restore the the love in his marriage or Tashi to restore this three-way love affair. I think Patrick, likewise, the tennis to him is the the utmost connection. He's always searching for that with Art, and with Tashi, too. And so I think the competitiveness comes secondary to that. But then also there's…" Zendaya: "We're so competitive with each other." Josh: "We are very competitive, but when it comes to tennis, not that competitive because we can't compete. But we were competitive between takes in things like Rock, Paper, Scissors and mini tennis, which I'm actually…" Mike: "Very good." Josh: "…Phenomenal at. That was very competitive." [caption id="attachment_951456" align="alignnone" width="1920"] Caroline McCredie[/caption] On Whether This is a Film About Love, Tennis or the Love of Tennis Mike: "It's kind of this weird thing, because I think we naturally as humans bring whatever thing that we're trying to get out of our work — we fall in love with whatever we do, whether that's storytelling in what you guys do or storytelling in what we do. And we can't help but put a piece of ourselves into that, and we're trying to get something out of that as well at the same time. And so there is this kind of bleeding of lines of that. And so it's probably both, is the truth of the matter." Zendaya: "We say it's 'codependency the movie'. I think that's what it's about. I also think it's about a million things, and I think tennis is the metaphor in which they use, or we use, to express that. What I think is really enjoyable, I think people, I've watched it with family and people who are not tennis people or don't really understand how tennis work, and they still feel like they're like 'ohhhhh' inside the match. And there's something alive in them, they still like they can follow it and it makes sense to them. While hopefully people who do really care about tennis will not be distracted by any of our imperfect forms, and will also be able to enjoy it and feel connected in their own personal way. So I hope it's for everyone." [caption id="attachment_947834" align="alignnone" width="1920"] Euphoria, Eddy Chenn, HBO.[/caption] On Which of Their Previous Roles Helped the Cast Prepare for Challengers Zendaya: "KC Undercover. No, I'm kidding. No, listen, the Disney stuff really does — it's a good training ground." Josh: "I did one sports film a long time ago, very early in my career. I had like one scene with dialogue and then one scene cycling. It was called The Program. Stephen Frears [The Lost King] is the director, it was Ben Foster [Finestkind] playing Lance Armstrong. I did no training, and I was cycling up, I think it's called the 21 turns in the Alps. And I got two turns in, and I always remember Stephen Frears was in a golf buggy going past, and all the other actors had been training for months, like Jesse Plemons [Civil War] and all these guys, and they were way ahead of me. And I was like [gasps] dying, and I was supposed to be one of the best ones. So, that doesn't answer your question, because that didn't prepare me at all." Zendaya: "That trauma." Josh: "Exactly, the trauma, I guess it taught me that I do have to prepare if I'm playing a sports person." [caption id="attachment_951463" align="alignnone" width="1920"] Caroline McCredie[/caption] On Getting Into the Win-at-All-Costs Mindset Mike: "The thing is, that what drew me to the character of Art was this idea of falling out of love with your craft. It's kind of this thing, is this idea I think when you're in your twenties, at least for me, I can speak to myself, is that I'm I moved to New York to become an actor. And I'm just grinding. All you're doing is just working, working, working, working. You're hustling, hustling, hustling. And then you finally get to a place of somewhat success and you've kind of achieved what you thought was the thing, and then you're of left with that idea of 'well, now what?'. And it's that thing — you're damned if you do, damned if you don't. It's almost a curse, almost, that thing when you achieve that monumental moment of success. You start to wonder just for yourself 'well, where else can I actually go from here? What else is there in life? Is this all of who I am? What else does compile a life of a human?'. There's a lot of questions and existentialism that goes within that. And that's honestly what I just connected with, is the truth." [caption id="attachment_951457" align="alignnone" width="1920"] Gareth Cattermole/Getty Images for Warner Bros[/caption] On the Way That Guadagnino Portrays Romance and Desire On-Screen, Including Through Tennis Josh: "Luca's always had this eye for, or an instinct to push that desire, and how to tell desire in ways that are less than obvious — and intriguing. I feel like that's just the responsibility of cinema generally, is how do you show something that is going to resonate in a new way, in a way that we haven't seen before? And yet also, Luca displays really classic, inspired-from-classics ways of telling love as well. At the same time, he references other films a lot. And so, he's always pushing it that one step further, I think. It feels exciting. Yesterday we were asked in an interview about the sex scenes. And Z was like 'there aren't any'. It wasn't a stupid question. It was a reasonable question, because it feels so on the edge of that at all times — and actually the tennis is the sex scene. That's their intimacy, and when they're vulnerable." Zendaya: "I do want to chime in real quick and say for someone who had really no idea about tennis and how it worked — because I remember all of us sitting around, and Luca was like, 'wait, so what do the lines, where do they stand like, what is this?'. And we would write out little maps and be like 'okay, so it goes here, and the ball goes here, and what does that mean?'. So for someone who really started, he really, I think, very quickly understood how to capture the the game — really did it in a way that felt very emotional as well. We never are disconnected from any one of these characters throughout their match, and I think it was very exciting how he made us feel like we were sometimes the character. You know, sometimes the camera is the player, sometimes the camera is the ball, and you just feel immersed inside of this this game. You can feel the sweat and you can feel their heartbeat. I think that that was really, really special to watch him map out, really map out shot by shot — it was a long shot list — and figure out how to take an audience on a journey visually, but also emotionally, somehow too." On How the Film Tells Its Tale Visually Thanks to Cinematographer Sayombhu Mukdeeprom Zendaya: "Sayombhu is amazing. He's such a lovely presence to be around. I think also he's got such a calmness to him, and you can watch him, he'll sit down in his chair and he just looks around, and he's checking the light. Then he'll get up and he'll test something. He'll look, he'll fix it. Then he'll just go sit back down. He's so calm, and and masterful at what he does. Obviously, his previous work, we can see that. I know this is stupid to say, but like I felt like very, I don't know, like I felt like the light kind also played so much into how our characters — it's not stupid to say, I take that back — it played into our characters. He somehow gave us some kind of youthful glow, somehow, and was able to like make us look younger through his lights, and make us feel like we were in a different part of our life with the way that. He illuminated our, I don't know, our skin or colour. I'm not sure the specific technique in which he did so, but I felt like I could see a difference in tonality with the way he chose to to light us when we're younger versus when we're older. And I never actually asked him if he did anything different, or if that was a choice by any means, but I felt it at least watching it. Something feels like when they're younger, the colours feel richer or something, like there's just like the exuberance, and then something he did, he gave us, he contributed, I think, a lot that emotional arc of where the characters go." Josh: "He's also really like such a gift for a cinematographer to allow space, so that when you — it sounds really obvious, but it's actually such a talent, to make you feel like there's not a camera there. He was really good at that creating that environment. So Sayombhu, we saw him a lot in rehearsals, and he was the sweetest, most gentle guy. And then during filming, you just see him run past and be like 'what's he doing? He's doing some magic.'. But really, apart from in the tennis match with the cameras in your face, it generally really felt like we were in our world and left to it, if that makes sense." On Exploring the Film's Love Triangle and Queer Angles Josh: "In some ways, those conversations were never needed to be had, because really it's very apparent from the beginning that love and attraction and lust they have for each other is just unanimous. The point is that the three of them are bound together from the start. The three of us were talking about the first, one of the early scenes when Zendaya comes — oh, Tashi comes — to the hotel room and the three of them are sat there on the floor, which is such a teenage feeling. I think that's captured so well. But it's really funny as well. And I think from that moment on, the three of them are bound. And so that scene where it's a sort of three-way kiss, and then Tashi's enjoying the observation of the two of them, of Art and Patrick, I just think that puts them in this this tornado together — which allows for them to be incredibly nasty to each other, and act badly and act brilliantly, and compete and push each other. And so the undertones of relationships between all three of them go up and down at all times. So it's sort of unspoken, but yeah, I can see that that's that's very much there." Zendaya: "I agree. Also, just Luca is brilliant, and he knows how to carve things out that he wants more of, and nuance. And so much is done in things that I think aren't even on the page. You know, there's the scene that's on the page, and then there's another one that the characters aren't speaking, but they're saying to us and we can all very clearly read what they're saying. I think that's where he's so masterful. I mean, he knows what he's doing. So there's such a trust in in his taste, and what his vision is, also, for the characters. And that was apparent when I had my first meeting with him. He really understood them and their connection and their love and their lust and their everything in a deeper way than was just purely on paper. So yeah, it's definitely there." On Playing Someone Who Exudes Power — and Whether Zendaya Relates Zendaya: "I guess in some ways. I think she enjoys power in a way that I don't think I would ever be comfortable with. I think to me, I have an uncomfortable relationship with that idea. But her, I think it's very clear, I think, from when we first meet her that she's completely unafraid of her power and wielding it over other people, and playing with it and and toying with it, which is what I appreciated about it. It didn't take her injury to turn into this ruthless power whatever. She was like that as a teenager. She was already going into the game like this. She was like 'I'm a winner and I know that, and I know how to control people, through whatever'. It's clear from the beginning, so I appreciated that we weren't trying to reason her personality or trying to apologise for how she is. She just is this way, and we just see her, like I said, we see that strong veneer fall apart. The the decision-making gets a little messier, because I think it's now — when she was younger, it was fun, and now it's for survival. Before she was just toying with them because it was fun. And now it's like, 'no, this is my life now'. So I think the stakes became different. I don't want to relate too much to her now. But I say don't judge them, because I find that upon first viewing, you'll have an opinion — and then you watch it again and I guarantee that opinion will change. And then you watch it again, and it might change again. I feel like every time I watch it, I'm like 'ooh, Tashi girl, what are you doing?'. And then the next thing I'm like 'actually, she didn't do anything wrong and it was Art all along'. And then I'm like 'actually, Patrick, should have never said that'. So every time I'm angry at a different character, or I feel more passionate about a different character. I feel heartbroken for — it constantly changes. So I say don't judge because I feel like your opinions will change every time you watch it. And that's the fun part about the film. You just never really have the answers you want, and that makes you question everything and question yourself. And like 'who do I feel like?' It's just one of those those pieces. That was not to promote or anything — I genuinely mean it, every time I've watched it." Josh: "But also go at least three times. But, seriously, go four times." Challengers opened in cinemas Down Under on Thursday, April 18, 2024. Read our review. Challengers stills: Niko Tavernise / Metro Goldwyn Mayer Pictures © 2023 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.
In a city as culturally and geographically rich as Sydney, the word 'iconic' is bandied about quite a bit. While it's often an exaggeration, there's no denying the impact the precinct at 25 Martin Place has had on the city's skyline. The precinct — formerly known as the MLC Centre — has been an instantly recognisable icon of Sydney's built landscape for over 40 years. A gift to the harbourside locale by legendary architect Harry Seidler, the building was the tallest skyscraper in the southern hemisphere when it opened in 1978, and became the benchmark for visionary design throughout Australia as it drove the Sydney skyline into the future. More recently, the landmark structure has undergone an extensive renovation and revamp that will position it as a new CBD hub for fashion, dining, business and culture. It's also been renamed 25 Martin Place, celebrating its location in the heart of the city. We've teamed up with 25 Martin Place to take a closer look at the new dining and drinking venues bringing fresh life to this Sydney icon.
If you're a fan of twisty TV shows about wealth, privilege, power, influence, the vast chasm between the rich and everyday folks, and the societal problems that fester due to such rampant inequality, then 2021 has been a fantastic year. The White Lotus fit the bill, and proved such a hit that it's coming back for a second season. Squid Game, the high-stakes Korean horror-thriller absolutely everyone binged over the last month, ticks the box as well. And, so does Succession, with the much-acclaimed HBO drama finally returning for a third season. No series slings insults as savagely as this Emmy, Golden Globe, BAFTA, Critics' Choice, Writers Guild and Directors Guild Award-winner. No show channels feuding and backstabbing into such an insightful and gripping satire of the one percent, either. Succession isn't just whip-smart, darkly piercing and frequently laugh-out-loud funny about its chosen milieu; it's the best drama on TV, one of the best-written shows on television, and among the best series all-round in general as well. So, here's two pieces of good news: firstly, Succession's third season is as biting, scathing and entertaining as viewers have come to expect, and might just be its finest yet; and, secondly, HBO has just renewed the show for a fourth season. Neither of these revelations is particularly surprising, but they're still excellent. Announcing the renewal, HBO noted that in the US, the series' third-season premiere was its most-watched episode to-date. It did herald Succession's return after a two-year wait — a gap that left viewers with quite the cliffhanger, as well as a huge hankering for more of its witty words. Indeed, before the series first graced TV screens back in 2018, you mightn't have realised exactly how engaging it is to watch people squabbling. Not just everyday characters, either, but the constantly arguing — and ridiculously well-off and entitled — family of a global media baron. Those power plays and the verbal argy-bargy make Succession compulsively watchable, and so do the pitch-perfect performances that deliver every verbal blow. Of course, as created by Peep Show's Jesse Armstrong — someone who knows more than a thing or two about black comedy — the idea that depiction doesn't equal endorsement is as rich in Succession and its brand of satire as its always-disagreeing characters. [caption id="attachment_830169" align="alignnone" width="1920"] David Russell/HBO[/caption] In season three, all those Roy family antics and the bitter words they inspire are in full swing yet again. Succession has always riffed on a scenario that also sits at the heart of fellow hits Arrested Development and Game of Thrones — families clashing over their empire — but this version doesn't need dragons to be ruthless. That feeling only heightened at the end of season two, when Kendall (Jeremy Strong, The Trial of the Chicago 7), the son always seen as the natural successor to patriarch Logan (Brian Cox, Super Troopers 2), decided to publicly expose the family's dark business secrets. Now, the series is wading through the fallout, with Logan's other children — Connor (Alan Ruck, Gringo), Shiv (Sarah Snook, Pieces of a Woman) and Roman (Kieran Culkin, Infinity Baby) — caught in the middle agin. This brood's tenuous and tempestuous relationship only gets thornier the more the show goes on, and its examination of their privileged lives — and what that bubble has done to them emotionally, psychologically and ideologically — only deepens in season three. All four Roy children are still trying to position themselves as next in line at Logan's company, of course, with the future of the business in jeopardy not only due to his advancing years, or the takeover bids and government interest that've been a big part of its two seasons so far, but thanks to all the in-fighting. When they pop up in the third season, Alexander Skarsgård (Godzilla vs Kong) and Adrien Brody (The Grand Budapest Hotel) complicate the Roys' precarious situation even further. That's this show's bread and butter, and it's glorious — and it just keeps finding the ideal cast members. With season three only two episodes in at the time of writing, exactly when season four will hit screens hasn't been revealed. For now, you can check out the full Succession season three trailer below: The first two episodes of Succession's third season are available to view via Foxtel, Binge and Foxtel On Demand, with new episodes dropping weekly. Exactly when the series' fourth season will drop hasn't yet been revealed. Top image: Macall B Polay/HBO.
UPDATE, April 29, 2021: Judas and the Black Messiah is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. The last time that Daniel Kaluuya and LaKeith Stanfield appeared in the same film, Get Out was the end result. Their shared scene in Jordan Peele's Oscar-winning horror movie isn't easily forgotten — if you've seen the feature, it will have instantly popped into your head while you're reading this — and neither is Judas and the Black Messiah, their next exceptional collaboration. With Kaluuya starring as the Black Panther Party's Illinois Chairman Fred Hampton and Stanfield playing William O'Neal, the man who infiltrated his inner circle as an informant for the FBI, the pair is still tackling race relations. Here, though, the duo does so in a ferocious historical drama set in the late 60s. The fact that O'Neal betrays Hampton isn't a spoiler; it's a matter of fact, and the lens through which writer/director Shaka King (Newlyweeds) and his co-scribes Kenneth Lucas, Keith Lucas (actors on Lady Dynamite) and Will Berson (Scrubs) view the last period of Hampton's life. It's 1966 when O'Neal falls afoul of the law for trying to impersonate an FBI agent to steal a vehicle. With J Edgar Hoover (Martin Sheen, Grace and Frankie) directing his employees to "prevent the rise of a 'messiah' who could unify and electrify the militant black nationalist movement" — his real-life words — the car thief is offered a deal by actual FBI Special Agent Roy Mitchell (Jesse Plemons, I'm Thinking of Ending Things). If O'Neal cosies up to Hampton, then reports back on his comings, goings, political moves and general plans, he'll avoid jail. Initially apprehensive, he acquiesces to keep his freedom. With Hampton's raging speeches earning him a firm following, and his charisma and canny strategies broadening the crowds hanging on his words, O'Neal's task isn't minor. And the further he ingratiates himself into Hampton's confidence, becoming his head of security, the more he's torn about keeping tabs and doing the government's increasingly nefarious bidding. The magnetic Kaluuya has already won a Golden Globe for his performance, and is bound to be nominated for and likely win an Oscar — but his Best Supporting Actor categorisation is misleading. Judas and the Black Messiah spends ample time with Hampton, as it needs to. While O'Neal works his way into his orbit, Hampton meets and falls for fellow Black Panther Deborah Johnson (Dominique Fishback, The Deuce), with their romance surviving arrests, other informants, prison, police shootouts and various underhanded law enforcement tactics. This isn't just a story about one young Black man coerced into bringing down a rising leader and revolutionary, but also of the figure mobilising the masses as Martin Luther King Jr and Malcolm X had, until he was shot while he slept at the age of just 21. And, it's a tale about the powers-that-be's abject fear of progress, equality, and the crusaders willing to put their lives on the line to fight for justice and a better world. As the twin film phenomenon has shown since the dawn of the medium, movies about the same topic or premise often reach screens concurrently. With Seberg, The Trial of Chicago 7 and now Judas and the Black Messiah, Hollywood has delivered three dramas within just over 12 months that examine the efforts of those supposedly upholding the law as they actively work to suppress anyone who doesn't suit their vision for America, all based on truth and all drawing upon the same period (Hampton also pops up in The Trial of Chicago 7, played by Waves' Kelvin Harrison Jr, in fact). The arrival of this trio in such short succession isn't a coincidence. Made by different filmmakers, they aren't connected or part of a purposeful approach, but US cinema is rightly reckoning with the imbalance that has been entrenched into its society. Alongside phenomenal documentary MLK/FBI, which steps through the concerted campaign by America's intelligence agencies to surveil and attack its eponymous subject, these politically charged and downright enraged pictures are deservingly carving out their own space and insisting that viewers pay attention to events that remain of immense relevance today. Managing to make everything look and feel equally slick, visceral, urgent and relentless (with vivid help from Widows' cinematographer Sean Bobbitt and his eye for colourful period detail, and from the production and costume design teams, too), King directs Judas and the Black Messiah like he's doing more than chronicling history. He is, of course. It's impossible to watch this film in the wake of America's particularly divisive past four years, and of the Black Lives Matter movement and its quest for fairness, and not see parallels. But Judas and the Black Messiah doesn't just use its narrative to reflect the present. Doing what only the best movies that look back at the past and its many problems achieve, it roves its eyes over times gone by, shines a spotlight on rampant oppression and the struggle against it, and condenses a wealth of information into a gripping feature — but it also revels in the minutiae of both O'Neal and Hampton's stories. Both are state-sanctioned ones tragedies, and they're as scalding and searing as they still should be. Alluding to the bible in its title might seem bold, but the reality here should be known as far and wide as any religious text. Also demanding notice: those two fierce performances by returning co-stars, each of which stand out in their own ways. Black Panther and Queen & Slim's Kaluuya commands the screen during every single one of his real-life character's speeches, and brings thoughtfulness and texture to a man who is never simply lionised. As for Sorry to Bother You, Uncut Gems and Knives Out's Stanfield, he plays conflicted with a raw, nervy air — and with the vulnerability and confusion of someone manipulated into a cause he genuinely wants to be a part of, yet required to double-cross the people he believes in. So much about Judas and the Black Messiah scorches itself into memory, although fans of its central duo will find themselves left with a distinctive dream. If Kaluuya and Stanfield can keep acting in movies this invigorating, ardent, resonant and essential, audiences will keep basking in their greatness. https://www.youtube.com/watch?v=6ivHf4ODMi4
When you're starring in a survivalist drama about humanity's attempts to keep life going 219 years after nuclear bombs destroyed existence as everyone knows it, do you start thinking about how you'd cope in a similar situation? As Fallout's three leads tell Concrete Playground, the answer is yes. But for Walton Goggins, Ella Purnell and Aaron Moten, that question always comes back to their characters — as disparate a trio that anyone could ever imagine trying to eke it out in post-apocalyptic times, ranging from the literally sheltered to the centuries-old and mutated, and also a wannabe soldier in a military where robotic armour is the best protection against a living nightmare. Goggins (I'm a Virgo) helps usher the game-to-screen series, which dropped its eight-episode first season on Prime Video Down Under on Thursday, April 11, into its premise. First he's seen as Cooper Howard, an actor who was once a western star, but is initially introduced getting paid to show up a a child's birthday party. That's where he is, alongside his young daughter Janey (Teagan Meredith, The Calling), when Los Angeles is devastated. Next, what should've been several lifetimes have passed and Goggins is now The Ghoul, with a look to suit his name (including a hole where his nose should be) and the fact that his character is still kicking after so much time. In her latest series with a survivalist angle — see also: her turn as Jackie in Yellowjackets — Purnell plays Lucy MacLean, who wasn't even a twinkle in anyone's eye when life was a picture of retrofuturistic normality for Howard. Her status quo is Vault 33, one of several underground facilities where a blue uniform-clad mission to keep civilisation alive is underway. Her first goal is simply to marry and help perpetuate the species; a wedding to a neighbouring vault dweller, as overseen by her father and Vault 33's leader Hank (Kyle MacLachlan, Lucky Hank), is her initial fate. Soon, however, she's venturing out into wasteland, where there's more going on than she's been taught to believe — and a place that both The Ghoul and Maximus (Aaron Moten, Emancipation) have no choice but to call home. The latter has a clear aim, too, when Fallout begins: becoming a knight for the Brotherhood of Steel, which means donning Pacific Rim and Gundam-esque suits. Even being a squire for a knight would be a step up from being terrorised by his fellow trainees. As brought to streaming by series creators and showrunners Geneva Robertson-Dworet (Captain Marvel) and Graham Wagner (The Office, Silicon Valley) — plus Westworld creators Jonathan Nolan and Lisa Joy as executive producers — Lucy, The Ghoul and Maximus' journeys will see them cross paths, of course, but nothing is simple in the show's hellish realm. Fallout has the three lead performances to make that plain, and both the vibe and the world-building design (plus no shortage of carnage, whether from people doing battle or mutated animals leaping out of toxic waters). [caption id="attachment_950361" align="alignnone" width="1920"] Anna Webber/Getty Images for Prime Video[/caption] Goggins, Purnell and Moten are each sublimely cast. For viewers, enlisting Goggins as The Ghoul is especially perfect, after a three-decade career that spans everything from The Shield, Justified, Sons of Anarchy and The Hateful Eight to Vice Principals and The Righteous Gemstones. No one has the same kind of swagger, or flair with dialogue. He's just as mesmerising when he's stepping into Howard's past, too, where his soft-spoken tones match his own in-person. Purnell's Lucy and Moten's Maximus both navigate coming-of-age stories amid Fallout's dystopian realm, albeit from vastly different beginnings. Plucky from the get-go, Maleficent, Miss Peregrine's Home for Peculiar Children and Sweetbitter's Purnell segues from perennial optimism to toughened-up realism. Haunted from the outset, The Night Of, Mozart in the Jungle and Next's Moten is tasked with searching for somewhere to belong, but stops letting his yearning cloud reality. Fallout is about ascertaining who you want to be — what you're willing to do, and face, and put up with — in such grim times as well, with its main trio constantly unpacking that weighty idea. What does it take to step into Fallout's wasteland, and to bring a gaming series beloved since 1997 to television? How do the show's stars see the heart of its survivalist story? What does the inimitable Goggins look for in a part, and what appealed to him about taking on The Ghoul? We chatted to Goggins, Purnell and Moten about all of the above, and also found out how much they adored the job at hand, how Goggins saw the setup as a "good, the bad and the ugly" situation, and the fact that this marks Moten's first-ever project shot on celluloid. On Whether the Fallout Cast Think About How They'd Respond in the Same Dystopian Situation — and How That Influences Their Take on Their Characters Aaron: "I think sometimes." Ella: "Yeah." Walton: "Yeah." Aaron: "I do think that, I feel like we all have specific details that are different, actually, about that answer, though. Because as Maximus, I'm playing a person who was born and raised in the wasteland, versus a person born and raised in a vault underground, and a person who lived before the bombs happened. So for me, yes, I think there's an essence of 'what would I do in this moment?'. But at the same time, I think Maximus has lived a harsh reality. A major challenge for me is how to change my thought pattern to match one of someone who would have been born and raised in the wasteland. What that means, usually it's about his moral compass; how survival has, I guess, evolved people; and their choices, and their right and wrong parameters. That to me, there's an element of 'what would I do?' — but I usually then am using that as a springboard, and sometimes landing on the 180 opposite then, as of what to do in in a situation." Walton: "I think we would all go about it in a very different way. The thing about the question that sparked a thought in my mind is what I love about this show — I think so often over time, over the last eight decades, shows that dealt with this type of end-of-the-world event, so much of the time is dedicated to showing the end of the world, right. That happens in the first five minutes of this experience. And the moderator last night [at Fallout's London premiere] brought up the fact that there's an inherent kind of hope and optimism even in this bleak landscape — whether that's coming from Lucy, or whether that's built into the show. For me, I was thinking about that today, and I thought last night after she asked it, and I thought 'well, no', because really, the world that we knew is over. So the only thing that we have left to do once you know the deck has been reshuffled is to build. It's about recreating the world. And Maximus brings that up in a in a just a great line in the pilot. And I think at the onset of any great human endeavour, hope or optimism springs eternal — and that's a cool part of this show. I like it. I'm watching it. It's really exciting to me." On Unpacking Fallout's Survivalist Themes Ella: "For me, one of the most exciting parts about the role was you take this very — at the start of the show — privileged, sheltered, innocent, clean (literally) young woman, and put her in this horrible, horrific situation that you would never hope to be in. And you really see her explore the extent of what humans are capable of. She gets to the very brink of her limits. I think that she really gets put through it, and you see this deterioration happening in front of your eyes. And I think she has to dig really deep inside her to find that place of wanting to survive. Because you want to give up. And there has to be a point where you make the choice that 'I am a survivor, I am going to get through this no matter what it takes'. And then that's where the theme of morality and identity come in. I find survival stuff really interesting, just seeing how desperate a human can get — how they pave the way, how they put one foot in front of the other." Walton: "I think the relationship between the two of us [The Ghoul and Lucy], I was thinking about that, too, after that conversation last night. The Ghoul in some way is a metaphor for life and tragedy. And he's saying in our relationship between Lucy and The Ghoul, it's as if he's sadistically saying: 'Come with me. Let me show you what the world is really like. You'll see this and you'll see this'. And that loss of innocence is tragic, but inevitable in life." On What Gets Goggins Excited About a Role, Including Playing Cooper Howard/The Ghoul Walton: "For me, it's just money at this stage of my life. I'm just kidding. I'm joking. That's a very big joke." Ella: "I always wanted someone to answer a question like that." Walton: "It's just money. No, no, no. I've never taken a job for money, actually. I've believed in everything that I've been a part of. I think all of us would say this — I don't want to speak for anyone else, but Jonathan Nolan is number one. Geneva, who's an old friend of mine, and we did Tomb Raider together. Graham, I've been a fan of for a very long time. And so you get that out of the way. And then you look at the story. [caption id="attachment_950363" align="alignnone" width="1920"] JoJo Whilden/Prime Video ©Amazon Content Services LLC[/caption] When I read the first two scripts, I was blown away by my journey, by The Ghoul's journey — but also blown away by Lucy's journey and Maximus' journey. And really saw it as kind of this good, the bad and the ugly, this strange configuration of these three people that come from very, very different backgrounds, and the way in which they meet up. But the thing that got me more than anything is Cooper Howard is two people at different parts of the story, and understanding Cooper Howard — Cooper Howard was a movie star, a western kind of movie star. And he was the perfect protagonist, if you will, or the perfect hero for a time of eternal American optimism, for that specific time and the history in our country. And in some ways, I think The Ghoul is not an anti-hero. I think he's the perfect hero in a cynical fallen world. He is someone who survived for 200 years. And for those of us that were left on the surface, it's a game of struggle, of daily survival. And I think it was the juxtaposition between those two different journeys that was most fascinating to me." On the Responsibility of Bringing Fallout to the Screen Given the Enormous Fandom for the Games Aaron: "I think we feel a great deal. There's a weight to it, for sure. I know that, for myself, it comes from care as well. You cherish the material and you want to do it justice. A big part of acting, ultimately, I think for all of us is about getting yeses sometimes in a world of moving through scripts. And so there's a validation that you do hope to achieve taking on something that is beloved. But at the same time, every day for me — and [turning to Walton and Ella], I don't know if you guys were different — Howard Cummings [Fallout's production designer] and his team, and what they were building and putting together, and the detail that they were just preparing every set, every location, really made a lot of that fall away. It was just such a joy to get such a great playground. It's like being the kid that's nervous to go to school, but then 'ohh man, they've got a swirly slide!'. It really felt like how could I not just jump in and enjoy it and really just go there. Jonah [Jonathan Nolan] as well, helped a lot with that. And getting to shoot on film, just real celluloid, which is the first time for me. But hearing that camera." [caption id="attachment_950367" align="alignnone" width="1920"] JoJo Whilden/Prime Video ©Amazon Content Services LLC[/caption] Walton: "Amazing." Aaron: "Yeah. First time." Walton: "Wow. I never heard that." Aaron: "A life of digital. A life of 'it's rolling, just play'." Walton: "I didn't know that. Wow." Aaron: "It makes us more economical, I think. You hear the rolls start, and you know we just reloaded, we've got seven or eight minutes." Ella: "Yeah." Aaron: "And if action is called, I'm doing it." Ella: "Yeah, more intensely." Aaron: "We're going for it." Ella: "I'd say it's also the anticipation that's the scariest part. I don't know about you guys [turns to Aaron and Walton], but the two weeks leading up to beginning, I think I lost my mind. And then as soon as you start, it's, like you say, you get taken in by the characters and the costumes and the collaboration and the sets — and all of that goes away because it's fun. It's just so fun. We're so lucky." Walton: "Yeah, we really are." Fallout streams via Prime Video from Thursday, April 11, 2024. Read our review. Images: courtesy of Prime Video.
Notwithstanding his relative busyness as a performer—most recently as a guitarist in the live and recorded performances of Jack Ladder and The Dreamlanders—some in Sydney are yet to behold Kirin J. Callinan's particular elan as a soloist. Those so uninitiated should know that Callinan's theatrical repertoire is as much a part of his stage show as his provocative sonic exploring: sometimes he pussyfoots and creeps around the stage, while at other times he violently gyrates on his knees, hammering-out percussive blasts and ghostly descants from his guitar and effect pedals. Almost invariably, Callinan performs shirtless, or in his epicene, pseudo-Victorian garb, while his vocal transmissions intermittently surprise with a range of strikingly expressive and fugitive sounds—with barks and grunts, whoops and growls. Amid the ritualism, however, the softer side of Callinan's baritone offers some insight into the musical pantheon on which he draws. Occasionally, in a familiar note and a broad syllable, Callinan defers to the whole of the 80s Aus-rock scene, and specifically to the likes of Robert Forster (this is literally the case with his cover of the Go-Betweens' 'Apology Accepted', which appears on his 2010 release, She). Less often, Callinan's presiding croon can, perhaps surprisingly, come out like a yodel-prone version of, say, Scott Walker or Frank Sinatra, albeit that Callinan's is an always unhinged and maniacal replication of 'The Voice'. In affirming their pledge to "throw at least one big bash per month until the year ends", VICE has called upon the enigmatic Callinan to give himself over to their cause for March. So on the first night of the month, at FBi Social, Callinan will perform, with support from purveyors of primitive garage rock and self-described 'shit-poppers', The Gooch Palms, as well as lively post-punkers, Ghastly Spats. And as if such a formidable and unusually well-rounded line up were not enough, entry on the night is totally free. https://youtube.com/watch?v=PEh5gL2mWes
If your idea of a cracking Sunday session is one that involves a gorgeous rooftop, some BYO bubbles and a tasty high tea dished up by some of Sydney's most-loved bakeries, your spring is looking very fine indeed. Every Sunday, from October 28 until December 2, the cacti-filled rooftop — part of Surry Hills' wellness hub Paramount Recreation Club — will play host to a high tea headed up by the Flour Market crew. Dubbed Higher Tea, the series will see some of the city's finest pastry masters team up to deliver an eight-course tasting menu of sweet and savoury delights, to be enjoyed with stunning CBD views as the backdrop. Pick from two weekly sessions (11.30am-1.30pm or 2-4pm) and venture on up with at least three mates, to enjoy eight courses of scones, cucumber sandwiches and a parade of sweet treats from favourites like Bakedown Cakery, Shortstop, Grumpy Donuts, Brickfields and Treat Dreams. Vegan and gluten-free options are available on request, too. There'll be coffee by Supreme and tea from Byron Bay's Mayde, or you can really step up the celebrations and bring along your own bubbly — corkage is included in the $55 ticket price. Higher Tea runs from 11.30am–1.30pm and 2–4pm every Sunday.
It's easy for Sydneysiders to forget how lucky we are to be surrounded by water. For a good reminder, hop on the ferry to Manly, grab a board from Manly Kayak Centre ($25 per hour), and spend the morning paddling around the gorgeous waters of the North Harbour. While you could easily idle around the moored yachts, we recommend heading to Store Beach, a secluded little delight that's only accessible by water. Once you've worked up a hearty appetite, head to one of Manly's many cafes for a leisurely Sunday brunch. We're especially big fans of The Boathouse, where, despite the gorgeous decor, it's totally acceptable to show up with your hair still dripping seawater.
First we got word of the Yoncé skyscraper, then the elevated park. Melbourne's CBD is on the receiving end of a wealth of weird and wonderful architectural riches recently — and there's more to come. Although this announcement leans more towards the embarrassment side of things. Introducing the 'pantscraper', which is indeed not a weird product brought to you by Danoz Direct, but the popular name of the recently approved 41-storey tower project of developers Cbus Property. The building is so named because of the bizarre double tower design and denim blue colour scheme that combine to look remarkably like a bland pair of baggy pants fit for a giant. The pantscraper design was knocked back a few times and not, as you would assume, for its slightly ridiculous aesthetic, but because the huge tower cast a shadow on both the north and south banks of the Yarra River. However, after negotiations with the Andrews government — which saw them agree to lop six storeys off the top — the new design has been approved. Construction will begin at the Collins Street site by September. Although it may seem like just another bloody skyscraper, this particular bloody skyscraper comes with a perk. They're closing off Market Street and will convert the extra space into a council-run public park — that's a new park right in the middle of the CBD. What could be more relaxing than kicking back in a lush, green park while a giant pair of pants looms over you, watching your every move? Nothing, that's what — and we, for one, welcome our new pant overlords. Via The Age.
Set in 1980, Everbody Wants Some!! follows a university baseball team as they prepare to commence the next semester, and feels in a lot of ways like the movie Richard Linklater was destined to make. As the film ambles through the antics of teens and twenty-somethings embarking upon the next chapter of their lives (read: drinking and chasing girls), it shouldn't come as a surprise that it's a spiritual sequel to the writer-director's 1993 effort Dazed and Confused. In painting a portrait of young men becoming adults in the most routine of ways, it also acts as a very apt follow-up to the filmmaker's last effort, Boyhood. Rather than charting the final day of high school, or capturing the process of growing up over the course of 12 years, Linklater's latest chronicles the weekend before the start of college classes. When Jake (Blake Jenner) parks his car outside of the team lodgings he's about to call home, he's clearly excited, and just as obviously trying to make sure he appears cool, calm and collected. That careful attitude colours his interactions with his new housemates, whether they're welcoming him with open arms or pronouncing their strong dislike of pitchers. By day, they mostly sit or drive around. By night, they try their luck with the opposite sex at bars and parties. Cue a film with plenty of talk and testosterone, not as much action as any of the characters would like, but plenty of the kind of carefree moments that everyone has experienced at some point in their lives. As Jake's fellow baseballers flit through the narrative, some make a bigger impression than others – including ladies man McReynolds (Tyler Hoechlin), bearded stoner Willoughby (Wyatt Russell), and confident veteran Finnegan (Glen Powell). However, as they sling insults at each other, trade in exaggerated stories and natter on about whatever comes into their heads, they all play their part in this freewheeling slice of life. Accordingly, Everybody Wants Some!! is the ultimate hangout flick, about a bunch of guys just shooting the shit when they're not expected to do anything else. There's no missing the nostalgia driving Linklater's warmly amusing movie, with his images tinted with the glow of happy memories, his camera placed to make the viewer think they're part of the gang, and his soundtrack overflowing with '80s hits like 'My Sharona' and 'Rapper's Delight'. That said, there's also no mistaking the way that the filmmaker simply presents rather than probes, such as when it comes to Jake's romance with fellow freshman Beverly (Zoey Deutch). He's not making a statement — he's just happy to linger in the group's company. Don't confuse the film's laidback vibe with a lack of smarts or precision though. As Linklater proved with his charming romantic trio Before Sunrise, Before Sunset and Before Midnight, it takes careful planning and pitch-perfect performances to make something look and feel so easy and effortless. Like their director, the ensemble cast rarely hit a bad note, with Jenner and Russell certain stars in the making. The film's title might stem from a Van Halen song, but as this group whiles away several days, Everybody Wants Some!! earns its exclamation marks.
Art galleries don't just showcase great works by renowned talents on their own walls. They also loan out their collections, touring them to other sites around the globe. That's great news for Australians, who've been able to check out pieces from London's Tate Britain and New York's Museum of Modern Art in recent years, all without leaving the country. Come 2021, you'll also be able to feast your eyes on two big collections of European masterpieces from two different overseas institutions: from New York's The Met, which is heading to Brisbane's Gallery of Modern Art, and from London's National Gallery, which'll take over the National Gallery of Australia in Canberra. The latter, called Botticelli to Van Gogh: Masterpieces from the National Gallery, London, has just been announced — and will hit the Australian Capital Territory from March 5–June 14, 2021. If you were looking for a reason to take a local holiday interstate next year, the NGA has not just one but 60, because that's how many works this huge exhibition will feature. The gallery isn't joking about the showcase's title, either. When you'll be exhibiting Van Gogh's Sunflowers, you can throw around the word 'masterpiece' as much as you like. Other high-profile works include Rembrandt's Self Portrait at the Age of 34, plus Vermeer's A Young Woman seated at a Virginal. And, artist-wise, Titian, Velázquez, Goya, Turner, Renoir, Cézanne, Botticelli, El Greco, Constable, Van Dyke, Gainsborough and Gauguin are all also on the bill. [caption id="attachment_792837" align="aligncenter" width="1920"] Vincent van Gogh, Sunflowers 1888, National Gallery, London, Image courtesy the National Gallery, London[/caption] When peering at the exhibition's pieces, art aficionados will be taken through seven important periods in Western European art history, from a range that spans 450 years. That means exploring work from the Italian Renaissance, checking out the Dutch painting of the Golden Age, and feasting your eyes on British portraiture — as well as scoping out pieces from the 17th- and 18th-century Grand Tour, Spanish art from the 17th century, works that focus on landscape and the picturesque, and examining the birth of modern art. When Botticelli to Van Gogh: Masterpieces from the National Gallery, London hits our shores, it'll mark a big milestone, too — as the largest batch of works to venture beyond the United Kingdom in National Gallery's 192-year history. Announcing the exhibition, National Gallery of Australia Director Nick Mitzevich mentioned exactly what you're probably now thinking — that is, that the showcase is a nifty way to see the world in a period when we can't venture far physically. "At a time when Australian audiences are unable to travel overseas, we are thrilled to be able to welcome visitors to Canberra to see this exclusive showcase of world-class art," he said. Botticelli to Van Gogh: Masterpieces from the National Gallery, London exhibits at the National Gallery of Australia in Canberra from March 5–June 14, 2021, with tickets on sale now. Top images: Installation view, Vincent van Gogh, Sunflowers, The National Gallery, London © The National Gallery, London; installation view, Anthony van Dyck, Lady Elizabeth Thimbelby and Dorothy, Viscountess, The National Gallery, London © The National Gallery, London; installation view, Giovanni Giralomo Savoldo, Mary Magdalene (far left), The National Gallery, London © The National Gallery, London.
Paper is the unsung hero of the last two thousand years and it will continue to prevail despite claims of its obsolescence. Looking beyond the scribbles and characters printed on it, there is a tactile dimension to paper that is almost impossible to trump. Remember your joy when you first discovered gsm, satin gloss and embossed surfaces — all properties of paper Steve Jobs is yet to replicate. The Paper Mill is a shrine to the sheaf, in prime position at Sydney's heart, and from this Wednesday it hosts its second exhibition, lies/lions/lines. For the past two weeks, a brains trust of artists has taken residence at Angel Place in an effort to explore paper's many creative merits. For some this is a direct relationship with paper itself, bending and cutting the flat muse into sculptural dimensions. Others have wedded ink and sheet to show that doing it the traditional way still flings the spice. lies/lions/lines will be exhibiting Bababa International, Lionel Bawden, Bonita Bub, Biljana Jancic, Adrian McDonald, Andrew Moran, Ivan Muniz Reed & Benjamin Warren, Tom Polo and Teo Treloar. If those names mean nothing to you, pencil in Saturday, October 23rd for a hot bout of artists talks at 4pm. Image by Garry Trinh
There are more than 200 seats in the Icebergs Club and every single one of them gives you cracking views of Bondi Beach, foregrounded by their iconic ocean pool. On the floor above, in the Icebergs Dining Room, diners pay top dollar for two-hatted cuisine, but here, in the laid-back bistro, you can tuck into a hearty burger, antipasto plate or steak sanga without mortgaging your house. Meanwhile, the mostly Aussie wine list is full of winners while all your favourite beers are pouring on tap. If you want to go all-out, indulge in a seafood platter, packed with king prawns, oysters, beer-battered flathead, salt and pepper squid, scallops, mussels and fries. They also do breakfast on the weekends. As a registered club, Icebergs requires people living within a 5km radius to sign up to gain entrance, but temporary visitors from further afield are welcome. To become a bona fide Iceberg, you'll need to steel up: every Sunday, throughout winter, you're expected to swim at least one lap of the 50-metre pool, regardless of plummeting temperatures — rain, hail or shine.
Fratelli Fresh has long been a favourite among Sydney diners since Barry McDonald started the chain many, many years ago, and the newest instalment of the franchise is due to open its doors in Crows Nest in early December. The classic Italian eatery will take the place of the existing Bavarian Bier Café on the humming Willoughby Road dining strip, and aims to continue the legacy of providing traditional, artisanal products for a reasonable sum of dollarydoos that McDonald has consistently delivered for the past few decades. The new restaurant comes on the back of the franchise being sold to hospitality giants Urban Purveyor Group earlier this year, and UPG's recent merge with Neil Perry's Rockpool Group to create the super-entity, the Rockpool Dining Group. With nearly 50 venues owned by one of the biggest restaurant conglomerates, Fratelli's latest incarnation is the next step in an aggressive expansion campaign that looks to take the culinary experience offered by restaurants like Rockpool Bar and Grill, Burger Project and Spice Temple all across the country. They've just opened their first Fratelli outpost in Melbourne, and the first two of many (we're talking 100 over the next five years) Fratelli Famous food court pizza spinoffs. They plan to open another four to six Fratellis in 2017. It's almost a scientific fact that the Emerald City of Oz has a deep adoration for the Fratelli empire, and it'll be interesting to see how Sydneysiders will take to the new management. Initially, McDonald's daughter Nina Gravelis stayed on as brand general manager after UPG's takeover, but she has recently stepped aside to open her own restaurant, Exchange Restaurant and Bar on Oxford Street. The menu at the Crows Nest joint will focus on seasonal products, and will include classics and favourites like hand-crafted pizzas, zucchini flowers, calamari fritti, delicious salumi plates, and house-made gelato, all delivered with a price point you wouldn't shake a stick at. It's clear the new owners of the group are looking to shake the concept up, but, according to Rockpool Dining Group CEO Thomas Pash, they're aiming to maintaining the standard of products and service that loyal customers have grown to expect from the franchise. Pash told us that the group aims to bring the "Fratelli magic" to a wider audience. "We have always been mindful of not diluting that magic — only enhancing where we can," Pash says. The history of Fratelli Fresh under Barry McDonald has been written in stone, but the future of the franchise under its new management has still yet to be seen. Will we love the new incarnation of the brand as much as the old one? Only time will tell. But until then, we will still be scoffing banoffee pie in the corner. Fratelli Fresh Crows News is set to open on Thursday, December 8 at 118 Willoughby Road, Crows Nest. For more info, head to fratellifresh.com.au.
The Dutch pioneers of aburdist multi-media performance art, PIPS:lab, are bringing their breathtaking show the Washing Powder Conspiracy to Sydney this weekend. Taking place in the kooky confines of the Serial Space gallery in Surry Hills, it promises to be an evening of theatrical high jinx and mayhem, as this collective take on post-Clinton American imperialism, armed with an eccentric arsenal of audio and visual weapons, and a washing machine. As they sing, dance and act along to music made with drums and adapted household objects such as irons, their performance will be recorded and projected live on the screens behind. The footage will be edited live using much the same techniques as electronic musicians use on stage. Things could likely spin out of control as these crazy Dutch guys and girls push the boundaries of performance, art and technology with their visually stunning and interactive show. Audience participation is a given. There will also be free workshops taking place in conjunction with the show, where you learn how to paint with light!
Sydney's cultural scene hits full stride in summer, when theatres, galleries, parks and inner-city streets light up with blockbuster musicals, bold new exhibitions and major festivals. Whether you're in the mood for a time-travelling stage spectacular, a boundary-pushing gallery show or a night out at one of the city's biggest cultural celebrations, there's something happening in nearly every corner of Sydney. To help you plan your season, we've pulled together six standout events and paired each one with nearby places to help you make a day — or night — of it. Consider this your roadmap to experiencing Sydney at its most creative and colourful. [caption id="attachment_1048999" align="alignnone" width="1920"] Daniel Boud[/caption] Back to the Future: The Musical Why it's unmissable Great Scott! The DeLorean has arrived in Australia, bringing high-voltage sets and nostalgia-driven humour to the Sydney Lyric. Featuring music and lyrics by OG Back to the Future composer Alan Silvestri and acclaimed songwriter Glen Ballard (Jagged Little Pill the Musical), plus a book by Gale — who co-penned all three Back to the Future film scripts with filmmaker Robert Zemeckis — the Olivier Award-winning Back to the Future: The Musical is summer's blockbuster musical moment. Find out more here. Make a night of it Start your evening with pasta and a spritz on the breezy waterfront terrace — the largest in Barangaroo — at Gina. The sun-washed venue takes its cues from the classic coastal trattorias of the Amalfi Coast, serving daily handmade pasta, cold cuts sliced to order and crowd-pleasing Italian classics. Its position on the ferry pier also means a swift (and scenic) trip across the harbour will set you down in Pyrmont just steps from the theatre. Extend your stay Extend your night out with a stay at Sofitel Darling Harbour, where floor-to-ceiling windows frame the skyline and the rooftop infinity pool delivers some of the best sunrise views in the city. It's an elegant, easy base just a short stroll from the theatre — and puts you right in the heart of Pyrmont and Darling Harbour's buzzy dining and lifestyle scenes. RELICS: A New World Rises Why it's unmissable Running at the Australian Museum, RELICS: A New World Rises goes far beyond your average LEGO® exhibit. Created by Alex Towler and Jackson Harvey (2020 winners of Channel 9's LEGO® Masters), it blends the iconic bricks with real-world objects like you've never seen before, transforming pre-loved everyday items into 14 immersive mini civilisations. Find out more here. Make a day of it After the exhibition, take things sky-high at Infinity by Mark Best — a scenic stroll through Hyde Park from the museum — where, from the 81st floor of Sydney Tower, the Harbour City feels like its own miniature civilisation. Its elegant Modern Australian menu showcases local produce in clever, technique-driven dishes — a fitting follow-up to an exhibition that asks you to look closer at the worlds we build. [caption id="attachment_1018817" align="alignnone" width="1920"] Jason Loucas[/caption] Then, ease back down to street level and wander over to Library Bar, the State Library's rooftop hideaway overlooking the treetops of Macquarie Street. It's an easygoing spot for a summer sundowner, with spritzes, snacks and views that pair perfectly with a slow end to the afternoon. Sydney Festival Why it's unmissable Sydney Festival turns 50 in 2026, and it's marking the milestone with a citywide celebration of culture and connection. From January 8–25, the annual summer spectacular will take over stages, parks and galleries — plus unexpected spaces like alleyways, pools and even a working funeral home — for a three-week program spanning theatre, dance, music, cabaret, visual art and immersive experiences. It's one of the most exciting times to be out in the city, with something happening in nearly every corner. Find out more here. Make a day of it Sydney Festival is built for days spent wandering between performances and pop-ups, so start early with brunch or a breezy lunch in whichever pocket of the city your show is in. If you're headed to Walsh Bay, a waterside spot like Barangaroo seafood favourite love.fish sets the tone; for a show in the CBD or around Town Hall, enjoy a pre-show snack and sip at contemporary Greek spot Ela Ela, or slip into elegant fast fine-dining spot Ette for an aperitivo and creative snack before the curtain goes up. Follow the festival trail Post-show, drift along the Festival trail and hop between neighbourhoods as the night builds. That could mean a sunset drink at InterContinental Sydney's rooftop stunner Aster before an event in The Rocks, or a stop at vibey Chippendale fave Bar Freda's for a spicy watermelon marg slushie — and maybe even a cheeky boogie — ahead of a late-night gig at Carriageworks. [caption id="attachment_1046924" align="alignnone" width="1920"] Installation view of the 'Dangerously Modern: Australian Women Artists in Europe 1890–1940' exhibition at the Art Gallery of New South Wales, 11 October 2025 – 15 February 2026, photo © Art Gallery of New South Wales, Anna Kučera[/caption] Dangerously Modern Why it's unmissable The Art Gallery of NSW is spotlighting an often-overlooked chapter of Australian art history with its summer blockbuster Dangerously Modern: Australian Women Artists in Europe 1890–1940. This landmark exhibition showcases more than 200 works by 50 pioneering women who left Australia to embed themselves in the studios, salons and artist colonies of Europe's cultural capitals, where they experimented and exhibited long before modernism took hold back home. The show traces how these experiences shaped their practices, and how they returned with ideas that helped reshape Australia's artistic landscape. Find out more here. Make a night of it With two-for-one tickets on offer for Art After Hours on Wednesdays, the gallery is an ideal spot to kick off a chic midweek date night. Afterwards, channel the spirit of Europe's late-night salons and slip into Letra House, Kent Street's moody underground tapas bar. Head in for a pick from its ever-evolving 50-bottle wine list, and pair it with a selection of ingredient-driven small plates like raw scampi tostada, duck liver parfait with pickled rhubarb and brandy snap, or socarrat with firefly squid, broadbean and garlic. Nightcap? Take a short stroll around the corner to Bar Herbs, which pours classic and flavour-forward martinis in a neon-hued subterranean space that hums until the small hours. Extend your stay Turn your date night into a mini-escape with a stay at W Sydney, where boundary-pushing design and statement-making interiors pick up right where your gallery visit left off. The hotel's striking architecture, curated art moments and rooftop infinity pool overlooking Darling Harbour will keep you perfectly primed to carry that creative spark into the next day. Tropfest Why it's unmissable Following a six-year hiatus, the world's biggest short-film festival returns to Centennial Park this summer. And while the world has changed quite a bit since its last outing in 2019, Tropfest's core mission remains unchanged: to give filmmakers at any stage of their careers a genuinely global platform — and to do it at a free, openair event that welcomes everyone. Find out more here. Make a night of it Centennial Park's position smack-bang in the middle of the eastern suburbs means you're on the doorstep of Double Bay's buzzy dining scene. Stop by Neil Perry's big-swinging Italian restaurant Gran Torino for handmade pasta and a show-stopping tiramisu in a historic setting, or settle in for a perfectly cooked steak at Perry's sleek Mod Oz fine diner Margaret, just up the street. [caption id="attachment_1017635" align="alignnone" width="1920"] Yusuke Oba[/caption] If dinner by the sea is more the mood, head east and grab a table at Rocker, North Bondi's breezy all-day diner featuring coastal Mediterranean-inspired plates, natural wines and a solid cocktail lineup that includes eight types of margarita — plus one of the more impressive Sunday roasts in town. [caption id="attachment_978660" align="alignnone" width="1920"] Joseph Mayers[/caption] Sydney Gay and Lesbian Mardi Gras Parade Why it's unmissable Sydney's most colourful pride parade returns to the streets of Darlinghurst for its 48th edition in February, transforming Oxford Street, Flinders Street and Anzac Parade into a glittering celebration of visibility, power and joy. With thousands of marchers and dozens of flamboyant floats, the night pulses with energy — and it's completely free to watch, making it one of Sydney's most accessible major events. The theme guiding the parade's 48th edition is ECSTATICA, which celebrates joy as power, protest and connection. Find out more here. Before the parade Set the tone early in Darlinghurst, where street-front tables start filling long before the first float hits Oxford Street. Ease into the night at The Waratah, the cosy two-storey bar known for its native ingredient-starring cocktails and fun bar snacks (pictured below). Or, take a seat at L'Avant Cave, Oxford Street Paddington's charming courtyard wine bar pouring standout drops by the glass and nostalgic French-leaning bites. If you're coming in via Surry Hills, The Art Syndicate serves wines, beers and spirits exclusively from NSW in an intimate art gallery just behind Taylor Square. For a more low-key warm-up, 40Res offers a seasonally evolving menu built around local ingredients and a sharp list of Australian and European from boutique producers — all in an understated, dimly lit room that contrasts beautifully with the technicolour chaos of the festivities outside. [caption id="attachment_929493" align="alignnone" width="1920"] Jason Loucas[/caption] After the parade When the glitter settles, head up to Monica, Paddington's 1960s Hollywood-inspired rooftop bar overlooking Oxford Street, for skyline views and a party-ready drinks list. It's perched above the personality-packed 25hours Hotel Sydney The Olympia, a handy spot to crash after one of the city's biggest parties. When you resurface, stroll down to Surry Hills stalwart Bills for a breezy brunch — the signature ricotta hotcakes, corn fritters and velvety scrambled eggs are an ideal way to fuel your debrief from the night before. Ready to feel the Sydney side of summer? Discover the full calendar of what's on across the city at sydney.com. Top image: Anna Kučera.
When the first motion pictures flickered across the big screen 120-plus years ago, audiences were reportedly scared. The line between truth, embellishment and fiction has become muddled over time, but the idea viewers were astonished and startled when they watched the Lumière brothers' famous The Arrival of a Train at La Ciotat Station makes one hell of an urban legend. That was back in 1896. As we know all these years later, cinema hasn't stopped causing bumps and jumps since. The world's first horror film is thought to have released the same year — Georges Méliès' three-minute short called The House of the Devil — and plenty of folks have taken his lead afterwards. Today, that means horror's on-screen cup truly runneth over. Thanks to streaming, a wealth of unnerving flicks linger at everyone's fingertips. If you prefer celebrating Halloween by dimming the lights, popping some corn and getting cosy on the couch for a marathon of unsettling movies, we've put together ten classic recommendations — from creepy vampire films that are almost a century old to more modern must-sees. https://www.youtube.com/watch?v=4hQ40cI5C0E NEAR DARK Before she took Keanu Reeves surfing in Point Break, tasked Jeremy Renner with defusing bombs in The Hurt Locker and dramatised the international manhunt for Osama bin Laden in Zero Dark Thirty — and before she became the first woman to win the Best Director Oscar, too — Kathryn Bigelow sunk her teeth into the vampire genre. Near Dark, her 1987 sophomore film, takes elements of the western genre, throws in a clan of roving bloodsuckers and lets atmospheric horror thrills ensue. Bigelow's work has always been lean but weighty, and her dance with the fanged undead is no different. In fact, it's a flat-out vamp classic. Near Dark is available to stream on SBS On Demand. https://www.youtube.com/watch?v=pX5SG_2n4sM TWIN PEAKS: FIRE WALK WITH ME As 2017's Twin Peaks revival proved, no one conjures up unsettling imagery quite like David Lynch. He's been thrusting eerie visuals out into the world since 1977's Eraserhead — but if you like your Lynchian unease with some damn fine coffee and a slice of cherry pie, there's nothing better than 1992's Twin Peaks: Fire Walk With Me. Set in the lead-up to Laura Palmer's (Sheryl Lee) death, the prequel flick burrows deep into the sinister forces at play. It's a movie of sheer dread, even though viewers know what's going to happen. As only he can, Lynch steeps every frame in the pain, terror and suffering of his doomed protagonist, all while baking in his usual surrealist touches. No wonder it lingers long after watching, like the two seasons of Twin Peaks before it and the belated third season that followed 25 years later. Twin Peaks: Fire Walk With Me is available to stream on Stan. https://www.youtube.com/watch?v=jyW5YXDcIGs THE EXORCIST Back in 1973, the horror genre was possessed — and it has never truly recovered. That's not a criticism; The Exorcist is a landmark piece of spine-tingling cinema, with William Friedkin's film leaving a heavy imprint on everything that's followed. It even became the first horror flick to score an Oscar nomination for Best Picture, a feat that's still much more rare than it should be. When a movie spends the bulk of its time with a 12-year-old girl (Linda Blair) whose body has been overtaken by a demon, as well as with the two priests (Max von Sydow and Jason Miller) trying to cast the devil out and save her soul, it's going to make an impact. The fact that the film was based on a William Peter Blatty novel inspired by real-life exorcisms also helped, as did Friedkin's handling of Blatty's script, which gives the supernatural details a raw, visceral feel. The Exorcist is available to stream on Netflix. https://www.youtube.com/watch?v=V-daIHTY4NQ BUFFY THE VAMPIRE SLAYER How funky is your chicken? How loose is your goose? And, to keep the questions going, how well do you remember the original Buffy? Before Sarah Michelle Gellar stepped into her shoes in the cult TV show, everyone's favourite vampire slayer shouted the above cheers, took guidance from Donald Sutherland, battled Rutger Hauer and romanced Luke Perry in the 1992 big-screen comedy. The Joss Whedon-scripted flick still takes its premise seriously, but there's a looser vibe to the movie than the television series. And a thoroughly early 90s vibe, as well. While you're enjoying the undead-killing antics, keep an eye out for everyone from Hilary Swank to Thomas Jane and Ben Affleck among the cast, too. Buffy the Vampire Slayer is available to stream on Foxtel Now. https://www.youtube.com/watch?v=NmvQ_ii42mc HALLOWEEN This time last year, the latest Halloween film hit cinemas. In 2020 and 2021, sequels Halloween Kills and then Halloween Ends will reach the big-screen in late October. But, when it comes to the absolutely best franchise for this time of year, 2019 is unfortunately an anomaly. While Michael Myers isn't terrorising a theatre near you at this very moment, John Carpenter's original 1979 flick is always worth revisiting — in the slasher-thriller realm, it's an utter masterclass. From Jamie Lee Curtis' pitch-perfect performance as formidable babysitter Laurie Strode, to the pervasive air of unease looming over suburbia and Carpenter's own exceptionally unnerving score, the original Halloween is both supremely scary and sublime. Halloween is available to stream from the Apple Store. https://www.youtube.com/watch?v=TJew_11l6n8 HOUSEBOUND Scaring cinemagoers while simultaneously making them laugh isn't as easy as it might sound. Plenty of films call themselves horror-comedies, but they're usually just comedies with horror theming — and they're about as sinister as clown without makeup. While 2014 New Zealand picture Housebound falls into the tried-and-tested sub-genre that is haunted house flicks, writer/director Gerard Johnstone finds the ideal balance between spooks and giggles, all by following a small-time criminal placed on house arrest. Kylie (Morgana O'Reilly) would rather be anywhere but stuck at home for eight months with her mother (Rima Te Wiata); however she soon discovers that they have company in a movie that serves up jumps and chuckles in tandem. Housebound is available to stream on SBS On Demand and Tubi. https://www.youtube.com/watch?v=4NOipA99GxY NOSFERATU It's the best Dracula film that doesn't actually mention the word "Dracula". In fact, when FW Murnau adapted Bram Stoker's gothic classic in 1922 without getting permission to do so, a court ordered that the movie be destroyed. Thankfully, a few prints survived, which is how we can still soak in the wonders of Nosferatu. Even with a few changes (the famed bloodsucker is now called Count Orlock, for example) the story lures viewers in, but it's not just the plot that's captivating. As proves the case with all German Expressionist cinema from the 1920s, it's how the tale is told in a visual sense that makes an enormous impact. Also significant today, almost a century later, is how free Nosferatu is from everything that's since become a vampire cliche — with the film cutting to the heart of Stoker's disquieting narrative instead. Nosferatu is available to stream on Tubi. https://www.youtube.com/watch?v=pyWuHv2-Abk TRAIN TO BUSAN Forget Snakes on a Plane — if you want to see what happens when something scary is let loose in a confined space, but you don't want to cringe the whole time, opt for zombies on a train instead. Yeon Sang-ho's instant classic doesn't use the obvious moniker; however this frenetic thrill ride definitely fits the description. It's far, far better than that simplistic outline might seem to suggest, though. As well as forcing a father (Gong Yoo) and daughter (Kim Su-an) to fend off the shuffling hordes while they're in mid-transit, and fleshing its protagonists out more than most zombie flicks manage, Train to Busan also paints a probing picture of modern-day South Korean society. It's part of a franchise, too, with animated prequel Seoul Station exploring another aspect of the outbreak, and a sequel is also in the works. Train to Busan is available to stream on Netflix. https://www.youtube.com/watch?v=kWin2LZkvrA THE CRAFT Is a horror classic really a horror classic if it hasn't spawned a remake? In The Craft's case, no one will need to ponder this question for much longer. A new version is currently in the works, but that doesn't mean that the 90s original is going anywhere — and if you like your retro horror fun packaged with teen goth witches, then you'll always want to go back to where it all began. Starring Neve Campbell, Robin Tunney, Fairuza Balk and Rachel True, the 1996 hit charts the fallout when a group of high-schoolers start messing around with the occult and using it to rule the school. It owes a significant debt to Heathers, just with added witches, but The Craft still casts its own enjoyable spell. The Craft is available to stream on on Google Play. https://www.youtube.com/watch?v=g7hLdktC_jY THE STUFF If you ever come across a gooey substance on the ground, don't eat it. Things don't turn out well when this exact scenario happens in 1985 satirical horror/sci-fi The Stuff — especially after the titular substance is sold in supermarkets, marketed as being calorie-free and starts a huge food craze. Where it goes from there is best discovered by watching, but don't expect anything in the way of subtlety or realism. Larry Cohen sits in the director's chair, and this is the kind of playful horror fun that the prolific B-movie filmmaker was known for. Everyone needs their spooks with a dose of silliness now and then, after all. The Stuff is available to stream on Amazon Prime Video.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. From the latest and greatest to old favourites, here are our picks for your streaming queue from July's haul of newbies. (Yes, we're assuming you've watched Black Widow already.) BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Coffin flops, sloppy steaks and babies that know you used to be a piece of shit: they're just some of the absurdist and hilarious gems that the second season of I Think You Should Leave with Tim Robinson serves up. Also making an appearance: a secret excuse to help men explain away pee stains on their pants, quite the loud and lurid shirt, and a daggy hat. Back in 2019, the sketch comedy's first season was Netflix's best new show of the year, and easily. History is repeating itself with the series' next batch of episodes, with all of the above inclusions resulting in side-splitting chuckles. To put it simply, absolutely no one excavates, explores and satirises social awkwardness with the gusto, commitment and left-of-centre viewpoint of Robinson. His skits dive headfirst into uncomfortable and excruciating situations, dwell there, and let them fester. He's a mastermind at ensuring that gags go for exactly as long as they need to — whether they're brief or prolonged — and the only criticism that can be found with I Think You Should Leave is that its short 15–17-minute episodes zoom by, so you'll probably watch all six new instalments in one 90-minute sitting. That's perhaps the best hour and a half you could spend staring at the TV right now. Robinson's flexible face is a constant source of surprises, and humour, and his outlook upon the world is both savage and brutally relatable. Binge his gags, then binge them again; that's how savvy this show is, and how addictive. If we can't have more Detroiters, the sublime sitcom that Robinson made after his time on Saturday Night Live, thank goodness we now have this. The second season of I Think You Should Leave with Tim Robinson is available to stream via Netflix. THE PURSUIT OF LOVE Bolters and stickers. They're the two labels given to women in The Pursuit of Love, a lavish, effervescent and also impeccably shrewd new three-part miniseries adaptation of Nancy Milford's 1945 novel of the same name. Befitting its source material's timing, the storyline leads into the Second World War, all as chalk-and-cheese cousins Linda Radlett (Lily James, The Dig) and Fanny Logan (Emily Beecham, Little Joe) grow from teens into women — and the former, the impulsive and passionate daughter of a Lord (Dominic West, Stateless) who doesn't believe in educating girls and hates foreigners, chases romance at all costs. Fanny narrates the story, detailing Linda's ups and downs alongside her own. Her own mother (Emily Mortimer, Relic) is purely known as "the Bolter", having left Fanny with her sister (Annabel Mullion, Patrick Melrose) as she too sought love again and again. It's a label that Linda despises when it's applied to her, though. Whether having her eyes opened to the world by her bohemian neighbour (Andrew Scott, His Dark Materials), falling for the first arrogant boy (Freddie Fox, Fanny Lye Deliver'd) she spends any real time with, or later crossing paths with a motivated Communist (James Frecheville, The Dry) and a French duke (Assaad Bouab, Call My Agent!), she does keep leaping forward, however. In contrast, Fanny literally bumps into Oxford academic (Shazad Latif, Profile) and settles into domestic bliss, all while worrying about her cousin. Mortimer also makes her directorial debut with this swiftly engaging look at well-to-do lives, and unpacking of the way women are perceived — and it's the latter, the vivid staging and cinematography, and the vibrant performances that make this a must-see. The Pursuit of Love is available to stream via Amazon Prime Video. THIS WAY UP Another month, another season of stellar comedy This Way Up. That's not how it aired in Britain, but it's basically how it has panned out for Australian viewers. And, that's a great thing — not only because this smartly written, astute, insightful and delightfully acerbic series about London-based Irish siblings Áine (Aisling Bea, Living With Yourself) and Shona (Sharon Horgan, Catastrophe) keeps viewers hooked episode after episode, but because binging your way through it immerses you wholeheartedly in their chaotic lives and headspace. As the first season established, English teacher Áine is riding the ups and downs of a mental health journey that saw her spend some time receiving in-patient treatment, and has left Shona, the high-powered overachiever of the pair, perennially worried. Even as COVID-19 approaches and begins to affect their lives, that dynamic is still in place. But Áine is now embarking upon a relationship with Richard (Tobias Menzies, The Crown), the father of a French boy (Dorian Grover, The White Princess) she tutors, all while trying to hide it from her bosses and said kid. Shona is the least-fussed bride-to-be there is as she prepares to get married to her long-term boyfriend and ex-colleague Vish (Aasif Mandvi, Evil), and also navigates more than a little awkwardness with her friend and new business partner Charlotte (Indira Varma, Official Secrets). The heart of this series is the push and pull between this sisters, and how they try to weather everything that life throws their way — and it remains firmly intact this time around. The second season of This Way Up is available to stream via Stan. FEAR STREET Maya Hawke. A mall. Retro clothes and tunes aplenty. Combine the three, and that's how Fear Street Part 1: 1994 opens. Yes, that's familiar, because all of the above played a significant part in the third season of Stranger Things, too. But while Hawke is still popping up on Netflix here, she isn't in Hawkins, Indiana anymore. Instead, her character Heather is working at a mall in Shadyside, Ohio. The year is obviously 1994, Heather is doing the closing shift at a book store, and viewers first see her gushing over an eerie title, only for the customer that's buying it to proclaim: "it's trash; lowbrow horror". Fear Street Part 1: 1994 might begin with a wink to its RL Stine-penned source material, but that isn't the only nod it serves up. Directed and co-written by Leigh Janiak (Honeymoon), this slasher flick splashes its debts to everything from Halloween to Scream across every frame. That's part of the package, as is plenty of blood, gore, bumps and jumps. The end result is unmistakably formulaic, but aptly so; every novel in Stine's series also earned the same description, as did every Goosebumps book as well. From this scene-setting opening, there's a masked killer on the loose, more deaths and chaos follows, and a witch's curse pops up. Then, two more movies keep spinning the story. Fear Street Part 2: 1978 takes its cues from Friday the 13th by heading to a summer camp in its titular year, and Fear Street Part 3: 1666 ponders the origins of Shadyside's curse in the 1600s — and binging all three at once is immensely easy. All three Fear Street movies are available to stream via Netflix. Read our full review of Fear Street Part 1: 1994. DR DEATH Cliffhangers aren't a new creation, but Dr Death deploys the tactic masterfully. When each episode of this true-crime series ends, you want more. That's a product of the show's structure as it jumps between different years in neurosurgeon Christopher Duntsch's life, and also a result of the stressful story itself. As played by Joshua Jackson (Little Fires Everywhere), Duntsch is full of charm when he's trying to encourage folks with spinal pain and neck injuries into his operating theatre — or when he's attempting to convince hospitals, particularly in Texas, to hire him. But again and again, those surgeries end horrendously. And if he's not endeavouring to sweet talk someone to get what he wants, and maintain the reputation and lifestyle he demands, his charisma melts into pure arrogance, including when he's dealing with his patients post-surgery and/or their loved ones. That's the narrative that Dr Death charts, all based on Duntsch's real-life tale, with the series following The Case Against Adnan Syed and the first and second seasons of Dirty John in jumping to the small screen from podcasts. If you've heard the Wondery release that shares Dr Death's name, you'll know that this tale is pure nightmare fuel, and the well-acted, well-shot and rightly angry drama plays that way on the screen. The longer he's allowed to operate, the bleaker Duntsch's story gets, all while fellow Texas surgeons Randall Kirby (Christian Slater, Dirty John) and Robert Henderson (Alec Baldwin, Pixie) do whatever they can to bring his misdeeds to light. Dr Death is available to stream via Stan. Read our full review. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK THE WHITE LOTUS With Enlightened, his excellent two-season Laura Dern-starring comedy-drama from 2011–13, writer/director Mike White (Brad's Status) followed an executive who broke down at work. When she stepped back into her life, she found herself wanting something completely different not just for herself, but for and from the world. It isn't linked, narrative-wise, to White's latest TV miniseries The White Lotus. Here, wealthy Americans holiday at a luxe Hawaiian resort, which is managed by Australian Armond (Murray Bartlett, Tales of the City) — folks like business star Nicole (Connie Britton, Bombshell), her husband Mark (Steve Zahn, Where'd You Go, Bernadette), and the teenage trio of Olivia (Sydney Sweeney, Euphoria), Paula (Brittany O'Grady, Little Voice) and Quinn (Fred Hechinger, Fear Street); newlyweds Rachel (Alexandra Daddario, Songbird) and Shane (Jake Lacy, Mrs America); and the recently bereaved Tanya (Jennifer Coolidge, Promising Young Woman). From the outset, when the opening scene shows Shane accompanying a body on the way home, viewers know this'll end with a death; however, as each episode unfurls, it's clear that these characters are reassessing what they want out of life as well. Here, a glam and glossy getaway becomes a hellish trap, magnifying glass and mirror, with everyone's issues and problems only augmented by their time at the eponymous location. In terms of sinking its claws into the affluent, eat the rich-style, this perceptive, alluring and excellently cast drama also pairs nicely with the White-penned Beatriz at Dinner, especially as it examines the differences between the resort's guests and staff. The first three episodes of The White Lotus are available to stream via Binge, with new episodes dropping weekly. TED LASSO A sports-centric sitcom that's like a big warm hug, Ted Lasso belongs in the camp of comedies that focus on nice and caring people doing nice and caring things. Parks and Recreation is the ultimate recent example of this subgenre, as well as fellow Michael Schur-created favourite Brooklyn Nine-Nine — shows that celebrate people supporting and being there for each other, and the bonds that spring between them, to not just an entertaining but to a soul-replenishing degree. As played by Jason Sudeikis (Booksmart), the series' namesake is all positivity, all the time. A small-time US college football coach, he scored an unlikely job as manager of British soccer team AFC Richmond in the show's first season, a job that came with struggles. The ravenous media wrote him off instantly, the club was hardly doing its best, owner Rebecca (Hannah Waddingham, Sex Education) had just taken over the organisation as part of her divorce settlement, and veteran champion Roy Kent (Brett Goldstein, Uncle) and current hotshot Jamie Tartt (Phil Dunster, Judy) refused to get along. Ted's upbeat attitude does wonders, though. In the second season, however, he finds new team psychologist Dr Sharon Fieldstone (Sarah Niles, I May Destroy You) an unsettling presence. You definitely don't need to love soccer or even sport to fall for this show's ongoing charms, to adore its heartwarming determination to value banding together and looking on the bright side, and to love its depiction of both male tenderness and supportive female friendships (which is where Maleficent: Mistress of Evil's Juno Temple comes in). In fact, this is the best sitcom currently in production. The first two episodes of Ted Lasso's second season are available to stream via Apple TV+, with new episodes dropping weekly. MONSTERS AT WORK Some of the best films leave you pondering a simple question: what happened next? Sequels don't always answer that query, though, because often you're wondering what literally followed mere moments after the exact events you've just watched — which isn't necessarily where follow-ups head. Cue Monsters at Work, Pixar's latest addition to its Monsters, Inc franchise. That smart and sweet 2001 movie saw seasoned scarer Sulley (John Goodman, The Righteous Gemstones) and his offsider Mike (Billy Crystal, Untogether) upend their titular employer's setup, their city of Monstropolis and their whole monster-filled world, all by realising that the children they're tasked with frightening would be much happier laughing. 2013 prequel Monsters University then joined them back at that eponymous spot; however, if you've always wanted to know what happened after Sulley and Mike switched to eliciting giggles, that's where this new Disney+ TV series comes in. The pair everyone already knows and loves is adjusting to the new status quo, because the ten-part animated show picks up the very next day after the film that started it all. Also thrown askew: Tylor Tuskmon (Ben Feldman, Mad Men) a horned scarer who just graduated, is all set to spook kids, but finds himself working in maintenance instead. Even as it explores the fallout of Pixar's beloved 20-year-old delight, this series doesn't really need to exist, but it nonetheless delivers an enjoyable extended stint in this creature-filled world. Also entertaining: voice work from Mindy Kaling (Locked Down) and Henry Winkler (Barry) as Tylor's new colleagues. The first five episodes of Monsters at Work are available to stream via Disney+, with new episodes dropping weekly. MIRACLE WORKERS: THE OREGON TRAIL In the first season of Miracle Workers, which hit screens back in 2019, the one and only, always-great Steve Buscemi (The King of Staten Island) played god. It was a stroke-of-genius piece of exceptional casting in an eccentric comedy about heavenly bureaucrats subjected to the supposed Almighty's whims while still trying to keep earth running — and attempting to save it from the deity's destructive tendencies — but the storyline wrapped up in one season. Thankfully, the series still returned in 2020; however, this time it went back to the Dark Ages. Buscemi's role: Eddie Shitshoveler. Yes, that name does indeed describe the character's occupation, and many hilarious hijinks ensued in that addition to this ongoing anthology. Again, the tale ran for a single season, but that wasn't the end of the show either. Now that Miracle Workers has returned once more, it has the subtitle The Oregon Trail. Buscemi is Benny the Teen, an outlaw in pioneer era-America who ends up leading townsfolk from a fading rural locale along the titular track and hopefully to a better life. All of his now three-time co-stars are back as well, with Daniel Radcliffe (Guns Akimbo) playing a priest, Geraldine Viswanathan (The Broken Hearts Gallery) as the unhappy wife of Jon Bass' (Baywatch) snobbish villager, and Karan Soni (Superintelligence) as another gunslinger. Like its predecessors, this season is delightfully absurd, filled with intriguing characters and benefits from committed comic performances, all while parodying its new setting. The first three episodes of Miracle Workers: The Oregon Trail are available to stream via Stan, with new episodes dropping weekly. CLASSICS TO WATCH AND REWATCH THE SPY KIDS FRANCHISE Here's the thing about the best family-friendly movies: if they're great and they truly live up to their genre, then they really are not just suitable for but entertaining to audiences of all ages. Most films that overtly endeavour to entice children's eyeballs do also attempt to keep adults engaged as well — but oh-so-many fail. Robert Rodriguez's Spy Kids franchise is one of the rare examples that works for everyone. It's goofy enough to play as an espionage comedy for viewers young and old, and even its flatter moments are better and have more personality than the bulk of its genre cohorts. Given the cast, which includes Antonio Banderas (Pain and Glory), Carla Gugino (Gunpowder Milkshake), Alan Cumming (Battle of the Sexes), Cheech Marin (The War with Grandpa), Danny Trejo (The SpongeBob Movie: Sponge on the Run), Steve Buscemi (Miracle Workers: The Oregon Trail; see above) and Salma Hayek (The Hitman's Wife's Bodyguard), as well as Daryl Sabara (The Green Inferno) and Alexa Vega (Nashville) as the central kids, there was always going to be plenty to love here. Nostalgia might keep drawing you back to this series, but that's not the only thing that'll keep you interested. The frenetic and kinetic pace, the candy-coloured visuals and the all-round offbeat approach all filter through not only the first three flicks in the franchise, aka 2001's Spy Kids, 2002's Spy Kids 2: Island of Lost Dreams, and 2003's Spy Kids 3: Game Over, but also 2011's Spy Kids: All the Time in the World as well. Spy Kids, Spy Kids 2: Island of Lost Dreams and Spy Kids 3: Game Over are available to stream via Binge, and all four films are also available on Stan. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May and June this year — and our top straight-to-streaming movies and specials from 2021 so far, and our list of the best new TV shows released this year so far as well.
In just a few years time, the Academy Awards will notch up a century of celebrating the best movies to grace the silver screen each year. How will the acclaimed accolades build up to that point? In 2024, at the 96th ceremony, probably with a whole lot of love sent Oppenheimer's way. The J Robert Oppenheimer biopic earned the most nominations of any film from the past year. Don't be surprised if it takes home the most trophies as well, including for Christopher Nolan, Cillian Murphy and Robert Downey Jr. We won't be come Monday, March 11, Down Under time. While winning an Oscar — or a swag of them — over other flicks doesn't mean that there aren't masterpieces among the fellow nominees, or among pictures that didn't even make the cut as well, Oppenheimer is a worthy favourite in a range of 2024 Oscar fields. What will it collect? What will it nab that another film should instead? Who else might win, and what? Can't they just give both Emma Stone and Lily Gladstone Best Actress Oscars? That's all part of our predictions. As we did in 2022 and 2023, we've watched everything — many of which you can too in both Australia and New Zealand right now — and done some assessing and prognosticating. Here are the results, aka the movies and folks likely to shortly be able to add "Oscar-winner" to their posters and resumes in 15 key categories. Best Motion Picture The nominees: American Fiction Anatomy of a Fall Barbie The Holdovers Killers of the Flower Moon Maestro Oppenheimer Past Lives Poor Things The Zone of Interest Should win: Poor Things Could win: Poor Things Will win: Oppenheimer Barbenheimer was a phenomenon before either Oppenheimer or Barbie even reached cinemas in 2023, with both arriving on the same day to create a memorable pop-culture moment. They shared a release date, and the same wave of attention — but only one can win Best Motion Picture at the Oscars. That one: Oppenheimer. Christopher Nolan's biopic of J Robert Oppenheimer is a mind-blower, and one of 2023's absolute best films. It has some stunning company in this category, however, most of which would also make excellent picks for the Academy's big gong: Anatomy of a Fall, Killers of the Flower Moon, Past Lives and The Zone of Interest, for instance. Then there's Poor Things, which is pure jaw-on-the-floor viewing, and its own unique creation at every turn. It deserves to win. It could achieve the feat. Even if it misses out to Oppenheimer, it'll still be the standout feature of the past 12 months. Best Director The nominees: Justine Triet, Anatomy of a Fall Martin Scorsese, Killers of the Flower Moon Christopher Nolan, Oppenheimer Yorgos Lanthimos, Poor Things Jonathan Glazer, The Zone of Interest Should win: Christopher Nolan, Oppenheimer Could win: Yorgos Lanthimos, Poor Things Will win: Christopher Nolan, Oppenheimer Despite his stunning resume, Christopher Nolan has only been nominated for the Best Director Oscar once before, for Dunkirk. If Greta Gerwig had secured a nod for Barbie, they would've faced off again; the first time, Guillermo del Toro deservedly won for The Shape of Water. Everyone knows that the Academy completely overlooked Gerwig this year — but this is Nolan's year anyway. Don't discount Yorgos Lanthimos for Poor Things, though. This is also his second nomination, after The Favourite — and again (see: Best Motion Picture above), there's nothing like his riff on Frankenstein. Nolan and Lanthimos' fellow nominees are equally at the top of their games with their latest work, so there's no bad choice here if Justine Triet becomes just the fourth woman to win this category, Martin Scorsese collects just his second directing Oscar or Jonathan Glazer nabs his first. Best Performance by an Actress in a Leading Role The nominees: Annette Bening, Nyad Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Carey Mulligan, Maestro Emma Stone, Poor Things Should win: Emma Stone, Poor Things Could win: Lily Gladstone, Killers of the Flower Moon Will win: Emma Stone, Poor Things Give Emma Stone an Oscar for her line reading of "I must go punch that baby!" alone. Of course, that's not the only reason that she should win the Best Performance by an Actress in a Leading Role category for a second time — the first was for La La Land — but it's emblematic of the commitment that she gives her work in Poor Things. Her delivery, her physicality, her constant ability to surprise: now that's a performance. If only two actors could share this field, though. With heartbreaking subtlety as well as searing defiance, Lily Gladstone is exquisite in Killers of the Flower Moon — and if she wins, which she may well, it'll be wonderful. Her speech will also be the highlight of the night. She's also already the first Native American woman to receive a nomination in this field, and will keep making history if she ends up with a statuette in her hands. Best Performance by an Actor in a Leading Role The nominees: Bradley Cooper, Maestro Colman Domingo, Rustin Paul Giamatti, The Holdovers Cillian Murphy, Oppenheimer Jeffrey Wright, American Fiction Should win: Cillian Murphy, Oppenheimer Could win: NA — Cillian Murphy will win for Oppenheimer Will win: Cillian Murphy, Oppenheimer "Dearest Cillian. Finally a chance to see you lead... Love, Chris." That's how Cillian Murphy's script for Oppenheimer came — and although this isn't the Irish talent's first-ever leading part, Christopher Nolan pushing him to the fore of his latest film will garner him an Oscar. It's remarkable casting, even given that Murphy is never less than excellent in anything that he's in, back to and preceding when 28 Days Later first thrust him to broader attention. If anyone else has their name read out, it'll be a massive shock. That's not criticism of Murphy's fellow nominees, though. Bradley Cooper directs himself to a career-best portrayal in Maestro, while none of Rustin, The Holdovers or American Fiction would be the movies they are without Colman Domingo, Paul Giamatti and Jeffrey Wright, respectively. Best Performance by an Actress in a Supporting Role The nominees: Emily Blunt, Oppenheimer Danielle Brooks, The Color Purple America Ferrera, Barbie Jodie Foster, Nyad Da'Vine Joy Randolph, The Holdovers Should win: Da'Vine Joy Randolph, The Holdovers Could win: NA — Da'Vine Joy Randolph will win for The Holdovers Will win: Da'Vine Joy Randolph, The Holdovers Not all award-winners keep their accolades on a mantle; however, Da'Vine Joy Randolph's must be getting crowded — or wherever else she puts the trophies that she's been collecting for her soulful turn in The Holdovers. She won at the BAFTAs, Critics Choice Awards, Golden Globes, Satellite Awards, Film Independent Spirit Awards, National Board of Review and Screen Actors Guild, plus thanks to an extremely hefty list of other critics' associations. She won't leave the Oscars empty-handed. As with Best Actor, this is a category where there's no shortage of deserving nominees, but still one certain winner. If someone else does cause an upset, Jodie Foster being rewarded for her efforts in Nyad would see her win for just her second nomination in this field — she's received the Best Actress prize twice for The Accused and The Silence of the Lambs — a whopping 47 years after her first for Martin Scorsese's Taxi Driver. Best Performance by an Actor in a Supporting Role The nominees: Sterling K Brown, American Fiction Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Ryan Gosling, Barbie Mark Ruffalo, Poor Things Should win: Ryan Gosling, Barbie Could win: Ryan Gosling, Barbie Will win: Robert Downey Jr, Oppenheimer There's no walking out of Oppenheimer without thinking that Robert Downey Jr is going to win an Oscar for playing AEC commissioner Lewis Strauss. And no, he won't just emerge victorious because he's not playing Iron Man, although it's such a treat to see him in such a weighty part (and outside of the Marvel Cinematic Universe) again. That said, if you did the Barbenheimer double on the same day (Barbie then Oppenheimer is the best order), then you would've walked out of Barbie thinking that Ryan Gosling should get the Best Supporting Actor prize, too. Winning for comedy is significantly difficult at the Oscars, but his Ken almost stole Barbie from Margot Robbie. Whatever the outcome, Gosling will sing 'I'm Just Ken' at the ceremony, so he'll be up on stage at least once. Best Original Screenplay The nominees: Anatomy of a Fall, Justine Triet and Arthur Harari The Holdovers, David Hemingson Maestro, Bradley Cooper and Josh Singer May December, Samy Burch and Alex Mechanik Past Lives, Celine Song Should win: Past Lives, Celine Song Could win: Past Lives, Celine Song Will win: Anatomy of a Fall, Justine Triet and Arthur Harari That Celine Song's Past Lives only received two Oscar nominations is near unfathomable. That it might go home without any awards is as well. Song missed out in the Best Director field, but the Academy does like to use its screenwriting awards to redress wrongs elsewhere — Quentin Tarantino and Jordan Peele both have wins here, for instance. It's for the same reason that Justine Triet and Arthur Harari will likely win for Anatomy of a Fall, especially given that France didn't put the film forward for Best International Feature, so it couldn't have been nominated and obviously can't win there. It's worth noting that May December's sole Oscar recognition is in this category, and that that's a ridiculous oversight, so an award for it would also be stellar. Best Adapted Screenplay The nominees: American Fiction, Cord Jefferson Barbie, Greta Gerwig and Noah Baumbach Oppenheimer, Christopher Nolan Poor Things, Tony McNamara The Zone of Interest, Jonathan Glazer Should win: Poor Things, Tony McNamara Could win: Barbie, Greta Gerwig and Noah Baumbach Will win: Oppenheimer, Christopher Nolan As noted in the Best Original Screenplay category, winners for putting pen to paper — or fingers to the keyboard — often let the Academy throw some love towards movies largely ignored elsewhere. Consequently, if Greta Gerwig and Noah Baumbach score victory for Barbie, that trend just might hold up again (although Barbie is particularly in with a great chance in Best Costume Design and Best Production Design). If Barbie loses, expect Oppenheimer to top it — again. Anything could succeed in this field, though, because Poor Things, The Zone of Interest and American Fiction all also boast cracking scripts. Poor Things isn't just a marvel; it's as bold as any movie could ever dream of. Australian screenwriter Tony McNamara did get nominated for The Favourite, too. Best International Feature The nominees: Io Capitano, Italy Perfect Days, Japan Society of the Snow, Spain The Teachers' Lounge, Germany The Zone of Interest, United Kingdom Should win: Perfect Days, Japan Could win: Society of the Snow, Spain Will win: The Zone of Interest, United Kingdom Finding a viewing experience that's more sublime, soulful and thoughtful than Perfect Days — not just among the nominees for Best International Feature, but in general — is a near-impossible task. Watching the Tokyo-set Japanese contender about a toilet cleaner, which is directed by German filmmaker Wim Wenders (Submergence), is as life-changing as cinema gets. A British film set in Germany and told in German, The Zone of Interest is unforgettable in a completely different way given that it is set during the Holocaust among a family living next door to Auschwitz. It's also exceptional — and an worthy recipient of this award. Indeed, there's no wrong pick, which means that Society of the Snow could sneak in for also telling a harrowing real-life tale. Best Animated Feature The nominees: The Boy and the Heron Elemental Nimona Robot Dreams Spider-Man: Across the Spider-Verse Should win: The Boy and the Heron Could win: The Boy and the Heron Will win: Spider-Man: Across the Spider-Verse 2018's Spider-Man: Into the Spider-Verse won an Academy Award in this very category. Among the American films that've made it to the final five in 2024, sequel Spider-Man: Across the Spider-Verse is the pick of the bunch — and another spectacular achievement for the medium of animation. Twice now, watching the Spider-Verse movies means realising how live-action takes on superheroes will never be able to relay the full story. If Spider-Man: Across the Spider-Verse wins, that'll be an ace outcome. Going past Hayao Miyazaki's comeback The Boy and the Heron would be downright audacious at the same time, however. With his first film since 2013's The Wind Rises, the master Studio Ghibli co-founder adds one of his best movies yet to his resume. It's imaginative, heartfelt, smart, breathtaking and awe-inspiring — and that's just the beginning. Best Documentary Feature The nominees: Bobi Wine: The People's President The Eternal Memory Four Daughters To Kill a Tiger 20 Days in Mariupol Should win: 20 Days in Mariupol Could win: NA — 20 Days in Mariupol will win Will win: 20 Days in Mariupol For two years in a row, the Best Documentary Feature field will likely offer a damning indictment of Russia with its winner. Navalny did just that in 2023, with the film must-see viewing then and even more so since Vladimir Putin opponent Alexei Navalny's recent death in incarceration. With 20 Days in Mariupol, the invasion of Ukraine is in the spotlight. This is a movie that can't be unseen, nor forgotten. An on-the-ground exploration of the first 20 days of the war in the titular city, including in hospitals where victims of bombings and shellings are sent, this is as essential as documentary filmmaking gets. Fighting for freedom is also at the heart of Bobi Wine: The People's President, which could earn some love — and battling for justice similarly drives the also-excellent To Kill a Tiger. Best Original Score The nominees: American Fiction, Laura Karpman Indiana Jones and the Dial of Destiny, John Williams Killers of the Flower Moon, Robbie Robertson Oppenheimer, Ludwig Göransson Poor Things, Jerskin Fendrix Should win: Poor Things, Jerskin Fendrix Could win: Poor Things, Jerskin Fendrix Will win: Oppenheimer, Ludwig Göransson Ludwig Göransson knows what it's like to win an Oscar thanks to Black Panther. Soon, the Swedish composer will probably know what it's like to win two. As the greatest scores do, his work on Oppenheimer turns it into the film that it needs to be but wouldn't without such influentual music — which, seeing how astounding everything else is about the movie, isn't a minor achievement. Jerskin Fendrix's tunes for Poor Things do all of that with such distinctiveness, while also feeling so deeply perfect for the feature, that it would come as a surprise to no one if he was somehow composing from within its frames. Giving this award to Robbie Robertson, who does wondrous work for Killers of the Flower Moon, would also be a touching posthumous tribute to The Band musician and regular Martin Scorsese collaborator. Best Original Song The nominees: 'The Fire Inside', Flamin' Hot, Diane Warren 'I'm Just Ken', Barbie, Mark Ronson and Andrew Wyatt 'It Never Went Away', American Symphony, Jon Batiste and Dan Wilson 'Wahzhazhe (A Song For My People)', Killers of the Flower Moon, Scott George 'What Was I Made For?', Barbie, Billie Eilish and Finneas O'Connell Should win: 'I'm Just Ken', Barbie, Mark Ronson and Andrew Wyatt Could win: 'I'm Just Ken', Barbie, Mark Ronson and Andrew Wyatt Will win: 'What Was I Made For?', Barbie, Billie Eilish and Finneas O'Connell First, the obvious observation: Best Original Song is Barbie's to lose. Bringing the eponymous doll to the screen notched up two of the five nominees in this category, and is almost certain to win for one of them — after they're both performed live, with Ryan Gosling singing 'I'm Just Ken', of course, and Billie Eilish belting out 'What Was I Made For?'. Expect Eilish and her brother Finneas O'Connell to take home the trophy, which'll be the pair's second Oscar thanks to 'No Time to Die' from, yes, No Time to Die. Mark Ronson and Andrew Wyatt's catchy dive into Ken's soul keeps getting stuck in the world's heads due to more than just its melody, though. And if there's a non-Barbie upset, it might come from Jon Batiste and Dan Wilson's 'It Never Went Away' from American Symphony. Best Cinematography The nominees: El Conde, Edward Lachman Killers of the Flower Moon, Rodrigo Prieto Maestro, Matthew Libatique Oppenheimer, Hoyte van Hoytema Poor Things, Robbie Ryan Should win: Oppenheimer, Hoyte van Hoytema Could win: Poor Things, Robbie Ryan Will win: Oppenheimer, Hoyte van Hoytema Again and again throughout 2024's Oscar contenders, the fields often come down to two prime candidates: Oppenheimer and Poor Things. Either winning in most categories is a magnificent outcome; when movies this superb are competing against each other, there's no such thing as a losing flick — just one that gets the trophy and one that doesn't. Hoyte van Hoytema and Robbie Ryan's lensing for this pair of pictures is exquisite in different ways; stark and precise for the former, dreamy and inventive for the latter. Oppenheimer emerged with the prize at this year's American Society of Cinematographers Awards, though, which can be a reliable guide. Don't discount Rodrigo Prieto for Killers of the Flower Moon, even if he should've been nominated for Barbie as well. Best Film Editing The nominees: Anatomy of a Fall, Laurent Sénéchal The Holdovers, Kevin Tent Killers of the Flower Moon, Thelma Schoonmaker Oppenheimer, Jennifer Lame Poor Things, Yorgos Mavropsaridis Should win: Oppenheimer, Jennifer Lame Could win: Poor Things, Yorgos Mavropsaridis Will win: Oppenheimer, Jennifer Lame It's happening again: Oppenheimer and Poor Things leading the pack, that is — and likely Oppenheimer winning. Just as with Best Cinematography, there's form for Christopher Nolan's film getting the nod over Yorgos Lanthimos' flick thanks to other accolades. Oppenheimer's Jennifer Lame won at the American Cinema Editors Eddie Awards, for instance. Thelma Schoonmaker is an editing icon, however; this is her eighth Oscar nomination for a Martin Scorsese movie, a run that spans wins for The Aviator and The Departed. And editing is so pivotal to Anatomy of a Fall in telling its story — over every other contender in this field, actually — that Laurent Sénéchal's chances can't be ruled out. The 2024 Oscars will be announced on Monday, March 11, Australian and New Zealand time. For further details, head to the awards' website. Wondering where to watch this year's Oscar contenders? We've put together a rundown for both Australia and New Zealand.
It's that time again, film and television fans: awards season. Shiny trophies are given to deserving actors, directors, writers, producers and more, and the best and brightest movies and TV shows get the recognition that they deserve. Each year, it all starts with the Emmys in September — aka Hollywood's night of nights for everything that airs on a screen that's small, rather than big. If you really love your TV, then you probably react to the annual gongs like Leslie Jones when Regina King won Best Outstanding Lead Actress in a Limited Series or Movie at today's ceremony. Or, maybe you're as joyous and shocked as Jen Svendsen, the girlfriend of Glenn Weiss, when the latter proposed to her during his acceptance speech for Outstanding Directing for a Variety Special for his work directing the Oscars. Hosted by Saturday Night Live's Colin Jost and Michael Che, the night saw Che give out reparation Emmys to black talents who were overlooked in previous years, Maya Rudolph and Fred Armisen took everyone through the history of the awards, and #MeToo earned more than a few mentions. Trophy-wise, a number of long-term hits picked up gongs — yes, Game of Thrones won Best Outstanding Drama — while newcomers and overlooked favourites did, too. Of course, some series were cheated. We'll never forget the fact that the third season of Twin Peaks barely received any nominations, or that David Lynch didn't win best director. But, regardless, we've all still got plenty to add to our must-see list. Hope your couch is comfy. https://www.youtube.com/watch?v=qkxxnqStVbk BARRY What it's about: Assassins are people too in Barry. Actually, the eponymous post-traumatic stress-afflicted sniper turned hitman-for-hire is also an aspiring actor trying to take classes in Los Angeles, after stumbling upon his new calling during a job. He's also attempting to cope with his disorder, and hoping to get out of the murdering game. Bill Hader has never been better than in this dark comedy, which he also co-created, co-wrote and directed episodes of — with Henry Winkler also memorable as Barry's acting coach. Won: Outstanding Lead Actor in a Comedy Series (Bill Hader), Outstanding Supporting Actor in a Comedy Series (Henry Winkler). Where to watch it: Foxtel Now. https://www.youtube.com/watch?v=fOmwkTrW4OQ THE MARVELOUS MRS. MAISEL What it's about: In New York City in 1958, Miriam 'Midge' Maisel (Rachel Brosnahan) has become accustomed to waiting in the wings while her husband tries his hand at stand-up comedy. Then she takes to the stage herself, and this blend of comedy and drama follows the revolutionary aftermath. Picking up best comedy or musical TV series and best lead actress in a comedy or musical TV series at the Golden Globes, too, it's the latest show from Gilmore Girls and Bunheads mastermind Amy Sherman-Palladino. Won: Outstanding Comedy Series, Outstanding Lead Actress in a Comedy Series (Rachel Brosnahan), Outstanding Supporting Actress in a Comedy Series (Alex Borstein), Outstanding Directing for a Comedy Series (Amy Sherman-Palladino), Outstanding Writing for a Comedy Series (Amy Sherman-Palladino). Where to watch it: Amazon Prime. https://www.youtube.com/watch?v=qgTtyfgzGc0 BLACK MIRROR What it's about: What isn't Black Mirror about, really? Dreaming up creepily dystopian futures based on society's ever-increasing dependence on technology, the Charlie Brooker-created anthology series has touched upon everything from social media to drones to political scandals to bringing back the dead, and that's just a handful of topics. In its fourth season, it specifically explored toxic fandom in Emmy-winning episode U.S.S. Callister, which looks like a comic take on Star Trek but delves into much darker — and also funnier — territory. Won: Outstanding Writing for a Limited Series, Movie or a Dramatic Special (William Bridges, Charlie Brooker). Where to watch it: Netflix. https://www.youtube.com/watch?v=V7vrC95RwB8 AMERICAN CRIME STORY: THE ASSASSINATION OF GIANNI VERSACE What it's about: It's all there in the name with the second series of anthology effort American Crime Story, which turns real-life crimes into on-screen dramas under the guidance of Glee and American Horror Story executive producer Ryan Murphy. Where the first season covered the OJ Simpson case and won a heap of Emmys, this time around it's the 1997 shooting of fashion designer Gianni Versace that's in the spotlight, with a cast that includes Édgar Ramírez as Versace, Ricky Martin as his long-term boyfriend, Penélope Cruz as his sister Donatella and Darren Criss as the man responsible for a tragic killing spree. Won: Outstanding Limited Series, Outstanding Directing for a Limited Series, Movie or a Dramatic Special (Ryan Murphy), Outstanding Lead Actor in a Limited Series or Movie (Darren Criss). Where to watch it: Foxtel. https://www.youtube.com/watch?v=mMUiRYoc76A GODLESS What it's about: In the town of La Belle, New Mexico, most of the men have been killed in a mining accident, leaving the women to hold the fort, hold firearms and just generally hold their own. Downton Abbey's Michelle Dockery and Nurse Jackie's Merritt Weaver do just that, while Jeff Daniels plays a gun-toting outlaw and Skins' Jack O'Connell co-stars as the partner he's trying to hunt down. Set in the 1880s, and produced by Steven Soderbergh, clearly this is a western — and a seven-episode mini-series as well. Won: Outstanding Supporting Actor in a Limited Series or Movie (Jeff Daniels), Outstanding Supporting Actress in a Limited Series or Movie (Merritt Wever). Where to watch it: Netflix https://www.youtube.com/watch?v=zIn_MH8_2ig THE AMERICANS What it's about: Spanning six seasons and finishing up earlier in 2018, The Americans takes viewers into the thick of the Cold War during the early 1980s. Elizabeth (Keri Russell) and Philip Jennings (Matthew Rhys) seem like the perfect ordinary couple, with two kids to match and a life in suburbia, but they're actually KGB officers living undercover and spying on the US for Russia. Drama ensues, clearly, in a period-set series that was a critical hit across its entire run. Spy twists, turns and thrills aren't relegated to the big screen, after all. Won: Outstanding Lead Actor in a Drama Series (Matthew Rhys), Outstanding Writing for a Drama Series (Joel Fields, Joseph Weisberg). Where to watch it: Foxtel Now. https://www.youtube.com/watch?v=vLRcgftdh3w WESTWORLD What it's about: Imagine a theme park that takes you to another world (and no, regular amusement parks don't count). At Westworld, attendees feel like they've stepped back to America's wild west, all thanks to a completely immersive park filled with human-like androids that talk, shoot, drink and do plenty of other things as well. It's a fantastic premise, which proved the case when author Michael Crichton turned it into a movie back in 1973, and still remains true now. And with Evan Rachel Wood, Ed Harris, Thandie Newton and James Marsden among the robots — or 'hosts' — wandering around, HBO's take on Westworld also comes with a stacked cast. Won: Outstanding Supporting Actress in a Drama Series (Thandie Newton). Where to watch it: Foxtel Now. https://www.youtube.com/watch?v=ME2umFQ_xBA THE CROWN What it's about: It's the biographical show that made everyone interested in the royal family again, not only thanks to its behind-the-scenes dramas, but courtesy of its stellar cast. Across the first two seasons of this period drama, Claire Foy transforms into a young Queen Elizabeth II and Matt Smith into her husband, Prince Philip, Duke of Edinburgh, starting with their marriage in 1947 and covering their lives until the early 1960s. Foy dedicated her award to her fellow actors, who have all been replaced for the series third and fourth seasons, with Olivia Colman and Tobias Menzies taking on the central roles. Won: Outstanding Lead Actress in a Drama Series (Claire Foy). Where to watch it: Netflix.
