Stuffing wall-to-wall ABBA songs into a flimsy rom-com story, 2008's Mamma Mia! always felt like it was mere seconds away from two things happening. "Have you met my friend Fernando?" Meryl Streep's overalls-clad hotel owner might say, before asking if he can hear the drums. Or Colin Firth, Pierce Brosnan and Stellan Skarsgård's trio of long-lost exes might compare their romantic plight to history, starting with the words "my my, at Waterloo Napoleon did surrender". Neither actually occurred in the original big-screen jukebox musical, which adapted the successful stage production of the same name. But if they had, and in such a groan-inducing, eye-roll-worthy fashion, they wouldn't have felt out of place. Shameless cheesiness and trying to shoehorn in as many of the Swedish pop group's tracks as possible was the name of the game the first time around — and it's a tune that sequel Mamma Mia! Here We Go Again is still blasting. Thankfully, there's slightly more nuance, plot and comedy in this repeat spin. Slightly. Crucially, as returning and new cast members alike croon and swoon against the movie's bright, breezy Greek island setting, there's also a boost in singing talent. First things first: 'Fernando' and 'Waterloo' do get a whirl in Mamma Mia! Here We Go Again, and in situations very close to those described above. The off-screen team is mostly new here, but it still feels like these films write themselves. In fact, while writer-director Ol Parker (Now Is Good) works with a story also credited to romantic-comedy maestro Richard Curtis (Love Actually) and Mamma Mia! playwright Catherine Johnson, he's basically rehashing the same tale. In the first movie, Sophie (Amanda Seyfried) sent wedding invitations to the three men (Firth, Brosnan and Skarsgård) that her mother Donna (Streep) had flings with when she was conceived. This time around, the movie jumps between Sophie's present-day preparations to relaunch her mum's hotel and Donna's (Lily James) amorous exploits with the guys in question (Hugh Skinner, Jeremy Irvine and Josh Dylan) 25 years ago. Here we go again, indeed. The line in 'Waterloo' about history repeating itself also springs to mind — and if you start framing your thoughts in ABBA lyrics minutes into this follow-up, then the film has done its job. Collecting fans' money, money, money, taking few chances, and asking viewers to cheer and sing along when their favourite songs pop up, the Mamma Mia! franchise does what lazy pop culture celebrations tend to do. In the most superficial, crowd-pleasing, fan-service manner, it mistakes recognising something exists for actually engaging with it. Ready Player One did the same thing earlier this year, just with a different focus — throwing sci-fi and gaming references at the screen to nod to beloved characters, movies and titles, but without ever delving any deeper. Still, in Mamma Mia! Here We Go Again much more than in its predecessor, the approach hits a few melodic notes. Or rather, the exuberant James does, alongside the other series newcomers that play younger versions of existing characters, and Cher as Sophie's grandmother. It helps that the story feels a little less like dead air between songs in this second outing, that the film has a pronounced rhythm rather than just smashing tracks together, and that the song-and-dance choreography is more polished. That said, having energetic talent who can hold a tune helps even more. Battling it out with Christine Baranski (playing one of Donna's life-long best friends) as the franchise's true star, you'll thank James for the music. Courtesy of her performance, you'll also be able to somewhat overlook the fact that the flick is mostly just famous faces making ABBA music videos amidst gorgeous scenery. https://www.youtube.com/watch?v=XcSMdhfKga4
Sydney's lockout laws have kept the city talking since they were first announced; however, there have been more than a few reasons for discussion in the past few days. In what has proven a tumultuous week, Keep Sydney Open announced a new rally for January 21, a last-minute Supreme Court ruling stopped their plans, and three venues received a 30-minute extension to current cutoff times. Now, KSO have pledged to stage their third anti-lockouts protest on Saturday, February 18. "We are announcing that the rally will go ahead at a later date, and it will be bigger, louder and stronger than the one originally scheduled," said KSO in a statement, which also highlights a second reason for the peaceful gathering. "This time we're not just protesting to draw attention to the lockouts, but we're fighting for our very right as citizens of NSW to gather on the streets and express ourselves politically." Further details, including a venue, have yet to be revealed, but yesterday's cancelled event was due to team up with Sydney's ARIA-winning duo Flight Facilities. As fans would know, Flight Facilities has been continually outspoken in their opposition to the lockouts. After all, the duo played some of its first gigs after 3am at now-closed Kings Cross venues, including Hugo's, Soho, Tank Room and the Piano Room. Flight Facilities were included in a group of artists commemorated recently in a KSO project, which paid tribute to closed Sydney venues and the artists who cut their teeth there. Flight Facilities have long been associated with Kings Cross's now-closed Piano Room, where Jimmy and Hugo met. Keep Sydney Open does not see the 30-minute extension as a solution. Instead, the organisation wants to work with the NSW Government to implement a seven-point plan, as follows: Developing best-practice policing strategies; Investing in 24/7 public transport; Implementing integrated urban planning reform; Encouraging diversification of after-dark activities; Establishing anti-violence education and intervention campaigns; Incentivising well-run venues; and Appointing a Night Mayor or office charged with managing Sydneyʼs night-time economy. "A 30-minute extension will not be enough to reverse the damage being done to the cultural areas and small businesses that make Sydney an exciting place to be," said Tyson Koh, director of Keep Sydney Open. "Itʼs barely enough time to line up for the bathroom or get a kebab. "For too long the debate about our city and how we live our lives has been dominated by misinformation and fear-mongering. We call on the lobby groups who support the lockout laws to enter the conversation about smart solutions, instead of clearing people off the streets." The rally will be Keep Sydney Open's third. To keep up to date with developments, follow the event page over here. By Jasmine Crittenden and Sarah Ward. Image: Kimberley Low.
Is Japan on your destination bucket list when Australia finally opens up international borders? Well, until you can hop on a plane and see the real deal, a slice of Japan is coming to your living room with the latest virtual Sydney event. Japanaroo is an online travel, food and arts festival celebrating all things Japanese, running until Saturday, October 2. The interactive online event offers origami workshops, lessons on kintsugi, live walking tours of numerous Japanese cities and cooking classes live-streamed from Tokyo. The festival will transition to a live, in-person event in December with a concert at Sydney Town Hall, pending Sydney's COVID restrictions in summer. The lineup will feature a mix of Aussie and Japanese talent, including singer Kamahl, didgeridoo player William Barton, the Sydney Sakura Choir and taiko drummers YuNiOn. Tickets range from free to $70. You can check out all the different workshops and events here. Ticket sales to the Town Hall concert in December have been temporarily paused, but will be available again soon. Image: Pexels, Satoshi Hirayama
When Netflix decided to give The Addams Family a new take, it was a lightbulb moment. More than two decades after the last live-action version of the beloved creepy, kooky, mysterious and spooky characters hit screens, the Jenna Ortega (Scream VI)-led revamp Wednesday proved a smash. No one likely stuck a lightbulb in their mouth when they came up with the idea to revive the franchise, and we're hoping that no one did to celebrate the show's success, either; however, the streaming platform's next series linked to the horror-loving crew could feature exactly that. After dropping its first season in late 2022, then notching up more viewers, memes and mimicked dance moves than the Addams crew have pieces of black clothing, Wednesday was officially renewed for a second season at the beginning of 2023. That's still on the way, with no ETA as yet after Hollywood's strike-filled year, but Netflix is already thinking about giving the show an Uncle Fester-focused spinoff. Bloomberg reports that while production on Wednesday season two hasn't begun, the streaming service is eager to keep all things Addams Family on-screen via multiple shows. The Uncle Fester series has been put forward as the first. Presumably, that'd mean Fred Armisen (I Think You Should Leave with Tim Robinson) reprising his role — unless it's an Uncle Fester origin story. There's nothing locked in, so no casting details, no storyline and no timeline for the show to hit your streaming queue so far, but we all know how much pop culture's powers that be — aka studios and streamers — love franchises. The Addams Family realm has always been beloved by audiences — the Christina Ricci-led 90s films have been favourites for decades for good reason, plus the 1960s TV show and 1930s The New Yorker comics before that — so Netflix wanting more is far from unexpected. Indeed, if you were channelling your inner Wednesday, as we all should, you wouldn't raise an eyebrow in astonishment. Wednesday's first season broke the Netflix record for most hours viewed in a single week, then did so again — earning 341.23-million hours viewed in its first week, then 411.29-million hours viewed in its second. There's no trailer for the Uncle Fester spinoff yet, of course, but you can check out Wednesday season one's sneak peek below: Wednesday streams via Netflix, with season one available now and season two arriving at a yet-to-be-announced date. We'll update you with further details about season two and the Uncle Fester spinoff when they're revealed. Read our full review of Wednesday season one. Via Bloomberg. Images: Courtesy of Netflix © 2022.
Pastels, lace and playsuits abound on Oxford Street; designer Alice McCall has opened her brand new Paddington boutique. Moved around the corner from her flagship Glenmore Road shop, McCall has taken over the industrial, light-filled space once occupied by Aussie designer Josh Goot. Currently on the racks sits McCall's autumn/winter '16 range — think billowing blouses, pastel palettes, floral prints, scalloped edges, lace detailing. Winter doesn't need to be all navy turtlenecks. It's been a big ol' year already for McCall, having launched her own boutique in Dalian, China on January 16 — and it's the first Australian designer boutique in the country. All hail the global playsuit takeover. Alice McCall is now open at 138 Oxford Street, Paddington. Open Mon to Wed 10am–6pm, Thu 10am–7pm, Fri & Sat 10–6pm and Sun 11am–5pm. Call (02) 9357 1126 for enquiries.
While Barangaroo has become somewhat of a polarising area to opinionated Sydneysiders, the precinct and its Lendlease owners have shown quite a notable commitment to public art. Announced today, the newest piece commissioned will be the precinct's largest permanent public artwork to date, following the announcement of Reko Rennie's work earlier this year. Created by German artist Sabine Hornig, Shadows will be installed across a 170-metre walkway connecting the precinct's three International Towers. In the installation, photographs of indigenous Sydney flora will be layered on multi-coloured glass walls in the walkways and passages between the towers. Hornig sourced these images in the area surrounding Sydney Harbour, focusing on the region's native plants. The artwork's transparent glass is meant to reflect "beautiful iridescent shadows" according to Hornig. The glass wall will also mirror the faces and bodies of passersby, allowing pedestrians to become participants in the art. Hornig was selected by the Lendlease Art Advisory Panel from a consideration of more than 200 artists and then among four local and international artist submissions. Due to be completed in 2018, the work will act as a part of the new Australian and international public artworks commissioned by the Barangaroo Public Art and Cultural Plan. Announced in 2015, the plan establishes a multi-million dollar investment in public art and cultural programming across Barangaroo.
The annual Young Gun of Wine Awards brings together Australia's top twelve emerging winemakers, with the best voted victorious by the attendees. Guests will get the chance to meet the winemakers and taste two of their wines, then vote on who should win People's Choice. This year, eight of the twelve are first time finalists, so it's a particularly exciting year to try some of Australia's budding winemaking talents. Tickets will include tastings, canapés by Kepos Street Kitchen and a Riedel wine glass to take home.
If battling zombies in your lounge room through a games console no longer cuts it, an augmented audio running game called Zombies, Run! might be the answer. London-based games and app developers, Six to Start, have combined mobile GPS technology with augmented audio technology to create a game whose story unravels in the outside world. The game's storyline may be based on an old cliché - a player runs from zombies in a post-apocalyptic world - but its method of delivery is certainly new. Players are presented with location-specific challenges in their mission to rebuild civilisation, completing the game by listening to atmospheric audio commands on their headphones and finishing a series of runs in which they collect medicine, ammo, batteries and spare parts. Adrian Hon, CEO and co-founder of Six To Start, told PSFK: "The idea is that we want to make running – and exercise in general – more fun and more captivating through game-play and story." The game for iPhone, iPod and Android devices has over 30 unique missions to be completed and most recently featured on Kickstarter. It can be pre-ordered online at their site.
Beautiful One Day shows that devised theatre still has a unique power to bring people together for true sharing, collaboration, and storytelling. With the support of Belvoir, leading Indigenous theatre company Ilbijerri and documentary performance maestros Version 1.0 went and tested the waters at the Aboriginal community of Palm Island. When their suggestions for a project weren't rebuffed, they developed the work with the residents, three of whom join the seasoned performers on stage. Palm Island is a place we've mainly seen in snippets on the news — not anybody's best angle. It captured headlines in 2004, after the death in custody there of Mulrunji Doomadgee, whom the coroner found to have massive internal injuries. After the autopsy report was made public, there were demonstrations that turned to rioting. This event, still a trauma and a focus for the people of Palms, is at the chronological centre of the play, although in this version of the story, it is part of a continuum of acts of violence committed by white Australia for which there has never been justice. At the same time, the island has a continuous history of asserting its rights, including through large strikes in 1957 against the Aboriginals Protection Act, which had Aboriginal people under state control since 1897. As mentioned, this is devised theatre without writer or director, so linear story is not its strength — though nor its intention. Instead, the Beautiful One Day team — performers Magdalena Blackley, Kylie Doomadgee, Paul Dwyer, Rachael Maza, Jane Phegan, and Harry Reuben, plus additional devisors Sean Bacon, Eamon Flack, and David Williams — build layer upon overlapping layer of story, context, and meaning. A big success is that they set up an atmosphere of chattiness with the audience from the get-go, creating a feeling of lightness and inclusion. They use a Version 1.0-influenced toolkit of multimedia (presented, not excessively, across three screens), interviews, transcripts of historical and legal documents, and fictionalised scenes to build a picture of Palms. A nod to the 'telling their own stories' trope has the performers actually reading and acting out memoirs from books literally printed and bound, a nice little kick in the pants for anyone who thinks Aboriginal history is sidelined mostly because it's oral in form. The scenes about Mulrunji's death can't match the breadth and discovery of Chloe Hooper's award-winning book on the subject, The Tall Man, which is among the great works of creative non-fiction produced in this country. If the story of what happened to Mulrunji and in the subsequent trials and inquests appears more damning in this viewing, it is because the facts are condensed into a smaller space, in which it is impossible for the officers of law and justice involved to hide. It seems a pity, though, that in some moments, the police are portrayed cartoonishly, as a means to a joke. Even if it doesn't bring new facts to the conversation, Beautiful One Day certainly brings a new feeling. In trying to get a view of Palm Island from Palm Island, rather than of Palm Island from the mainland, the picture they conjure is one of hope. The island has seen conflict and absurdity, but looked at up close, there's at least an equal share of normalcy and paradise. There'll be more once its people can truly say they're no longer "living under the act".
The famous Taiwanese noodle chain arrived in Sydney back in 2011 and has drawn in the masses. They're efficient, they're delicious and they're now a lunchtime favourite for many an office worker. Peer into the kitchen and you can observe the production line: line baskets with cloth, cut dough into discs, roll the dough, fill and pinch it at the top, then pop the newly made dumplings into the baskets ready for steaming. It's strangely hypnotising. Once inside, order up a storm. A must have are the xiao long bao pork dumplings, filled with hot broth and tasty pork filling. Take a small bite from the top, drink the broth from within, then down the remaining dumpling. Also worth your well-earned pennies? The vegetable and pork wanton soup or the vegetable and pork wanton dipped in a spicy sauce. Drinks and desserts are no less exciting. The lychee mint juice is hard to go past, while the steamed mini black sesame bun and golden taro bread are delicate but indulgent ways to finish up your meal.
If, like most Australian kids, you once dreamed of spending your school holidays at one of the Gold Coast's theme parks, then you probably hoped that you'd be making your way to Sea World. Historically Dreamworld has been home to plenty of rides, while Movie World has its whole 'Hollywood on the Gold Coast' theme going for it — but Sea World is the one with an onsite resort. In the near future, that might change, with slumbering at Dreamworld after a long day spent riding rollercoasters now on the cards. Ardent Leisure, the theme park's parent company, has announced plans to turn part of the land next to the Coomera spot into a new $75 million Dreamworld Resort, which is set to include a hotel and a tourist park. For those keen to bunk down for the night, there'll be options. The resort's four-star hotel is slated to include 250 rooms, and there'll be 40 bungalows as well. Making the trip to the Goldie via caravan? There'll also be 100 powered sites in the adjacent tourist park. Guests will have access to restaurants, swimming pools, a gym and conference facilities, too. Ardent Leisure also plans to include accommodation and theme park package deals, including exclusive offers to access both Dreamworld and White Water World during your stay. Just what that might look like hasn't been revealed — and, before you start making holiday plans, neither has a timeframe for the hotel and resort's opening. [caption id="attachment_810953" align="aligncenter" width="1920"] Saberwyn via Wikimedia Commons[/caption] At present, Ardent Leisure has entered into an agreement with accommodation developer Evolution Group to fund and build the resort and tourist park — although it is non-binding, and also subject to a number of preconditions being met. Planning approvals also need to be secured; however, it's hoped that if the resort comes to fruition, it'll help Dreamworld, White Water World and the Coomera region to recover from the economic impact of the pandemic. For more information about Ardent Leisure's plans for Dreamworld Resort, head to the company's website. For further details about Dreamworld, visit the theme park's website.
Dread doesn't get enough credit. It's the emotion of worried anticipation and, as unpleasant and unsettling as it may be, it's the backbone of any truly unnerving horror movie. While startling bumps might elicit momentary jumps, spending an entire film in a state of distress is another experience entirely. Unravelling the struggles of a family wrestling with loss, trauma and unexplained events, Hereditary serves up more than a few well-executed shocks — but it's the picture's unrelenting mood of apprehension and anxiety that marks Ari Aster's debut feature as a disturbing, discomforting masterpiece. Hereditary begins with a piece of text that no one likes to read: a funeral notice for the Graham family matriarch. Yet as the deceased's relatives prepare for the service, only 13-year-old Charlie (Milly Shapiro) appears visibly upset. If her mum Annie (Toni Collette) bears any sorrow about the passing of her own mother, it's channelled into the miniature dioramas she's busy handcrafting — recreations of her sprawling forest-adjacent house and events from her everyday life, including the dearly departed's final days. Still, all isn't particularly well in the slowly disintegrating Graham household. There's distance between Annie and her psychiatrist husband Steve (Gabriel Byrne), while teenage son Peter (Alex Wolff) is happier smoking joints between his high school classes than interacting with his family. If the story so far sounds like a routine drama, that's Aster's wheelhouse in a way. In acclaimed short films Munchausen and The Strange Thing About the Johnsons, the writer-director probed the problems that reside behind blood ties — only to take seemingly commonplace scenarios, and then up the ante in a provocative and unexpected manner. In Hereditary, he plagues the movie's protagonists with weird occurrences, including strange words etched into walls, odd flashes of light, upsetting strangers and alarming seances. He is making a horror film, after all. But more than that, Aster doubles down on tragedy, stretches the characters' emotional limits and heightens their psychological strain, trapping the Grahams in a situation devoid of hope, escape or choice. There's a reason that one of the movie's most pivotal scenes, involving Annie unburdening her pain to a support group, expands upon the family's history of mental stress. As we've already mentioned, all of the above mightn't sound overly revolutionary, especially if you've seen Rosemary's Baby, The Shining or The Babadook, three films Hereditary recalls in the best possible fashion. In the same vein as many supernatural spookfests, the involvement of a mysterious woman (Ann Dowd) who tries to help Annie with her grief mightn't sound unusual either. But in a movie that embraces the bleakness of life, and the way that grimness can feel like an unshakeable curse, it's how Hereditary tells its sinister tale that lifts the picture well beyond standard scary territory. If Annie's tiny creations appear painstaking and precise, they've got nothing on Aster's level of meticulousness. Thanks to roaming, grey-hued cinematography, every frame of the film bristles with unease. Courtesy of a score heavy on saxophone and percussion, every sound rattles the nerves. And, with the movie taking the slow-burning approach to an intense and insidious extreme, dwelling in the Grahams' unhappy existence is a fist-clenching, teeth-grinding exercise in deep-seeded tension. One of the year's best flicks — frightening or otherwise —Hereditary has another trick up its sleeve. It's not a huge twist or an especially terrifying moment, although the film contains both. Simply put, the movie wouldn't and couldn't be the powerhouse factory of dread that it is without Collette. The Australian actor played with all things unnerving back in The Sixth Sense, but now haunts this picture like a woman possessed with a lifetime's worth of worry, fear and anger. While Shapiro and Wolff also play their parts to perfection, Collette's expressive face couldn't encapsulate Hereditary's horrors better. When she reacts with fright, pain, anxiety and terror, so does the audience. Keen to know more about this terrifying flick? We went behind the scenes with Hereditary director Ari Aster. https://www.youtube.com/watch?v=3__y-uPwbe8
Surry Hills is quickly becoming Sydney's boutique hotel hub. The hyper-local Paramount House Hotel — complete with rooftop wellness centre — launched in March, and the 35-room Little Albion House (which you can book through Airbnb) followed in July. Now, real estate developer Cienna Group is opening a 12-storey laneway hotel on the corner of Riley and Campbell Streets. Designed by Australian architect firm Tzannes, the new Cambridge Hotel will have a swimming pool and spa in the basement, design-focused rooms, a plant-filled rooftop space and in-house bar and restaurant. If the hotel wants to compete with Paramount House, it'll need to get a big name in to run the restaurant. Ester's Mat Lindsay recently opened Poly in the Paramount House building, and it's already a huge hit with locals. Tzannes Director Ben Green said in a statement that new hotel would reflect and be inspired by the surrounding area, saying that the new hotel would be "tailored to the place in which it is located, Surry Hills — gritty, colourful and vibrant". [caption id="attachment_691322" align="alignnone" width="1920"] Render of the new hotel courtesy of Tzannes[/caption] Cienna Group is no stranger to the Surry Hills area, either, owning the existing Cambridge and Adge Hotels on the same Riley Street block. The new Cambridge Hotel will be located adjacent to them, and will have interconnected doors and shared facilities. According to Commercial Real Estate, the new hotel will cost around $26.6 million dollars, and developers need to lodge another application before construction can begin. We'll update as soon as we know more. Images: Renders courtesy of Tzannes.
'Handjobs on Hudson' would be a better title for this film, and it turns out I'm not the first reviewer to say it. After the initial handjob scene between Franklin D. Roosevelt (Bill Murray) and his sheltered fifth cousin, the local naif Daisy (Laura Linney), I began seeing handjobs everywhere. Daisy seems to exist solely to simulate jerk offs, whether she's on her knees, vigorously rubbing her aged aunt's legs; shaking FDR's martini after he spills it on himself; or smearing mustard all over King George's hot dog. That's King George VI, the stuttering guy we all know and love thanks to The King's Speech. But where's Colin Firth? It would have been so winning to have he and Helena Bonham-Carter reprise their roles as King George and Queen Elizabeth, almost like a He-Man/She-Ra crossover episode. Instead we have the hilarious Samuel West and Olivia Colman, to whom I warmed, as caricaturish as their portrayals are. The plot centers on their 1939 visit to the Roosevelt household in upstate New York, a visit with diplomatic repurcussions at a critical moment when England sought America's help against Hitler. Framing this historical weekend is the story of Daisy's evolving relationship with the President, which comes across rather more degrading than comedic. Screenwriter Richard Nelson nonetheless tries to reimagine the gathering on the Hudson as a comedy of manners, as the King and Queen, FDR, his wife Eleanor (Olivia Williams), secretary Missy (Elizabeth Marvel), and mistress Daisy all navigate their own dramas. Cue the trope of uptight Britain being shown how to kick back and have a good time by its affluent colonial son, plied with late-night martinis, hot dogs, and not-so-subtle parallels made between the King's stutter and the President's polio. Visually, there's tons to enjoy, with all the trappings of the era captured impeccably by cinematographer Lol Crawley, who, mind you, seems to be having a private LOL at us some of the time (see: handjob scene). I didn't laugh at the jokes so much as listen out for Bill Murray's adorable mid-Atlantic accent. The film's failing, as many reviewers lament, is that its story is told through the inconsequential eyes of Daisy. Though the screenwriter met the real Daisy Suckley in the 1980s, he fails to connect to her; the climactic moment of betrayal comes across as unearned melodrama, offering very little emotional wisdom. I felt sorry for the character, because there's not enough appeal written into her for us to be truly on her side. At the end, composer Jeremy Sams' main theme repeats itself for the 50th time and we're offered a montage that glosses over too many questions. I genuinely hoped that as far as history and sexual politics went, it was inaccurate. https://youtube.com/watch?v=UQaScjiWDyY
Circular Quay is ushering in the Year of the Rat with the unveiling of 12 lanterns in its annual Lunar Lanterns exhibition, which runs from January 31 to February 9. Each larger-than-life illuminated artwork symbolises one of the signs of the Chinese zodiac, with the free exhibition spanning from the Sydney Opera House all the way to The Rocks. This year's new additions include a tower of nine 2.8-metre-tall gold robotic rats by artist and author Claudia Chan Shaw at First Fleet Park, Lauren Tan's fiery ox on a scholar rock in The Rocks, a rooster made from hundreds of egg-shaped glowing lights by Valerie Khoo at East Circular Quay, and Louise Zhang's eight-metre-tall tower of monkeys at Cadman's Cottage. Other glowing animals to look out for include Qian Jian Jua's impressive pink pig; a slithering, suspended snake; an origami-like rabbit; and a small herd of electric sheep inspired by Philip K Dick's Do Androids Dream of Electric Sheep?. To help you navigate the animals, the City of Sydney has put together the handy map below. If you visit the lanterns from Thursday–Sunday, make sure to stop by The Rocks Lantern Markets, too, for live music, lion dancing, savoury snacks and colourful dessert. Images: Katherine Griffiths/City of Sydney.
Frustrated at the distant Australian release date for The Great Gatsby? Forget the flamboyance and pizzazz of Baz Luhrmann's film, because the best way to get lost in the decadent world of The Great Gatsby is through this 8-bit video game. Okay, maybe we're exaggerating a pinch, and maybe this isn't the best bit of Gatsby paraphernalia going around. But the Great Gatsby video game is undoubtedly the best Friday afternoon procrastination that we have stumbled across in a very long time. https://youtube.com/watch?v=yqTUKgQ_Cz4 The story behind the making of the game is a Gatsby-esque rags-to-riches tale in itself. Having come across the 8-bit Nintendo game at a yard sale and forking out a whopping 50c for it, the developers thought it deserved some time in the sun and transformed it into an open-source online game. For all the Gatsby fans out there, the thrill of playing as a butler-and-showgirl-killing Nick Carraway in search of both your fortune and the mysterious Gatsby himself is only matched by the games plethora of references, some of which we loved (like that deliciously smug gentleman reading a book and dishing out directions), and some which I imagine flew right over our heads. If nothing else, the game may just be one more thing to get us in the mood for Luhrmann's film, which by now we're busting to see. Via Fast Co.Create.
When you woke up this morning, Thursday, February 18, your Facebook news feed probably looked a little different. Instead of news about the pandemic, restaurant openings, events and all the usual things you're used to seeing as you scroll, it was filled with memes, photos from distant family members and groups you don't even remember joining. So, what on earth is going on? Well, there's been a bit of standoff between the Australian Government and Facebook and Google, because of the Federal Government's controversial media-bargaining code, which passed through the House of Representatives on Wednesday night. In response, Facebook has banned Australian users and publishers from viewing or sharing any "news articles" on its platform. And it hasn't just banned news. Everyone from embattled Sydney art institution Carriageworks to state government-run Queensland Health, which posts daily COVID-19 updates and streams press conferences, and Melbourne Food and Wine Festival have been kicked off the social media platform. And we have, too. That means, to keep up to date with all the exciting things going on in your city, you need to track us down in other spots. Like, right here on our website, over on our Instagram pages (@concreteplayground, @concreteplaygroundmelbourne and @concreteplaygroundbrisbane), or on Twitter (@concreteplay) and by signing up to one of our newsletters. If you're in Sydney, you can sign up here: Melburnians, get your fix here: And Brisbanites, discover all the best things to do right here. You can also bookmark some of your favourite content of ours. Like the best waterfalls to swim under around Sydney, the best things to do on the weekend in Brisbane and Melbourne's best boozy bottomless brunches. Just because Facebook is boring RN, doesn't mean you have to be. Top image: Kitti Gould
Who says Easter egg hunts are just for kids? Watsons Bay Boutique Hotel is hosting an egg hunt unlike any other on Easter Sunday, with their aqua egg hunt for children and kids at heart alike. Suit up in your best snorkelling gear to find treasures (swappable for chocolate eggs) littered on the sandy floor of Watsons Bay. More fun is on tap for the adult crowd throughout the weekend, with DJs spinning music all weekend long and Yolanda Be Cool headlining at Euphoria on Sunday. The Bay Brunch returns for another round of mid-morning face-stuffing on Saturday. Don't miss out on the seafood feasts on offer for the weekend, with everything from lobster to paella being cooked up by executive chef John Pye.
One progressive hotel in Oslo is making a pretty bold statement through entertainment programming choices: opting for high culture over the pleasures of the flesh, it has replaced all its TV porn channels with contemporary art videos. Billionaire, magnate, philanthropist, art collector, environmental activist and sensitive dream-man Petter Stordalen, the owner of the large Nordic Choice Hotels chain, has dropped the porn-on-demand channels from all 171 of his hotels across five northern European countries. His motivation? Concern about the link between pornography and the hideous child prostitution industry, which he hopes to help UNICEF fight in its anti-exploitation campaign by doing his part via revamped in-hotel programming. Though dropping porn could seem shocking to some, Stordalen has pointed out that Nordic Choice was also the first hotel chain in the world to ban smoking, a ban which is now considered normal in most public spaces. One of Stordalen's hotels, The Thief, is an 'art hotel', an establishment with its own in-house curator (former director of Norway’s National Museum Sune Nordgren) as well as artworks by Tracey Emin and Peter Blake and special rooms where "art installations signed by supergroup Apparatjik add to your hotel experience" — itself an exciting concept, no? This provides the perfect context for art-video-on-demand in place of the former nookie channels. Nine pieces of high-end video art are currently on rotation on the rooms' interactive TVs, including Sam Taylor-Wood’s 'Still Life' (2001). In this work, you get to watch a bowl of still-life oil painting-like fruits slowly become festooned with mould and decay (perhaps a winking nod to and comment on porn?). Surely it would be soothing to switch from Miley twerking on the VMAs to a thought-provoking piece of modern art while you relax in Oslo. Apparently guests have responded very favourably to the change. Via Hyperallergic.
The end of the world is happening in Hollywood. This North American summer has already seen Tom Cruise meet Oblivion, Seth Rogen and co scream This Is the End and all of us embrace our wildest apocalyptic fears in our terrible movie heavens. Now with Elysium, the director of District 9, Neill Blomkamp, turns his sights from apartheid South Africa to the interplanetary concern of undocumented immigrants. In the 22nd century, Earth is overpopulated, polluted and diseased. The Third World is now the world, and the rich have fled and founded a new off-planet habitat, Elysium, a floating disc of palm trees and daiquiris where the idyll sun-bake in oblivion and 'medbays' cure all sickness in seconds. The ruined Earth is just in sight over the horizon, where Matt Damon toils away making the terrifying robot policemen that oppress him and the other proles. A cruelly unnecessary industrial accident exposes him to lethal radiation, and now he's the classic John Connor-style everyman hero with nothing to lose. He needs a medbay, and the only solution is to wage an all-out war on Elysium, opening it up to all Earthly "illegals". His war armour transforms him into a man-robot fighting machine — if Aldous Huxley rather than Marvel designed Ironman. Let's face it, Matt Damon is a boss. Not only is he the most bankable actor in Hollywood, he has not given one dud performance, ever. Think about it. The day he does will be the day I weep and quit movie reviewing with a heavy heart and wistful glance in Brad Pitt's direction. Jodie Foster is our steel eyed, fluorescent-toothed and impeccably tailored Bad Ass Neo-Con, Delacourt. Foster is in full-tilt Nicholas Cage mode here, dispensing with naturalism to give a presentation-style performance as a heartless Hawk whose sole job is to keep those pesky illegals at bay and the squeaky clean wealth of Elysium safe. Her henchman Kruger (Sharlto Copley) is a no less than a demented sadist, screeching outrageously abusive one-liners in a full-blooded South African accent. While his boss is the ostensibly civilised policymaker pushing the sleek buttons of war from afar, Kruger is the brutal, gloves-off and knives-out psycho, and together they form both sides of the conservative coin. This gleeful bastard must surely be one of the best baddies in recent movie history, and a hysterical one at that. He injects the film with a blood-red jab of dark humour, and that sense of humour is something that is sorely lacking from the surging majority of Hollywood blockbusters. His one-liners are wonderfully gruesome, real Old Testament stuff. Best of all, it's this Hannibal-style character that allows Blomkamp to really reach beyond the formulaic sameness that characterises most films of this hi-tech genre and deliver some proper twists in the final act. If you've wondered why recent big-shot Hollywood flicks like the $200 million-plus World War Z have been oddly bloodless, in a way that doesn't gel with their ADHD violence, it's because rocketing production budgets ensure that these films need to be rated PG to attract the largest possible spectrum of paying cinema-goers, and that has to mean high school-aged boys and their parents. Elysium has no such qualms — with an MA15+ stamp, it has gross blood to spare and it's all the more satisfying as a result. If there ever was going to be a contemporary director to hijack Hollywood, it's Blomkamp. He delivers blockbusters based in empathy and political smarts that actually aspire to be more than insulting filmic pollution. The state of Elysium suffers from a serious "political sickness, a moral tumour that must be removed". It's an especially crucial message in the weeks leading up to this country's joke of an election and the more open-ended atmosphere of unhooked xenophobic psychosis. Increasingly, being Australian is like having a totally obnoxious and embarrassing mother who's vocally and publicly racist. And homophobic. And sexist. And completely without social skills. The towering blockbusters of the literary realm have often been piercingly thoughtful and critical (here I'm thinking of Brave New World and The Road. It's more than time for movie blockbusters to be the same, to linger in an afterburn of ideas. Elysium is the blockbuster for me. And these mad times. https://youtube.com/watch?v=oIBtePb-dGY
IKEA's blue-and-yellow Frakta bag has been a shop staple for 30 years. It has helped carry your purchases of (too many) tea light candles, has been an integral part of moving house, has been used to make everything from masks to boots and has even inspired a $2000 Balenciaga knockoff. And now, it's getting a (temporary) new colourway. IKEA has just dropped a limited-edition rainbow version of the instantly recognisable, and super versatile bag, and it's available at all Aussie stores. The multi-coloured Kvanting — with six stripes of purple, blue, green, yellow orange and red, and yellow handles — was first released in the US at the start of June to coincide with Pride Month, with 100 percent of profits from the bag going to the Human Rights Campaign. In Australia, IKEA has decided to make a one-off $20,000 donation to ACON, a NSW organisation that works in HIV prevention and LGBTQI+ health, instead. https://www.instagram.com/p/ByLAEnWAJh9/ Kvanting is available to purchase in-store at all Aussie IKEAs now for just $1.99. It'll be available online from August, too. Kvanting is now available for $1.99 at all IKEA stores across Australia. To find your closest, head to the IKEA website.
In the 1970s, recently de-closeted lawyer Paul (Garret Dillahunt) meets drag club singer Rudy (Alan Cumming), and the two hit it off immediately. Their relationship is both complicated and strengthened when Rudy discovers his drug-addict neighbour has a neglected son with Down's syndrome, and takes it upon himself to care for the kid. Before any of them know what's happened, a family unit has instantly formed, and the three must fight prejudices to stay together. Any Day Now has the vague whiff of being based on a true story, and does purport to have been inspired by true events, but press notes refuse to go into any detail about what this true story might have been. It's a important to note this, because tales that claim to be "inspired by true events" receive a cache of good will, as outrageous plot contrivances are forgiven under the assumption that it must have really happened. Without a grasp of what the original true life tale might have been, the series of coincidences in this film are a little harder to swallow. We can accept that life is stranger than fiction, but only when the fiction draws us in with the sort of verisimilitude that shocks us with its authenticity. Some films feel like real life; others simply feel like films. Any Day Now, for all its excellent intentions, feels like a film. Cumming chews up the scenery as the improbably accented Rudy, whose Joan Rivers-esque comebacks to every single utterance thrust in his direction makes him feel like a nightclub routine, as opposed to someone who occasionally performs a nightclub routine. It's a shame, because these unlikely quips undo the solid emotional work Cumming puts in as the prospective adopted father. Rudy's instant connection to Marco would feel too rushed if it wasn't for the frankly superb work by Isaac Leyva, the teenager with Down's syndrome. Marco is quiet and nonresponsive for a long period of the film, suggesting that the drama will come from the more experienced actors having emotions at him. But Leyva is called upon to do some pretty heavy work, selling us on tears of joy in one scene and tears of sadness in another. It's hard to watch him and not feel the overwhelming compulsion to adopt him yourself. Ultimately, Any Day Now suffers from its artifice. Too many things happen too easily, and for us to be convinced by the situation, the film would have been served by reducing the manipulation. As a weepy and capitalised Important Tale, the film is very good and some moments stir up emotion, but it isn't the film it should be, failing to hit the heights it is so earnestly aiming for. https://youtube.com/watch?v=7ghwGOuuNy0
If you're keen to see the winner of the Best Performance Award at last year's Melbourne Fringe, you'd better be prepared to don a bathrobe. This summer, Wiradjuri dancer and choreographer Joel Bray will be holed up in a luxe hotel room at QT Sydney with a small group of strangers he met in the bar downstairs — including you. What starts as a casual conversation begins to gather speed in the form of physical expression. Bray ranges through the intimate space and the room loses its drabness and uniformity. Using the Dreamtime story of the biladurang (platypus) to loosely frame his own unique tale, Bray has been packing out single suites across the country. Funny, dark and steeped in the vulnerability of the personal, by all accounts the surcharges on this room are purely emotional. Biladurang is part of Sydney Festival's dramatic and diverse 2019 program. Check out the full lineup here.
This November, Darlinghurst is slated to become home to a swanky new watering hole: The Waratah. Led by hospitality heavyweights Evan Stroeve (ex-RE, Bulletin Place and Swillhouse), Alex Prichard (current executive chef at Bondi Icebergs) and business partner Cynthia Litster. It marks the debut of the new Sydney hospitality group, Pollen Hospitality, founded by Stroeve and Litster. Located on the corner of Liverpool and Victoria Street, The Waratah will seat 120 and span two storeys. There's also be an openair courtyard to chill during sunny arvos with your mates. Downstairs promises to be your classic warm and cosy local with Aussie wines and beers on tap. Venture upstairs, and you'll find the terrace bar, where staff will be slinging cocktails and a more substantial food and wine offering. Named for the scarlet-hued emblem for New South Wales, the venue has a farm-to-table philosophy that directs the choice of suppliers and produce on the menu. Seasonal, local, native and thoughtfully sourced produce will make up the menu — the majority through NSW Growers and First Nations Providores. On crafting the menu, Prichard — culinary director at The Waratah — says, "The menu is fresh, nourishing and most of all sourced with thought and care." Prichard will remain at Icebergs but has entrusted the top dog position to his protégé, Lewin White (ex-Bondi Icebergs, Bistro Moncur, RE), as the new head chef for the Darlinghurst pub. The menu and pub lists are under wraps for now, but one thing that Prichard shared, which we're sure will bring footfall to the new watering hole, is a fairy bread ice cream sandwich. Yes, please. Also slated to be on the payroll is Andie Bulley — current brand ambassador for Monnet Cognac and an award-winning bartender at her current mise-en-place, Savile Row Bar in Fortitude Valley, Queensland. The Waratah will open in November at 308-310 Liverpool Street, Darlinghurst. For more details, follow @thewaratahsydney.
Life is so busy these days, one can't help but wish some things would just sort themselves out. We have technological advancements and perhaps Google to thank for such laissez-faire attitudes. PumpTire's prototype for a self-inflating tyre appeals to the whinger in us but also proves to be an eco-friendly invention saving time, money and extraneous resources needed to pump a flat bicycle tyre. Components of the PumpTire includes a tyre, a detachable valve and inner tube. It can be used in conjunction with existing rim models and works as the cyclist rides their bike. According to founder of PumpTire Benjamin Krempel, it works "by using the rolling motion of the tyre to draw in air from the atmosphere". A hollow tube attached to the edge of the tire pushes air into the tyre. The tyre is even capable of sensing when the ideal air pressure is reached. PumpTire is currently promoting its invention on Kickstarter to raise funds for further engineering design, testing and purchasing tools and materials. https://youtube.com/watch?v=rMmZnzG9QqI [via PSFK]
If you've been counting down the days to swap those summer staples for more cosy layers, now's the time. This winter, Stockland Merrylands is giving one lucky person a $1000 gift card to reboot their wardrobe. Whether you're after fresh new basics, an outfit for an upcoming event, or beauty essentials for the cooler months, the shopping centre has you covered with fashion and beauty go-tos like Ally, Decjuba, JD Sports, Foot Locker, Priceline, Secrets Shhh, and Blowout Hair Lounge. And if you're shopping between Saturday May 31–June 1 or June 7–8, spend $100 or more on fashion or beauty and you'll receive a bonus $30 gift card*, while stocks last. Just another reason to hit the shops. Enter now to win a $1000 gift card to reboot your winter style here. *Supermarkets excluded. T&Cs apply, check out the details for the $30 gift card here. By Jac Kennedy Image courtesy of Sussan.
With her obliteration and infinity rooms drawing huge crowds around the globe, a range of merchandise brandishing her dot-filled designs on scarves and umbrellas, and even her own busy museum in Tokyo, Yayoi Kusama is one of the most popular artists alive today. That makes a documentary about the art star feel almost inevitable; however for filmmaker Heather Lenz, Kusama: Infinity was nearly two decades in the making. Drawn to Kusama's work as an art student in the 90s, Lenz decided to make a movie about the Japanese artist long before her pumpkins filled Instagram feeds. It wasn't an easy process. As a female filmmaker trying to direct a documentary about a female artist — and, more than that, about a female Asian artist — the path from concept to finished film was filled with knockbacks and setbacks. And that's before even getting Kusama involved. In several ways, the difficulties that Lenz experienced prove apt for a doco about Kusama, who found the world far from welcoming when she started to pursue her dreams. Lenz's struggles are also indicative of a filmmaker who was simply ahead of the times. When Kusama's star began to rise, the writer/director/producer/editor's path became smoother. With Kusama: Infinity now screening in Australian cinemas, we chatted to Lenz about her colourful and informative movie. The first-time feature filmmaker actually initially planned to make a biopic about Kusama — and that's just one of our topics of discussion, alongside the long and complicated process of bringing the documentary to fruition, the allure of Kusama's work and the joys of meeting the artist. BECOMING INTERESTED IN KUSAMA'S WORK BEFORE HER CURRENT FAME "It began in the early 90s — that's when I first saw an image of her work. I was earning degrees in art history and fine art, and for probably every thousand or so male artists we learned about, we learned about perhaps five women artists. And Kusama was definitely not among them at that time. Around 1990, there was an exhibition at the Centre for International Contemporary Art, and that helped start the process of putting Kusama back on the map in America. I saw an image of her work in that catalogue, which at the time was the only catalogue on her art — and I really felt from that exposure that her contribution to the American art world hadn't been properly understood or recognised. I was just really interested in her, and later I decided to go back to school and get a film degree. While I was a student, I started working on a biopic script about her. Then, over time, I decided to put that on hold and work on a documentary — in part because Kusama was still alive and able to tell her story her own words." THE PARALLELS BETWEEN THE FILM'S DIFFICULT PATH AND KUSAMA'S OWN CAREER "In the beginning, it was her artwork and the fact that she had been neglected that attracted me to her. But over time, I began to tune in more and more into her tenacity and everything that she had to overcome in order to finally achieve success — because it was, of course, mirroring the issues that we were facing. When I started the film, I was rather naive about the obstacles and challenges women directors faced. I just thought, 'oh, if you work hard, you can achieve whatever you set your mind to'. But when I started pitching the film to people, I was constantly told that it was a terrible idea, that no one would be interested. And it was men telling me that. I just felt like, well, we don't have the same taste. But there was a point where I had the opportunity to pitch the film to a woman who actually worked for Madonna back when she had a production company. And I thought, 'oh wow, she's really going to love this'. Instead, she questioned the fact that I wanted to make a film about a foreign female, so it never advanced to Madonna to review. At the time, I really wasn't thinking of Kusama as a woman or as Asian. I just thought here's someone who's lived this super compelling, interesting life, who's a brilliant artist, so she would be a great subject for a film. But that's when I started to get the idea that there were pre-conceived ideas about what's going to sell and what isn't. And even within the last few years, I had someone tell me 'you can't put her on the poster because she's Asian and no one will want to see the movie'." DOING MORE THAN JUST CONNECTING THE DOTS "I wanted to shine a light on her and her accomplishments — I wanted her to get more attention. These days, people know about her from social media, so they've seen images of her art, but they really don't know her backstory. I wanted to show the world in which she was raised, which was Matsumoto City. She was growing up in the 30s, and her dreams and ambitions to be an artist at this time, they were just completely out of step with the expectations for her. The idea her family had for her was that she was get married — not only get married, but have an arranged marriage — and become a mother. And to just to have a much more conventional life. She was just really really out of step with that. I think she thought that when she got to America [in the 50s] that the doors would be much more open and things would be much easier, but of course she still had many, many obstacles to overcome. I wanted to show everything she was up against, and to correct her place in history. That remains very very important to me. Recently I screened the film at a college and I had an art history professor, who was a man, tell me that the film was going to change the way he taught this section of art history in the 60s. That was very exciting. Those kinds of things are really meaningful." THE ALLURE OF KUSAMA'S ART "She's made a broad range of work. The work that seems to be featured these days is a lot of the infinity rooms and a lot of the more colourful pieces she's made in recent years. I think people see it as a very optimistic and cheerful work, which is very interesting given the issues she's had with depression and everything. It's almost like she's managed to take her own trauma and transform it into art that functions in a way like an antidepressant for society." WORKING WITH KUSAMA "Kusama actually has a history of cancelling on people, because maybe she's not feeling well or she's just not in the mood or whatever it is. So it was very risky to go all the way to another country, hire a crew and just take on all this expense and just not even know if she would show up. But fortunately she did show up and we really clicked. At the end I told her it was the happiest day of my life, and she said 'mine too'. Then a few months later I was able to go back, and that time I was able to spend a whole month in Japan. I had this very rare opportunity to go through her archives, which were just extraordinary. There were so many amazing photos. There were letters and receipts and calendars — there was just a treasure trove of archival materials for me to explore. It was really amazing." https://www.youtube.com/watch?v=RRqxWNn3iQU Kusama: Infinity is now screening in Australian cinemas. Read our review.
UPDATE, January 28, 2021: Westpac Openair has revealed the rest of its program, covering February 8–23. You'll be able to go retro with Breakfast at Tiffany's, Bridesmaids, Dirty Dancing, Love Actually and Raiders of the Lost Ark; catch a preview of the Denzel Washington-starring thriller The Little Things; or check out current releases such as The Dry, Promising Young Woman and Wonder Woman 1984. Tickets for the new sessions go on sale at 10am AEDT on Thursday, January 28. Get ready to stare at a 350-square-metre screen rising from the harbour as the Westpac Openair Cinema returns to take care of your summer viewing plans with a jam-packed lineup of new, recent and classic movies. Thanks to its spot at Mrs Macquaries Point, Westpac Openair has spectacular panoramic views of the city, the Opera House and the Harbour Bridge, which is one big part of the attraction, of course. But so is feasting your eyes on the event's hefty program. The cinema kicked off this year on Tuesday, December 15 before taking a two-week break due to Sydney's recent COVID-19 outbreak. With the northern beaches lockdown ending, the openair cinema is now recommencing on Wednesday, January 13 and will run through until Tuesday, February 23 with plenty of films still in store. In the brand new camp, Australian frontier western High Ground and the Eric Bana-starring The Dry are must-sees. You can also check out women's surfing documentary Girls Can't Surf and witness the cathartic power of befriending a magpie in Penguin Bloom. Fancy combining movies and music? New documentary The Bee Gees: How Can You Mend a Broken Heart will fill your night with classic disco tunes as it steps through the eponymous band's full career and roster of hits. Retro hits like The Devil Wears Prada, Pulp Fiction and Grease are all copping screenings if you want to relive your favourite flicks on the big screen. Food-wise, you'll be tucking into ready-to-collect gourmet picnic hampers by Kitchen by Mike and its chef Mike McEnearney. Plus, there's a bar serving up wine, beer, cocktails and non-alcoholic options. Tickets are on sale now. Head to the pop-up cinema's website to browse the full program and plan your summer night viewing.
It's the movement that has swept the streets and filled social media feeds over the weekend: the Women's March. Around the world, hundreds of thousands of people have come together to voice their concerns about the current state of social equality, with the rallies timed to follow the swearing-in of new US President Donald Trump. Thanks to the difference in timezones around the world, Australia helped lead the charge. On the morning of January 21, crowds estimated in the vicinity of 3000 people gathered at the Pool of Reflection in Sydney's Hyde Park. The group was united by the common goal of peacefully protesting the legislation, or lack thereof, that allows the systematic repression of gender equality, as well as policies that halt equality in all its forms from becoming a reality in political and social systems around the world. Armed with placards bearing slogans like "This Pussy Bites Back" and the blunt, very to the point "Save Us From The Greedy Bastards", the atmosphere was electric, buzzing with excitement as women, men, and children took their struggle to the streets. Veteran news guru Tracey Spicer commanded the microphone as the rally's MC, introducing a slew of influential speakers that gave their takes on the social issues of gender, cultural and disability inequality. While the march has been labelled a direct protest to the inauguration of the yellow fairy floss-headed hot dog sausage in a poorly fitting suit that is Trump, Dr. Mindy Freiband, the organiser behind the Women's March On Washington, stressed the broader message. She assured the waiting crowds that "these are not American problems, these are global problems," and rallied the gathered masses behind her by saying "we don't intend to be quiet while they continue." Professor Helen Meekosha took to the mic to deliver a message of constructive positivity, demonstrating how policy and policy-makers need to change in order to create a more progressive society. Dr. Meekosha, probably the most qualified person in the world to talk on these subjects, has spent her career researching race, gender and disability relations. She urged that "we must have constructive alternatives" to the "neo-liberal policy" that takes the forefront in our political landscape. "We need to write policy and legislation that is not punitive," she advised, before going on to call the crowd together. "We need to come together in real time," Dr. Meekosha said. "We must care and look after each other." After author Jane Caro rallied the group with the war-cry of "a woman's place is in the resistance", the throngs marched through Hyde Park, swarming Liverpool Street, heading through the city and eventually amassing in Martin Place in front of the United States Consulate. While there have been reports of minor clashes with the unexplainable breed of Australian Trump supporters (i.e., pot-stirrers), the march and the rally carried a message of solidarity, a hunger for change, and a spirit of peaceful resistance to a patriarchy that systematically inhibits social progression. Elsewhere, millions of people around the globe heard the call and swamped the cities of the world. The turnout at the march in Washington has reportedly eclipsed the meagre few friends that the new US President could drum up to watch his swearing-in.
For the second year running, Formula 1 cars won't race around Melbourne's Albert Park during the Australian Grand Prix, with the event cancelled once again in 2021. It was scrapped in 2020, too, after it was initially due to take place just as the COVID-19 pandemic hit Australia. This year, the race had already been postponed from March to November, but now it won't be held at all. Announcing the news today, Tuesday, July 6, the Victorian Government advised that the event has fallen victim to the pandemic — and to Australia's slow vaccination program and new caps on international traveller numbers specifically — as has this year's Australian MotoGP on Phillip Island. The Formula 1 race was due to take place on November 21, and the MotoGP on October 24; however, the state was unable to give the sports' governing bodies assurances that both would be permitted to proceed. As a result, the organisers of the two events have chosen to move on with their 2021 seasons without stops in Victoria. Both races are expected to return in 2022, though. "The Victorian Government understands the need for Formula 1 management and MotoGP controller Dorna Sports to confirm their schedules, and the decision not to proceed in 2021 was mutually agreed with those bodies," said the Victorian Government in a statement. https://twitter.com/ausgrandprix/status/1412275229800292353 The big Formula 1 race has hit Melbourne every year since 1996 — every year until last year, that is. At present, it's contracted to return to Albert Park between 2022–25. The MotoGP's history on Phillip Island is very similar, with the event first held there in 1997, and contracted to continue until 2026. Victorian Minister for Tourism, Sport and Major Events Martin Pakula said that "it's very disappointing that these much-loved events can't proceed but this is the reality of the pandemic — but until we get much higher vaccination rates we cannot return to more normal settings." He continued: "we are getting to work on plans for 2022 immediately and can't wait to welcome the world's best drivers and riders and all motorsport fans back to Albert Park and Phillip Island." Whether Melbourne's other big international sporting event, the 2022 Australian Open, will also be impacted by Australia's sluggish vaccine campaign and our traveller caps — and the fact that anyone heading here from overseas needs to quarantine for 14 days upon arrival — is obviously yet to be seen. The Formula 1 Australian Grand Prix and Australian MotoGP will no longer go ahead in 2021. For more information about the cancellation, head to the Victorian Government website and the Australian Grand Prix website.
With Spiral: From the Book of Saw, what came first: the decision to call its protagonist Ezekiel, or the casting of Samuel L Jackson as said character's father? Either way, the film's creative team must've felt mighty pleased with themselves; getting the Pulp Fiction actor to utter the name that's been synonymous with his bible-quoting, Quentin Tarantino-penned monologue for more than a quarter-century doesn't happen by accident. What now four-time franchise director Darren Lynn Bousman (Saw II, Saw III and Saw IV) and Jigsaw screenwriters Josh Stolberg and Pete Goldfinger mightn't have realised, though, is just how clumsily this choice comes across. The Saw series has made almost a billion dollars at the worldwide box office, but now it's resorting to winking and nodding to one of its latest stars' past movies. Perhaps Bousman and company didn't notice because almost everything about Spiral feels that forced, awkward, clunky and badly thought-out. Jackson and Chris Rock might gift the long-running franchise a couple of high-profile new faces; however, this ostensible reboot is exactly as derivative as you'd expect of the ninth instalment in a 17-year-old shock- and gore-driven saga. Focusing on a wisecracking, gung-ho, about-to-be-divorced police detective known for exposing his dirty colleagues, Spiral tries to coil the series in a different direction, at least superficially — and pretends to have meaty matters on its mind. Ezekiel 'Zeke' Banks (Rock, The Witches) has been crusading for honesty, integrity, fairness and honour in law enforcement for years. Starting back when his now-retired dad Marcus (Jackson, Death to 2020) was the precinct's chief, he's been vilified by his peers for his efforts. When a killer appears to be targeting rotten cops, too, Zeke is desperate to lead the case. Initially, he just wants to avenge the death of the first victim, one of the only co-workers he called a friend, but he's soon trying to track down a murderer that seems to be following in franchise villain Jigsaw's footsteps. A lone wolf-type not by choice but necessity, Banks also happens to be saddled with a rookie partner (Max Minghella, The Handmaid's Tale) as he attempts to stop the bodies from piling up. Even if Spiral had reached screens in May last year as was initially intended pre-pandemic, it would've arrived in a social, cultural and political climate that has been rightly taking a stand against police brutality. The film doesn't have much to say about the topic, however. Recycling the usual cop movie tropes — corruption is endemic, a select few battle against it, but the bad routinely outmuscles the good — it uses the subject as nothing more than a gimmick. Forget weight, depth, nuance or resonance. Spiral just wants a reason for its killer to keep offing cops within its grimy, dankly lit, often jittery fames, and for Zeke to have almost zero backup. Like the pig's heads used by its new agony-inflicting maniac, the end result is bloody yet empty. It smacks of trying to dress up a well-worn idea in fresh packaging, but then only making a half-hearted attempt that relies upon on another genre's conventions. Indeed, the police procedural format, the cast, the topical themes, the 70s thriller look and the focus on a different murderer are all part of a big bait-and-switch act; they might lure viewers in, but a torture porn flick that's rarely even standard is sadly the only thing that awaits. The deaths, which are largely seen in flashbacks devoid of any tension, are characteristically nasty and gruesome. Covering severed tongues, ripped-off appendages, flayed carcasses and drowning via hot wax, they're designed to get the squeamish to avert their eyes again and again. But testing the audience's threshold for blood, guts, gore and complicated torture devices isn't the same as engaging them. Nor is combining the series' brand of gratuitous one-upmanship and supposed lessons with Seven-esque box deliveries and the kind of by-the-numbers serial killer taunting that wouldn't have even made the first draft of any David Fincher project. Spiral doesn't just do the bare minimum in its purported attempt to tackle problematic cops, but demonstrates the same contentedness to merely tick boxes with the franchise's grisly staples, too. A word to the easily nauseated: the film's panic-inducing traps and macabre dismemberments aren't pleasant, which is wholly in keeping with the template set up by Australians James Wan (Aquaman) and Leigh Whannell (The Invisible Man) back in 2004's first movie, but it's hard to be put off by something that's this dully formulaic. Perhaps driven by a dream to wake up on-screen chained to a pipe — with a saw within reach, of course — Rock instigated his own involvement in Spiral. A big fan of the series, and of horror movies in general, he came up with the idea for the feature's detective storyline as well. While he's the best thing about the film, he also often feels as if he's mixing his stand-up routines with his far-superior performance in last year's fourth season of Fargo. Yes, with both Jackson and Rock alike, Spiral just can't stop reminding its viewers that its talents both have better projects to their names. Don't go expecting much of their collaboration here, either, with the picture pairing them up sparingly and leaving the audience wanting more — which is the only instance where that statement proves true throughout the entire movie. When the film abruptly comes to an end, it unsurprisingly sets up its next chapter, but it certainly hasn't earned anyone's continued investment. And, in case you'd missed how little it cares for its police brutality narrative, it chooses to end with an image so cliched that it makes the hackneyed dialogue about playing games and the clues delivered on USB drives seem positively fresh in comparison. https://www.youtube.com/watch?v=nuINvoFAnng
Elektra / Orestes is another offspring of the ‘remade ancients’ that have colonised Australian theatre for the past few years. Director Anne-Louise Sarks wrenches the 'Elektra' story from the grasp of the ancient Greeks, seasons it with colourful 21st-century language and proffers it to Belvoir and friends. Her decision to do so is mostly justified, not least because this story revolves around the fucked-up family unit, which, as everyone knows, is the modern recipe for success (Kardashians, Osbornes, et al). That said, the 'Orestes' side of the story, the fighting and satellite characters could do with more development. Elektra / Orestes launches with cheeky music and an irreverent approach to the Elektra epic (in which mother kills father, so daughter hides brother and plots merciless revenge on mother). Its greatest success is definitely Katherine Tonkin as Elektra. With countless depictions of the tragic, troubled, truth-seeking heroine, it’s lovely to see Tonkin almost literally take a dump on the Elektra-romance we’ve suffered for around 2,400 years. She’s the worst of our times: a layabout, mopey loser. A thirty-something refusing to move out of her mother’s home but determined to make life hell for everyone in it. Revelling in her tragic excess, she is by turns malicious, lamenting, immature and righteous, and in no way endearing to her audience. Rather than divine justice, she oozes bitchface — as her mother says, “You’re loud, completely useless [and have] done nothing for eight years.” When it arrives, the violent climax of the story is not fully convincing. The fight sequence feels a bit clunky and exaggerated. (Perhaps planned so, to reveal the savagery of Orestes [Hunter Page-Lochard], inherited from his long-dead father? Or was Page-Lochard simply struggling to pop the blood pack?) It teeters between farce and realism, so that the night we attended half the audience gasped and the rest cracked up. The production proudly exploits the revolve stage, though it could stand to push into newer territory once this trick has been uncovered. Sarks and co-writer Jada Alberts really nail the core values of Aristotle’s handbook. They transport the conceals and reveals, the reversals and recognition from ancient Greece to our modern laps. Ralph Myers manages to enhance this poetry, even with a sterile set design that resembles a kitchen showroom. He makes you think twice about the high-rise city dream and what might be lurking in your ample storage space. This Elektra / Orestes makes the ancient tale accessible to a contemporary audience. While it's not perfect, and rests a bit too long on the one trick, it is an engaging show about the destruction that ensues when the ‘natural family order’ is disturbed.
The first major Australian exhibition from Ghanian artist El Anatsui, Five Decades is an ambitious compilation of works inside Carriageworks running Sydney Festival all the way to March. Showcasing more than 30 works from the 1970s to the current day, this highly ambitious exhibition will reflect a broad thematic spectrum of the artist's themes and media, from large-scale installations to works on paper. Beginning from Anatsui's early flair for mixing different aesthetic styles, the exhibition will trace the evolution of his practice. From 1998 onward, the artist became fixated with repurposing materials, such as wood, aluminium printing plates, tin boxes and liquor bottle tops. Also bubbling underneath his work is the rich cultural imagery of West Africa, which is tied to deeper issues around colonisation and post-colonisation. More recently, Anatsui nabbed the prestigious Golden Lion at the Venice Biennale in 2015, proving himself to be one of the most compelling contemporary artists to watch. From January 7 to March 6, Five Decades offers the opportunity to take in some truly unique art in unique spaces. Image: El Anatsui, Stressed World (2011), found aluminum and copper wire, 4.4 x 6.0m installed dimensions, ©El Anatsui. Courtesy of the artist and Jack Shainman Gallery, New York.
The Museum of Contemporary Art's monthly ARTBAR has become a firm fixture on Sydney's after-dark cultural calendar. After knocking off work on Friday, head down to Circular Quay for an extra dose of art, a splash of wine and your choice of fun-filled activities — with the added bonus of panoramic views of the harbour from the Sculpture Terrace. Past curators have included the likes of Rosie Deacon, Pip and Pop, Blak Douglas, Haines and Hinterding, and Rebecca Baumann — each building uniquely flavoured late-night events. Wander in on the last Friday night of the month and you can expect a lively conglomeration of art, music, design and performance. It's an excuse to let loose alongside some of Sydney's best artistic talent. You'll want to charge your phones to furiously 'gram the golden at the next #MCAARTBAR for 2016, curated by Sydney-based interdisciplinary artist Kate Scardifield. The theme of the night is 'GOLDEN HOUR', which represents that short moment of time at dawn or dusk when the light is glittering and perfect. And also just lots of gold shiny things. Expect a lineup of pure gold, including performances from Rochelle Haley, artist duo Make or Break, Jingle Jangle DJs and a showcase of Ghanian music in a room decked out by the legends at socially responsible clothing label YEVU. ACME's Mitch Orr will even be there broadcasting his food podcast The Mitchen alongside Sydney chefs Dan Hong (Mr. Wong, Ms. Gs) and Mark Best (Marque). If you'd like to get hands-on you can drop in on a floral illustration workshop being held by artist/florist/Instagram extraordinaire Doctor Cooper and botanical colouring book artist Adriana Picker. You'll also be able to try sonic-brewed coffee (yes, really) from Sydney-based Elixir Specialty Coffee. And if you haven't seen Grayson Perry's My Pretty Little Art Career yet, this is your last chance. For an extra ten bucks you can get admission into the exhibition before it ends on May 1. By Annie Murney and Shannon Connellan.
Orphans investigates the adults who grow from childhood neglect. It's about second chances, emotional damage, human goodness and unexpected shows of strength. Red Line Productions at the Old Fitz give a well-acted production of Lyle Kessler's character-based drama, which follows three highly imperfect, motherless men and their intersecting lives in North Philadelphia. The play begins in the twisted world of two brothers just managing to scrape by: Treat and Phillip. Treat (Andrew Henry) is the world-weary delinquent. He revels in his powers of intimidation and conducts daily torture on his 'simple' little brother, Phillip (Aaron Glenane). Phillip is a severely anxious, agoraphobic, hypochondriac young man, suffering mental and developmental setbacks due to a lack of education, agency and love. Director Anthony Gooley emphasises the different ways that humans can adapt to the hard-knock life. Treat converts his deep sadness into aggression. Henry fills the room with menace with the mere sound of his approaching boots. Meanwhile, Glenane reveals Phillip's hope and compassion to be his overwhelming advantage over 'able' people. Then enters the third 'type' spawned out of adversity, Harold (Danny Adcock), as the 'saviour' figure. He's an intense yet lovable, 60-something Chicago orphan — toughened by the scars of his past but with a lot of love to give. Adcock's accent work is a marvel, and his delivery throughout the play really capitalises on the comedic role. He has a dynamic, diverse and textural face and voice. Gooley's direction very often relocates Treat and Phillip to the vantage point of the audience, so that Harold is talking to all of us. But he's not without his fair share of shady dealings and mystery. One particular moment of brilliance is his sermon on 'moderation', as he throws back his 15th full glass of bourbon in one gulp. Our human tendency for unwitting hypocrisy and naivety about our own flaws is good-humouredly explored in Orphans. The grey dilapidation of the house, the winter's moonlight shining through tarnished glass and the nostalgic collection of songs and hymns effectively conjure an east coast USA to immerse ourselves in, even if we know nothing of orphans freezing to death in the winter. Always suspicious of a North American story (accents and all) transplanted to our Australian stage, I did have my misgivings about the relevance of Orphans, but the acting is so considered and well-delivered that the story really impacts you. It's lovely to share some time in cold 'North Philly' with these men, and it's clear that Adcock, Glenane and Henry work very hard to expand the possibilities of their characters. They find their inner pain and softness, and transmit this to an audience who can't simply judge or dismiss them. Contrary to old Harold's theory in the script, the actors prove you can't know the individual just by "knowing the type".
Nick Coyle is a comedian/actor/writer/director/art-maker/job-title-hogger, and your spiritual servant/sensei in the quest for enlightenment. He promises the fruits of exploring existence, transcendence and the cosmos will be immensely juicy, as part of his hour-long show, Nick Coyle’s Guided Meditation, which returns for one night only on July 13. Coyle will tour his Guided Meditation to the Edinburgh Fringe later this year, but before that, he wants to offer Sydneysiders a chance at “headbutting your self doubt", "assaulting your stress", "disciplining your spirit animal" and "lying down" (Coyle’s own words). BYO yoga mat, if that is a thing you have. Known for his outlandish and irreverent original theatre works, Coyle has been shaking up the Australian indie theatre scene for years. His work has spanned different mediums, from FBI radio waves (Versus) to the Belvoir stage (Blue Wizard).
Let's face it: nothing beats Mum's cooking. That is, unless she delivers up fresh, comforting, 'good for you' meals to your door and cleans up afterwards. In which case, give her break. There's an alternative. (And, for the record, you should always be doing the dishes anyway.) Youfoodz is a new healthy food delivery service that, quite simply, delivers yum, nourishing food to your door. Without you having to lift a finger — other than placing the order, of course. The Brisbane startup is all about fostering a healthy lifestyle by creating cleaner alternatives to Aussie favourites, such as their bacon and egg bagel and superseed-crusted fish and sweet potato chips. The 45 meal options are promised to stay fresh seven to nine days in the fridge, and the delivery turn around time is as little as 12 hours. As if healthy, prepared meals delivered fast aren't good enough, Youfoodz also makes sure you won't go broke, with most meals priced at $9.95 each. Cheap and healthy don't generally go hand-in-hand — especially for Sydneysiders who are accustomed to paying $19 for a salad — but healthy, fresh and cheap food for under a tenner? That sounds like a pretty sweet deal. From brekkie to dinner and all the snacks and drinks in-between, Youfoodz have all the bases covered. The menu may use all of the buzzwords — chia seeds and quinoa get a mention — but also means that everyone can get in on the fun. Even if you're dairy or gluten free. They're now spreading their wings beyond Brisbane to deliver to the Gold Coast, Sunshine Coast, Sydney, Melbourne and Adelaide, as well as major grocers across Australia. So go ahead and tuck into their new summer menu, which includes meals like the sesame pork summer salad and the pesto and pumpkin chicken salad. Mum would most definitely approve. Concrete Playground readers can get their first Youfoodz meal for free by entering the code YF-FreeMeal at checkout. To order your meal and view the full menu, head to youfoodz.com.
UPDATE, DECEMBER 23, 2021: Fast and Furious 9 is available to stream via Google Play, YouTube Movies and iTunes, and will hit Amazon Prime Video on January 1. Fast cars, furious action stars, a love of family and oh-so-many Coronas: across ten movies over 20 years, that's the Fast and Furious franchise. It might've started out as a high-octane spin on Point Break, but this long-running series has kept motoring across nine flicks in its main storyline, and also via a 2019 spinoff. The latter, Hobbs & Shaw, actually casts a shadow over the saga's latest instalment. Because Dwayne Johnson was part of that sidestep, he doesn't show up in Fast and Furious 9. He's missed, regardless of whether you're usually a diehard fan of the wrestler-turned-actor, because he's managed to perfect the F&F tone. Over his decade-long involvement to-date, Johnson always seems amused in his Fast and Furious performances. He's always sweaty, too, but that's another matter. Entering the F&F realm in Fast Five, he instantly oozed the kind of attitude the franchise needs. He knows that by taking the outlandish stunts, eye-catching setpieces and penchant for family with the utmost seriousness, these films border on comedic — and by navigating five flicks with that mood, he's been the saga's playful and entertaining barometer. Without Johnson, Fast and Furious 9 isn't as willing to admit that it's often downright silly. It's nowhere near as fun, either. Hobbs & Shaw wasn't a franchise standout, but Fast and Furious 9 mainly revs in one gear — even in a movie that features a high-speed car chase through Central American jungles, a plane with a magnet that can scoop up fast-driving vehicles, Helen Mirren (Winchester) racing through London's streets and a trip to space in a rocket car. The latest F&F is as ridiculous as ever, and it's the least-eager F&F film to acknowledge that fact. It's also mostly a soap opera. It leans heavily on its favourite theme — yes, family — by not only swapping in a different wrestler-turned-actor as Dominic Toretto's (Vin Diesel, Bloodshot) long-lost sibling, but also by fleshing out the warring brothers' backstory through flashbacks to their tragic past. Fast and Furious 9 starts with an 80s-era Universal logo, because that's the time period it heads to first — to introduce a teen Dom (Vinnie Bennett, Ghost in the Shell), his never-before-mentioned younger brother Jakob (Finn Cole, Dreamland) and their dad Jack (JD Pardo, Mayans MC). It's 1989, the elder Toretto is behind the wheel on the racetrack, and his sons are part of his pit crew. Then tragedy strikes, tearing the Toretto family apart. In the present day, Dom and Jakob (John Cena, Playing with Fire) definitely don't get along. Indeed, when Roman (Tyrese Gibson, The Christmas Chronicles: Part Two), Tej (Chris 'Ludacris' Bridges, Show Dogs) and Ramsey (Nathalie Emmanuel, Four Weddings and a Funeral) drive up to the rural hideout that Dom has been calling home with wife Letty (Michelle Rodriguez, Crisis) and toddler son Brian (first-timers Isaac and Immanuel Holtane) since the events of 2017's The Fate of the Furious, he doesn't even want to hear about the latest mission that demands their help. The only thing that changes his mind: realising that Jakob is involved and up to no good. From there, Fast and Furious 9 doesn't skimp on plot across its two-and-a-half hours, but it's all just an excuse to send Dom and the gang on yet another globe-hopping trip to save the world (yes, again). Much of the storyline mimics the last film, in fact, including the return of cyberterrorist Cipher (Charlize Theron, The Old Guard) — although this time there's a different high-tech gimmick that could end life as we know it, and a different reason behind Dom's determination to protect his crew. Returning for his fifth F&F flick, as well as his first since 2013's Fast & Furious 6, writer/director Justin Lin doesn't challenge himself, narrative-wise. Co-scripting with franchise first-timer Daniel Casey (Kin), he largely throws a heap of the saga's usual elements together, dials up the emphasis on family, and hopes that the reappearance of familiar faces — such as the already-teased return of Han (Song Kang, Lisey's Story) — will fill in the gaps. And there are gaps; more than once, the movie ends a big scene by jumping to the group at a later point, but doesn't trouble itself to explain what happened. Sense? Logic? Coherence? The Fast and Furious films haven't ever expended much energy on these. It makes zero sense that Dom's son is called Brian, for instance — he's named after Paul Walker's character, but the latter is still alive in the saga (albeit never seen now), so that celebratory gesture towards the late actor has no rationale in the on-screen story. Fast and Furious 9 doesn't just zoom past rationality a quarter-mile at a time, though. It's really just a collection of scenes that Diesel and Lin think are cool, complete with 197,000 references to family. Here, even the fast cars and big stunts get drowned out by the melodrama. When Lin lets the action choreography truly let loose, this franchise-extender is easily at its best, but that happens less often and in a more routine way than it should. Plus, in a series that's hardly known for its acting, all the bloated chatter and soapiness is still far too cartoonish to even dream of grounding the OTT saga in real emotion. This far in, not just inertia but also a lack of imagination seems to be grinding F&F's gears, with genuinely new and exciting action ideas almost as rare as a high-pitched squeak from the gravelly voiced Diesel. Fast and Furious 9 has its characters play a real-life version of Frogger, celebrates magnets more than Jesse Pinkman, name-drops Harry Potterand visually apes Star Wars, for example. It also ponders whether Dom and the gang are superheroes, and has Roman get meta and ask how they've all escaped the past 20 years unscathed. This should all be knowingly, winkingly ludicrous. It never feels that way, however, and no one's motors will be thrumming while watching. Like too many big franchises these days, Fast and Furious 9 also saves one of its best moments for its post-credits slot, teasing what'll come next. If only the bulk of what preceded it didn't feel like a franchise blandly on auto-pilot.
Plants, stars and wine collide when astronomy comes to The Calyx in the Royal Botanic Garden. Running from 7.30–10pm, the Lunar New Year edition of the regular event invites you to kick back, relax and learn about the night skies and Chinese astrology. Astronomers will talk you through space volcanoes, dark energy, planets and the 12 Chinese zodiac signs, while surrounded by the garden's super-popular carnivorous plant display, before leading you outside to look at the night sky through telescopes. You'll gain a whole new perspective on familiar constellations and learn how to find those that are not-so-familiar. Learn to locate the Jewel Box within the Southern Cross, bright nebulae within Sagittarius and Omega Centauri, a globular cluster. Tickets are a reasonable $41 and include a glass of wine upon arrival, with more drinks and snacks available to purchase. Tickets always book out well in advance — so get in quick.
Charismatic foursome All Our Exes Live in Texas are hitting the road for a national tour throughout March and April, celebrating the release of new single 'Sailboat', from their forthcoming debut album. The group represents the bringing together of four of Sydney's foremost singing and songwriting talents: Elana Stone, Kate Wighton, Hannah Crofts and Georgia Mooney. Since releasing their debut EP back in late 2013, they've been winning over indie-folk crowds with their lush four-part harmonies, haunting melodies and stories of heartbreak and fresh beginnings. The EP scored quite a few spins on triple j's Roots 'n' All. In the meantime, they've been sharing stages with a bunch of well-known acts, including Megan Washington, Tinpan Orange, Mama Kin and Jordie Lane. The Sailboat National Tour covers several major festivals, including Port Fairy, Blue Mountains, the Tasmania International Arts Festival and the National Folk Festival, as well as appearances at the Melbourne Folk Club on March 25, The Basement on April 18 and Black bear Lodge on April 19.
Melbourne seems to be following the pattern of another day, another new development. But instead of completely decimating the environment around it, Melbourne's newest mini suburb development in the city's inner-northeast looks like it might the most sustainable yet. It's set to become the world's first 'Tesla Town', with Tesla Powerwalls built into every home along with solar panels and electric car recharging points. The new 2500-home development is called YarraBend, and it will border Alphington, Ivanhoe and Kew in Melbourne's northeast. It's being developed by local property group Glenvill, who, on the YarraBend website, have billed the new residential space as "a world-first Tesla suburb" which is "designed to achieve the highest level of sustainability and quality of life". So what exactly does having a Tesla Powerwall in each home mean? Well, quite a lot. A Tesla Powerwall is a battery that not only powers your home but one that stores power for when you need it. It's designed to hook up with your power source, which is either solar power, or the grid, where most people get their electricity from. And it's really smart, because depending on which power source you have, the Powerwall will either store the solar energy for later or charge itself from the grid in off-peak times. This not only saves you and your household some cash, but it's a step away from Australia's reliance on dirty coal and fossil fuels for power, and means that we can move towards cleaner energy like solar, wind and geothermal. Plus, with Australia only getting its first shipment of the batteries earlier this year, this will be the first large-scale project to utilise them. According to the Urban Development Institute of Australia, YarraBend will be one of the most environmentally sustainable developments in the country. "This development leads the way in sustainability," the UDIA's Danni Addison told the Heidelberg Leader. "Some areas that are a standout include water reduction of 43 per cent, landfill reduced by 80 per cent and the potential to reduce energy use by 34 per cent." Along with the Powerwalls, solar panels will also be a standard on houses in YarraBend. Making it even more futuristic, residents will also be connected through their own app and have access to a complimentary tech-concierge, who'll be on hand to help when your internet goes down. Which, if your internet connection's anything like ours, is all the goddamn time. Via Heidelberg Leader.
Bushpig was called "hands-down the most intriguing show to surface in this year’s [Adelaide Fringe]" by theatre guide Heckler — high praise indeed. Like many Fringe Fest events, its a one-person show, but writer/performer Hannah Malarski, a NIDA playwriting grad, makes hers stand out. Her range and vivid characterisations bring to life an eccentric small town of characters, centred around Aunt Vivian and her missing child. Read the rest of our top ten picks of the Sydney Fringe Festival 2013.
When Steam Mill Lane signed on Belles Hot Chicken, we knew the foodie precinct would have at least a little bit of spice. Now, the laneway is taking that small step to the next level with its inaugural Hot Sauce and Chilli Festival. The three-day spice lover's haven will run from midday on Friday, August 17 through Sunday, August 19, boasting pop-up stalls and live music, plus a requisite chilli-eating contest for good measure. The food stalls will feature one-off specialties from the laneway's residences — think a spicy hot chicken sandwich from Belles, a cajun chicken roll from The Sandwich Shop, chilli pizza and chilli cocktails from Il Bacio, deep fried chilli concoctions from Ricefields, spicy poke from Fishbowl and a spicy matcha latte from Matcha-Ya. Plus, 8Bit will collaborate with Melbourne Hot Sauce for its Streets of Rage festival burger and Marrickville Pork Roll will have a menu dedicated to Sriracha. We wouldn't be surprised if even the biggest chilli fans are burnt out after all that spice.
Many of us have had a first date on an old-school pedal boat, holding hands and having mundane conversations about the weather. And now you can relive that (but with better chat) when the recognisable boats return to Cockle Bay this summer. From January 4–28, you'll be able to hire one of the leg-powered vehicles for $30 a pop, which'll get you a whole 30 minutes on the water. If you think half-an-hour in the blistering Sydney sun sounds like a recipe for sunburn, you'd be right, but, thankfully, the boats come equipped with a shade to keep you cool. The pedal boats fit up to four people (so you can bring your mates or plan a double date) and you do have to wear a life jacket while cruising on Darling Harbour. You can't book online, and have to just rock up and hope that's one free, but if you do need to wait, there are plenty of places to eat and drink on the Wharf. Cockle Bay Wharf Pedal Boats are available from 11am–8.30pm daily.
Tucked away right near Redfern Park, The Yoga Centre is an Iyengar yoga school focusing on perfecting postural technique and connecting the practice to its spiritual purpose. With decades worth of experience behind the school's various teachers, this isn't an In-N-Out style yoga fitspo factory, but a well-equipped studio for people of all ages to explore the transformative impact of yoga. In the Iyengar tradition, physical yogic alignment is really just considered a gateway to living a more peaceful life. As B.K.S Iyengar said: "It is through the alignment of the body that I discovered the alignment of my mind, self, and intelligence." It's certainly worth a shot. A bounty of props, blankets and belts are on hand to help you refine your asana technique and to minimise the risk of injury. The studio itself is nice and big. You can book a casual class or enrol in a longer course. Keep an eye out for teacher training throughout the year.
A new year has begun, and for us that means one thing — it's time to book new travel destinations for 2020. This time around, instead of searching for things like 'best beaches' or 'best cities', plan your travel from a different angle. An arts and culture angle, that is. Planning your calendar around the world's many festivals is a fun way to change up your regular trip routine. Think a biennale in India, a mountain burning festival in Japan and one celebrating 24-hours-of daylight in Russia. Here are seven lesser known arts/culture festivals to travel overseas for this year. [caption id="attachment_757197" align="alignnone" width="1920"] Jirka Matousek via Flickr.[/caption] PINGXI LANTERN FESTIVAL, PINGXI DISTRICT, TAIWAN Taking place just outside of Taipei, the Pingxi Lantern Festival marks the end of Chinese New Year with one stunning illuminated display. Visitors write a message and place it inside a paper sky lanterns, then set it aflame and release it into the night — alongside thousands of others. It's an impressive sight that holds an air of magic around it. While the lanterns float overhead, the streets are filled with folk performances, street carnivals and contests. The annual festival has been taking over Taiwan for over 2000 years, having begun during the Xing Dynasty. We can't think of a better way to ring in the (lunar) new year. When? February 1–8, 2020 KOCHI-MUZIRIS BIENNALE, FORT KOCHI, INDIA Every two years, the charming seaside town of Fort Kochi becomes a mecca for all things art in India. The Kochi-Muziris Biennale showcases contemporary Indian and international art in heritage properties around the city — this year includes a townhouse, project space, art cafe and converted warehouse. Each biennale is curated by an artist who is chosen by a committee of artists, scholars and collectors. Now in its fifth edition, the 2020 curator for the festival is artist and writer Shubigi Rao. She was born in India but is based in Singapore, and is known for her layered installations across mediums like books, etchings, drawings and puzzles. The festival runs for over three months each year, so you have a good window in which to book your trip, too. When? December 2020 – March 2021 [caption id="attachment_757203" align="alignnone" width="1920"] Nwhitely via Flickr.[/caption] WAKAKUSA YAMAYAKI, NARA, JAPAN For one seriously fiery sight, make sure you're in Nara, Japan on the forth January of the year. An ancient version of Burning Man festival, the Wakakusa Yamayaki festival sees the dead grass on Mount Wakakusayama set on fire — and that's followed by one big ol' fireworks display. No one quite knows the origin of the festival, leaving it shrouded in mystery. Some accounts claim the mountainside burning began due to boundary conflicts between the Kohfukuji and Todaiji Temples. Others claim the fires are meant to scare away wild boars, and even ghosts. Regardless of the origin, it's an impressive sight. The blazing mountain can be seen from any point in the city — with Nara Park being the best lookout. When? January 25, 2020 [caption id="attachment_757204" align="alignnone" width="1920"] This Is Edinburgh via Flickr[/caption] HOGMANAY, EDINBURGH, SCOTLAND Scotland's capital city of Edinburgh really knows how to ring in the new year. While parties happen all over the world on New Year's Eve, no one does it quite like the Scots — their celebration runs for two full days and features street parties, carnival rides, Christmas markets and a full on music festival to boot. The multi-stage festival takes place on December 31 straight into the new year, with at least five bands playing simultaneously. Alongside the festival is a torchlight procession on December 30. Also on the docket is an ice rink, ferris wheel, polar bear plunge in icy waters (dubbed he Loony Dook race) and even an arts festival that takes over nine unusual venues across the city. When? December 30, 2020 – January 1, 2021 ART FAIR PHILIPPINES, MANILA PHILIPPINES The Philippines' vibrant art scene is on full display each February when Art Fair Philippines transforms The Link carpark into a cultural marketplace. The weekend-long festival was only just founded in 2013, and has since become the top art event in the country. A wide range of contemporary art is available to view and purchase, ranging from paintings and sculptures to photographs and more experimental installations. All of the artists are on hand alongside their work, so you can chat to the makers of your favourite pieces. If you're travelling with a friend or partner, it's also a fun way to start out the evening — the exhibition stays open until 9pm each night and there are heaps of food and drink vendors available, so you can peruse with bubbly in hand. And entry tickets cost just a tenner. When? February 21–23, 2020 [caption id="attachment_757202" align="alignnone" width="1920"] Sandra Cohen-Rose and Colin Rose via Flickr.[/caption] WHITE NIGHTS FESTIVAL, ST PETERSBURG, RUSSIA While images of Russia's picturesque city of St Petersburg often depict a blanket of snow, the summer months actually see nearly 24 hours of daylight here. And the city celebrates these long days for three full months each year — specifically from mid-May through mid-July. Stars of the White Nights is a massive collection of arts and culture events spanning music, film, ballet and opera premieres (including at the Mariinsky Theatre, pictured above) and outdoor festivities. Many of the city's top museums stay open overnight during this period, too. Or simply wander along the River Neva, where gypsy bands, jugglers, fire eaters and other carnival acts can be seen performing all night long. When? May 22 – July 21, 2020 ART BASEL, MIAMI BEACH, USA Started over 40 years ago, Art Basel is considered to be the premiere art event of the year by many. It's held annually across Hong Kong, Basel, Switzerland and Miami Beach. The USA instalment takes place over three days in December and features works from over 250 leading galleries across North America, Latin America, Europe, Asia, Africa and even Australia. It showcases masterpieces from modern and contemporary artists, alongside exhibitions by emerging artists — and this year has partnered with KickStarter specifically to support up-and-comers. Art forms span paintings, sculptures and photographs, as well as large-scale installations films, and editions from master artists. And you have the added benefit of being next to one of the States' best beaches, too. When? December 3–6, 2020 Top image: Jirka Matousek via Flickr.
Much of Marrickville's Victoria Road is proposed for development, with an 18-hectare area between Enmore Road and Sydenham Road currently under rezoning consideration. If it receives approval, it won't just see an influx of mix-used developments — featuring residential, retail and commercial components, as well as open spaces — but also, around Rich Street, a hub for creatives and artists. Across three multi-storey buildings spanning 13,000 square metres, the Rich St proposal endeavours to bring together fledgling businesses, established arts operators and more, over a range of creative fields. Catering to around 500 artists, onsite work space will be flexible to encourage interaction, with the project receiving input from artists and industry leaders from the local community. According to the development website, it aims to create "a permanent home for the creative industries, start-ups and the arts, that builds upon the existing established culture in Marrickville." Located beside and behind The Factory Theatre, Rich St will also turn the site's current warehouses and timber yard into public parkland, as well as cafes, an exhibition space, a potential openair screening space and a rooftop bar. While it's still a matter of it, rather than when, it comes to fruition — amid concerns about the vast development plans in the area — there's no doubting that it'll prove a huge change for Marrickville if it goes ahead. For more information about the proposed Rich St development, visit the project website. Via Domain. Images: Rich St.
From dead characters to killer plants, M Night Shyamalan's films are known for veering off in out-there directions, as everything from The Sixth Sense and The Village to The Happening and Split has shown. So, when a trailer for one of his movies drops, you can expect that it'll tease a strange twist. That's what the first sneak peek at Old did back in February, with the feature's new full trailer now fleshing out a few more details. As already established in the first 30-second clip, Old follows a family led by Gael García Bernal (Ema) and Vicky Krieps (Phantom Thread) as they head off on a beachside holiday. Finding a particularly secluded spot online, they lap up their scenic surroundings — even when a few more people show up. But then a dead body is spotted floating in the water, putting everyone on edge. Next, the couple's kids disappear behind a few rocks, only to return looking much older than they did mere seconds ago. There's an eerie tone to both the initial sneak peek and the new trailer, unsurprisingly. If you're wondering where Shyamalan will take the concept from there, you'll have to wait until the thriller releases in cinemas in July. The filmmaker has penned the movie's script, too; however, he's based it all Pierre Oscar Lévy and Frederik Peeters' graphic novel Sandcastle. Hoping that it turns out more like Unbreakable and less like The Visit is understandable. As well as Bernal and Krieps, Old has amassed a hefty cast, including Rufus Sewell (The Father), Alex Wolff (Hereditary), Australian actors Abbey Lee (Lovecraft Country) and Eliza Scanlen (Babyteeth), and New Zealand's Thomasin McKenzie (Jojo Rabbit) — the latter of whom will be hitting our screens a few times this year, given that she also stars in Last Night in Soho. If you're already getting big Lost vibes, Ken Leung (Star Wars: Episode VII — The Force Awakens) also features. And no, neither him nor any of his co-stars say "I see old people" in the new trailer. Hopefully that'll remain the same in the movie itself. Check out the new trailer below: Old opens in Australian cinemas on July 22. Top image: Universal Pictures.
If you've ever wondered what a sushi fare from Black Star Pastry would look like, taste like or even entail, you needn't wonder any longer. In celebration of International Sushi Day, the popular Australian mainstay will completely transform its Rosebery site from a bakery-slash-cafe into a Japanese-style izakaya serving up sweet and savoury sushi. After putting itself on the map with its coveted watermelon cake, the dessert brand has not shied away from concepts and collaborations that riff on its offerings in the past. From cocktails inspired by its cakes and festive treats to a meteor cake celebrating World Chocolate Day, Black Star Pastry has served up many reimaginations of its creations. [caption id="attachment_800490" align="alignnone" width="1920"] Black Star Pastry's flagship in Newtown[/caption] Next, you'll find a weekend-long pop-up at its Rosebery spot. From Friday, June 21–Sunday, June 23, the joint will be decorated with paper lanterns to match the sushi-themed dishes that it'll be slinging — and its menu will even see the return of its Ari-Gateaux (a fun fusion of Japanese and French which loosely translates to "hello cake") sushi cake. If you manage to secure a spot, you're in store for a showcase of the Black Star Pastry crew's incredible culinary skill. As for the lineup of Willy Wonka-esque treats on offer, expect a chestnut cream-filled gâteau sponge with poached pears and finger lime 'caviar'; a grapefruit jelly-, julienned rockmelon- and lemongrass cream-starring creation to lead the sushi rolls; a torched rockmelon nigiri; a pomegranate molasses and yuzu 'soy sauce'; matcha white chocolate 'wasabi'; and pickled apples in place of pickled ginger. Plus, you'll be able to pair these limited-edition dishes with neo-Japanese drinks. The sips selection stars reimagined variations of Japanese street food containing Four Pillars spirits, such as doughnut yakitori, a matcha-centred cocktail and a Japanese chicken curry pie-inspired option. Tickets for a meal at the izakaya are priced at $70 with seatings available from 6–7pm, and go on sale from Thursday, May 30. If you're looking to get your hands on the famed 'Ari-Gateaux' cake, you'll need to preorder as stocks will be limited. The item is priced at $16 a pop, and you'll be able to collect your order from the Newtown store — and Melburnians can join in on the action by ordering pickup at the Driver Lane locale on Tuesday, June 18. Black Star Pastry's izakaya pop-up will run from Friday, June 21–Sunday, June 23, 2024, at the corner of Dunning Avenue and Hayes Street in Rosebery. Head to the Black Star Pastry website to pre-order your Ari-Gateaux cake, or visit the izakaya's reservations page to secure your spot at the limited-time pop-up.
