What sits at the heart of European storytelling? That's a question that one of Australia's must-attend film festivals has been pondering for three years. It was back in 2022 that Europa! Europa initially started showcasing the breadth of cinema from across Europe — surveying as many countries as it can fit into each annual program, and swinging from the latest to the greatest pictures from across the continent. 2025's event kicks off in February to explore that idea again. Attending Europa! Europa's opening night this year means discovering what makes a French box-office hit, for starters. A Little Something Extra, directed by comedian and actor Artus, was its nation's highest-grossing homegrown movie of 2024. When it kicks off this Australian film fest in Sydney and Melbourne on Wednesday, February 12, it'll start the celebration of cinema with a tale about jewel thief and his son at a summer camp for young adults with disability. Returning to Ritz Cinemas Randwick in Sydney, plus both Classic Cinemas Elsternwick and Lido Cinemas Hawthorn in Melbourne — both for a month, running until Wednesday, March 12 — Europa! Europa has compiled a roster of 44 movies from 26 countries. Accordingly, its latest program lets viewers dig into what drives filmmaking from Austria, Belgium, Bulgaria, Denmark and Estonia, and also Greece, Italy, Luxembourg, Poland, Spain, Switzerland and Ukraine. Titles from Bosnia and Herzegovina, Czech Republic, Finland, Germany, Georgia, Montenegro, Norway, Romania, Serbia, Slovakia, Slovenia, Sweden and the United Kingdom are on the list, too. Unsurprisingly, the largest contingent comes from France. Indeed, Gallic cinema provides Europa! Europa with its centrepiece film as well — and it's an Australian premiere, with Once Upon My Mother stepping back to the 60s. The festival's headliners bring big-name talents, as well as touching documentaries to Sydney and Melbourne. In Another End from The Wait director Piero Messina, Gael García Bernal (La Máquina) plays a mourning widower exploring tech-enhanced ways of facing grief, with Renate Reinsve (Presumed Innocent) and Bérénice Bejo (Under Paris) co-starring. The Dardenne brothers (Tori and Lokita) co-produce the Belgian tennis academy-set Julie Keeps Quiet, while Sweden's 2025 Oscar submission The Last Journey hails from Swedish journalists and TV hosts Filip Hammar and Fredrik Wikingsson, and focuses on a trip to France with the former's father. Still on familiar faces, Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Academy Award-nominee Maria Bakalova (The Apprentice) leads the satirical Triumph, French standouts Daniel Auteuil (An Ordinary Case) and Sandrine Kiberlain (November) get farcical in Love Boat, and Mélanie Laurent (Freedom) and Guillaume Canet (All-Time High) portray Marie Antoinette and Louis XVI in their final days in The Flood. Other highlights from the fest's slate of new titles include Spain's I Am Nevenka, about an IRL MeToo case; U Are the Universe, a Ukranian sci-fil film made during the current war; the Sundance-premiering Sebastian, about a writer who is also a sex worker; Anywhere, Anytime, a modernisation of Italian masterpiece Bicycle Thieves; and Loveable, from the producer of The Worst Person in the World — and the list goes on. Europa! Europa's annual retrospectives keep proving a drawcard, too. After shining the spotlight on Poor Things and Kinds of Kindness director Yorgos Lanthimos in 2024, the festival is jumping back into French film history by heroing the iconic François Truffaut. Four of the French New Wave filmmaker's movies are on the lineup, all showing as new 4K restorations: Shoot the Piano Player, The Soft Skin, Two English Girls and Finally, Sunday!. Europa! Europa Film Festival 2025 Dates Wednesday, February 12–Wednesday, March 12 — Ritz Cinemas Randwick, Sydney Wednesday, February 12–Wednesday, March 12 — Classic Cinemas Elsternwick and Lido Cinemas Hawthorn, Melbourne Europa! Europa will screen in Sydney and Melbourne from Wednesday, February 12–Wednesday, March 12, 2025. For more information or to buy tickets, head to the festival's website.
If you've been in the DIY-doldrums since Work-Shop disappeared from their Broadway premises, we’ve some excellent news for you. They’re back. And they haven’t merely moved. They’ve expanded their crafty crusade across two brand-new premises – The Makery, at 106 Oxford Street, Darlinghurst, and the official Work-Shop HQ, at 80 George Street, Redfern. The first is the creative’s ultimate shopfront. Every single item has been crafted by a local artist. Hand-poured soy candles with names like ‘black bamboo + lily’ and ‘black raspberry’ line the shelves. Dioramas in vintage tins hold impossibly tiny scenes of striped lighthouses and motorcyclists and families. Reflection-based photographic portraits of surfers shimmer on the wall. There are hand-blended teas, detailed jewellery, painted skateboards and individually designed garments. Here’s how it works. Independent artists, designers and artisans 'rent' one of the shop's display environments — be it a wall or corner or shelf — for a minimal weekly fee. That's where the vendor's costs end. The Work-Shop Makery facilitates sales, devoid of commission or mark-ups. It’s a chance for creative types to display their wares, without the expense of through-the-roof rent, the scariness of approaching galleries and/or the hassle of risking inclement weather at markets. Not only do they get their very own space, they can also take advantage of Work-Shop’s increasing popularity, marked social media presence and the sheer volume of foot traffic on Oxford Street. "We work with City of Sydney a fair bit and they approached us with the space," Work-Shop co-founder Matt Branagan explains. "We wanted to create a space where we could give young makers and designers and artists a proper shopfront. It’s also a grassroots place, where people can meet and connect.” At least once a week, The Makery hosts ‘Meet the Maker’ sessions. The ‘makers’ head into the shop and spend some time painting, sculpting, stitching or doing whatever it is that they do. Anyone can drop in for a chat. “We often go into a shop and buy things,” Matt says. “But we don’t know much about the process of how or why it was made.” Workshops are also planned, with 3D crochet happening on Saturday, February 8, and Knitting 101 for February 15. There’ll also be various parties, events and launches. Pozible is scheduled to pop-up for a week in March, and a bunch of Etsy vendors are planning on organising regular meet-ups. “We want to create a community of people, just sharing and bouncing off each other, meeting other people who inspire them to take their path in a different direction or help their business,” Matt explains. Meanwhile, the spacious 80 George Street site has been turned into the Work-Shop HQ. Forty-five people turned up on February 1 for the first Work-Shop — typography with Gemma O'Brien. All kinds of new classes are on the menu — hula hooping, African drumming, robotics, foraging and swing dancing — and, in about a month's time, a cafe will be in operation, serving caffeine hits from 6am. You can even get in on the action semi-permanently by renting your own deskspace. The Makery The Makery The Makery The Makery The Makery Work-Shop HQ Work-Shop HQ Work-Shop HQ Images by Lindsay Smith.
Sushi has become so commonplace, it's usual to see it revolving around kitchen staff on colour-coded dishes on a conveyor belt or packaged in Woolies trays for the lunchtime business rush. There's not a lot of genuinely great sushi chefs in Sydney, but we've found a venue home to a few: Sake in The Rocks. Inventive sushi turns customers' head here for different reasons. And if the food doesn't get heads spinning, the 40 plus sakes on offer will. Three years since it opened in the Argyle complex in The Rocks, Sake still has its hat and its Aussie executive chef Shaun Presland at the helm. He trained and worked in Japan for 15 years before being headhunted for Nobu's Bahamas outing, then transferred to Sydney, at the Establishment's Sushi-e and Sake. Famed for his spicy but clean-on-the-palate platter of kingfish jalapeno, Sake has an extensive menu that's printed on fold-out paper, perhaps a vague nod to the art of origami, but it's more akin to opening up a Tokyo train network map. Appropriate, as there are many potential trips through Japanese cuisine to take, from steamed dumplings to Chinese-inspired prawn shumai with spicy ponzu or even wagyu beef with ginger and chives. The mains are once novel but now familiar eye-catchers such as popcorn shrimp. It's quite easy for diners to be marinated themselves if each dish is matched with a glass of sake, so the dessert extravaganza could be a much-needed sugar-rush hit. Certainly every assortment of ice cream, chocolate mousse and finely cut jelly is present, to cater for the inner child. As for the surroundings, Sake's faux traditional Japanese entrance foyer is simple and unassuming, with wooden stools and tables. The long walk into the main room reveals a cavern-like space divided between tables, booths and shoes-off and bum-on-floor tatami dining. Like the food, it's a blend of old tradition and flashy modernity. Three years down the line, this particular sushi train has not derailed. To extend the analogy, if anything, it's still Sydney's Japanese bullet train.
Now in it's third year, MTV Beats & Eats returns November 18 to take over Wollongong's Stuart Park. Just steps from North Wollongong beach, the festival brings live music and food lovers together for one big ol' party that will satisfy both your belly and your soul. Themed 'Space Fantasy', the festival encourages attendees to come in fancy dress as whatever their space fantasy may be. Astronauts, martians, space cowboys, alien unicorns — whichever costume you choose, you could win $2,000 for best dressed, $1,000 for second and $500 for third best dressed. Plus you'll look awesome. With past acts including Savage, PACES, Tigerlily and DJ Steve Aoki, you can expect an even bigger roster of local and international acts this year. Plus, in between sets, fill up on a range of eats from food vendors from the region, along with a few Sydney imports expected to dish out some top-notch barbecue, burgers and pizzas. And, though you probably don't need another excuse to get a ticket, your attendance will also go towards a good cause. With every ticket sold, MTV Australia will donate $1 to headspace, the national youth mental health foundation.
Since its founding in 1989, the story of Bangarra Dance Theatre has been the story of First Nations culture and tales leaping, spinning, swirling and twirling across the stage via some of the best dance works that Australia has ever produced. Sometimes, including in the films Spear and Firestarter — The Story of Bangarra, those stories and that unparalleled artistry has also swayed across the screen. Wherever Bangarra's talents have spread, the end results have always proven a must-see. In the organisation's 35-year history so far, however, it hasn't ever put together a show like Horizon before. Playing Sydney Opera House on Gadigal Country until Saturday, July 13 in its world-premiere season, this is the iconic Aboriginal and Torres Strait Islander performing arts company's first mainstage cross-cultural collaboration, expanding its focus to include tales from across Oceania. Joining forces: Māori choreographer and Arts Laureate Moss Te Ururangi Patterson, a veteran of Atamira Dance Company who is now the Chief Executive and Artistic Director at The New Zealand Dance Company; and Deborah Brown, a Helpmann Award-winning senior Bangarra dancer for 13 years with Torres Strait and Scottish heritage. In a production that takes its name to heart by pondering the space where the sky and sea meet, Patterson and Brown's The Light Inside pays tribute to the duo's respective countries while musing on what it means when we peer at the horizon looking for guidance and the way home. Beforehand, audiences are also treated to Sani Townson's Kulka, with an expanded form from its 2023 debut at Dance Clan opening Horizon. Images: Daniel Boud.
Coles, Woolworths and Aldi could be in for some stiff competition, as German supermarket giant Kaufland announces plans to open Down Under. Having launched way back in 1984, the chain's owned by the Schwarz Group, which takes out the title of the fourth largest retailer in the world. Now, with close to 1300 international stores under its belt, Kaufland wants a piece of the Aussie pie and it's revealed the locations of its first three local one-stop supermarkets. Set to drop a cool $459 million in initial investment, the group's scored planning approval to build stores in Dandenong, Chirnside Park and Epping in Victoria. Each site will be around 4000 square metres, with its own butcher, bakery and bottle shop, and an assortment of small businesses — such as nail salons, sushi bars and cafes — adjacent, too. Kaufland has also kicked off construction work on a mammoth, state-of-the-art distribution centre in the northern suburb of Mickleham. Taking up around 115,000 square metres — or the size of six MCGs — this building will be the largest of its kind in the country. Three further local retail sites are currently waiting on approval, with plans to open a stack more across the country after that. Kaufland is also planning to base its Australian headquarters in Melbourne and says it will source local products to stock its stores wherever possible. Kaufland's website states it's out to 'disrupt the Australian retail sector', delivering competitive prices across a hefty range of food and non-food items. Kauflands are slated to open at 592–594 High Street, Epping; 266 Maroondah Highway, Chirnside Park; and 1–5 Gladstone Road, Dandenong. We'll let you know as soon as opening dates are announced.
So by now it's pretty well-predicted that La La Land is going to dominate this year's Oscars, which, depending on who you ask, is either The Greatest Thing and totally deserved or The Worst Thing and proof of the Academy's irredeemable age/taste/whiteness. But there is one award it shouldn't win, and that's Best Original Score — if you ask us, it shouldn't even be nominated for it. That's because La La Land is a musical, and doesn't have a score in the usual cinematic definition of the word. Generally, a score is the music underpinning the action, not occurring within the scene as it does in La La Land. Ryan Gosling might look adorable while he's noodling on a piano for 'City of Stars', but the fact that he's most certainly in the scene means that the song is not part of the score in the usual sense. This distinction has been emphasised by the Academy itself in the past — from 1949 to 1969, Best Original Score was split into two separate categories: one for Original Score, and one for Musical Score. The score of a film is as important as any other aspect of it; it occupies more of a film's screentime than any actor, conveys more emotion than any speech, sets the mood more evocatively than any costume or lighting or scenery. The great film critic Roger Ebert liked to say that "movies are like a machine that generates empathy". If he's correct, the score is the engine driving that machine. Film is an inherently visual medium, yet a great score is as memorable as any image. Two drags of a cello's bow and you're going to need a bigger boat; I only have to hint at the famous 'dum dum dum dum DAdum dum DAdum' and you're reaching for your inhaler. Show me one big-budget action film since Inception that hasn't used Hans Zimmer's patented PWAAAAAAAARP at some moment of high drama. Think of The Pink Panther, 2001: A Space Odyssey, Psycho, Chariots of Fire or basically any Spielberg film, and it's the score that leaps into your mind instantly. You only have to look at the list of winners of Best Score to see how seriously film scores are taken. Significant classical composers like Erich Korngold (The Adventures of Robin Hood), Aaron Copland (Of Mice and Men, The Heiress), Leonard Bernstein (On the Waterfront), André Previn (Gigi), Miklós Rózsa (Ben-Hur), Ennio Morricone (The Mission, The Hateful Eight) and Tan Dun (Crouching Tiger, Hidden Dragon), and even Shostakovich and Prokofiev have all written scores. Other composers like Elmer Bernstein, Malcolm Arnold, Bernard Herrmann and Nino Rota — whose careers were mostly spent writing for films — are now spoken of in the same breath as other more traditionally classical composers, while today the music of James Horner, John Williams, Howard Shore and Hans Zimmer is often performed by symphony orchestras in the world's most prestigious concert halls. Even Trent Reznor has an Oscar for The Social Network. With all this blurring of boundaries and genres, the sound palette of films is broader and more experimental than it has ever been. Philip Glass, a modern classical composer long derided as difficult and unlistenable, has achieved popular recognition thanks to his score for The Hours; similarly, Icelandic composer Jóhann Jóhannsson's work has spanned film, theatre and contemporary classical throughout his career (and would have been nominated for an Oscar for his score for Arrival but for a technicality). This year's nominees for Best Original Score cover a number of styles, from musical (La La Land) to minimalist (Lion), from shimmery strings and piano chords (Passengers) to tense, darting violins (Moonlight) and unsettling, lush-yet-uneasy chamber pieces (Jackie) – proving that the emotion you make an audience feel is far more important than the method by which you make them feel. Film scores, in all their diverse sounds and styles, are inseparable from the cinema experience. They can complement characterisation, drive plot, confirm suspicions for an audience or confound their expectations. One thing they absolutely should not do is break into song on a highway off-ramp.
If a traditional, British-style afternoon tea experience is what you're after, this gem nestled into the back of a heritage-listed building in The Rocks should fit the bill. Pots of tea here are incredibly good value at $5 a pop — try the caramel whiskey or apple pie varieties to feel like you're being hugged from the inside. For $14 you can get two giant fluffy scones, your pick of jam, double cream and a pot of tea of your choice — they come served with a fluffy tea cosy and with delicate patterned porcelain to up the quaint factor. The owners here are like tea sommeliers and will expertly talk you through their wares — we tried gunpowder green on their recommendation and may have a new favourite herbal tipple.
It was inevitable that Vino Paradiso, the sprawling wine and food festival, would be a hit with Sydneysiders — with our insatiable love for great local booze and outstanding food. A couple of years later, and it's still going strong, bringing great vino to The Rocks and offering a great day out for nix. Vino Paradiso's outdoor fun will run from November 18 to 19 and will feature more than 100 stalls with some of the biggest (and smallest) names in the food and beverage game. On the agenda: more than 500 different tipples, plus collaborations between Black Star Pastry and The Rocks Brewing Co, Burgers By Josh and Young Henry', and Simmone Logue and Torbreck Wine. And if you're wanting something truly special, this year's fest includes Dinner in the Sky, which is exactly what it sounds like — a meal served at a dining table suspended over Sydney Harbour. As well as getting as well-fed and boozed as possible (or until your budget runs out, with entry free but eating and drinking requiring the use of the festival's currency cards), attendees will enjoy a plethora of cultural delights with live music, interactive exhibits and installations, ambient music collaborations and visual artistry. What more could you ask for? Oh right, stunning views of the Opera House and harbour, even if you aren't dangling at lofty heights? Done. Cheers. By Imogen Baker and Sarah Ward.
If you've got a pair of boots that were made for walkin' but not enough reasons to strap them on and eat up some pavement, there's an occasion coming up where you can do just that — and it's for a damn good cause. The occasion in question is Dusk to Dawn, a night walk event organised by UNICEF, taking place on Saturday, November 23. It's the newest and biggest night walk in Sydney's history, where participants will lace up and walk a 37km route from North Sydney to Bondi. It's not a race, there's no running required and it's a great way to see the city in a new (moon)light. The goal is for every entrant to raise $500 in donations for UNICEF (the world's largest children's charity organisation) which in turn goes towards lifesaving supplies for children in emergencies. Registrations are open now and are $75 until 11.59pm on Tuesday, October 8. UNICEF Dusk to Dawn will kick off at 8pm on Saturday, November 23. Registrations are open now, to register or find more information, visit the website.
If a group of contemporary artists took over Hobbyco, it might look like this. Walk through the narrow gap between the boom gates at Casula Powerhouse and you’ll find five model railways that have been reimagined in fantastical ways. The Infinite Everything by Claire Thackway and Gregory Hodge is a baroque-inspired installation built from paper cut-outs. Bursting with bright patterns, this miniature landscape is full of people caught in motion. From dancers to bathers, there is something quite joyous about these acrobatic figures. There also seems to be a focus on different cultural communities. Bringing together their distinct painterly styles, Thackway’s figurative work weaves in and out of Hodge’s kaleidoscopic swirls. These fluid brushstrokes are nicely paired with the rolling motion of the train. There is an unfathomable amount of detail in Emily Hunt's Doctrine of Eternal Recurrence. Everything is textured with busy fingerprints. Filled with little shrines and Aztec-inspired totems, the lush wilderness holds a pseudo-religiosity. Hunt uses found materials in her work, picking up the pieces of modern waste — it's a recycled utopia of sorts. The only self-portrait in the exhibition belongs to Owen Leong, who has chiselled his face into a mountain. Away from the sunny optimism of Thackway and Hodge, this work is dark and decadent. The mountain is made from black glitter and the little train carriages are filled with rose quartz. There is a pool of white salt that seems to be funnelling into a stalactite — or an inverted mountain — shining underneath the table. Like a lump of treasure in the shadows, there is something enticing about the symmetry of this work. Jaki Middleton and David Lawrey's Time Trap is also on the darker side of things. Their “ghost train” travels on an ultraviolet ribbon of light through a dark trench that resembles a decaying Australian countryside. Unlike Hunt’s environment, these artists envision a somewhat dystopian future. Due to mechanical difficulties, not all trains were operational during my visit. A bit disappointing but not entirely unexpected, these issues will probably be ironed out. On the whole, this exhibition is pretty damn delightful. The artists preserve the delicacy of the traditional model railway but colour it with their own form of social critique or self-examination. You can and should take the train out to Casula for a sight sure to please big and small.
Canterbury-Bankstown can feel a bit lacking in all things luxe — and if you live in this pocket of southwest Sydney and have found yourself wondering why lavish dining has felt a bit out of reach, your queries have been heard and answered. Bringing this dose of luxury to Sydney's west is Bartega, an artisanal cocktail bar hidden inside the Canterbury Leagues Club. Venture to the western burbs and you'll find an injection of dining destinations in Belmore's local hospitality precinct — with one of Sydney's top yum cha joints, The Dynasty, residing alongside this sleek bar and restaurant. The crown jewel of the leagues club's multimillion-dollar revamp is located high above Bridge Road, seating up to 60 guests comfortably on its cosy lounges. Its elegant fitout, designed by the renowned studio Atlis Architecture, boasts an al fresco dining area on the adjoining balcony and a stunning marble bar inside, which acts as an eye-catching centrepiece for the space. Bartega offers a variety of elevated snacks on its canapé-style menu — from the Mediterranean-style cauliflower popcorn with sumac seasoning and garlic tahini to the sticky pork belly bao buns, you'll discover a range of flavours celebrating the diversity of the area. Elsewhere on the menu, the oven-baked brie will warm you through the colder months, while the torched yellowfin tuna with wasabi mayo is an ideal summer snack. Pair your tuna and bao with the standout offering — aka the drinks menu. Led by Bennelong alum Tony Rudolph, you can expect a playful and inventive selection of cocktails. Crowd favourites include the Jin Cha — Roku gin combined with matcha, Chartreuse Green, yuzu and honey — and the signature lime and jalapeno Margarita Bartega. Plus, there's a wide-spanning range of wine, beer and spirits to choose from, including drops from local distillery Kalki Moon. If you really want to get into the Belmore spirit (no pun intended), then opt for Kalki Moon's Bulldogs Gin which can be ordered on its own or in the Brutus Blue cocktail.
Regardless of whether you find the block-sized World Square in the CBD more of an eyesore than shopping hub and apartment block extravaganza, you'll be interested to know the six or so-week-old addition, Kingswood Coffee, not only has your coffee needs covered but also offers a little nod to Sydney's past that might just keep those in the former camp happy. In a nutshell, back in the '80s, World Square somewhat controversially took the place of what was once the largest department store in Sydney (and at one point, the world), Anthony Hordern & Sons. Fifty-two acres of retail space, this back-then gargantuan commercial epicentre sported aesthetics of heritage-listed proportions that sadly went the way of many a lost architectural treasure. Fortunately, Kingswood's owner Mikey Jordan (ex-Manly's Barefoot Coffee Traders) isn't one to let beauty be forgotten. With an interior designed by Tamsin Johnson (Mr. Moustache, Mr Tipply's), Kingswood is a polished brass and wood delight, offering a small area inside to order from the two-man La Marzocco coffee machine, lit by four dimple-tipped opaque globes all above royal blue hexagonal tiles. Contemporary elements aren't forgotten either, with Sydney-invented Juggler taps automatically pouring out milk quick sharp, as well as saving approximately 80 percent on plastic waste. But of course, the main attraction here isn't the fit-out but the coffee. It labels itself as a 'specialty coffee shop', and the speciality here seems to be collaboration. The smooth and delicious house blend for dairy-based coffees is from Melbourne's Sensory Lab and uses one Columbian and two Brazilian beans (available to purchase by the bag at $50), while black coffee drinkers can savour the tastes of monthly rotating concoctions: this month is Melbourne-based Proud Mary ($60 per bag), while next month sees Sydney's Sample step up to the plate. Tea drinkers have a number of Tea Craft bags to choose from, Chai-lovers can enjoy an eight-hour brewed homemade creation and, according to Jordan, cold drip will be making its way over in time for summer. If you're looking for something a little naughty, opt for a mocha, combining milk and espresso with melted Belcolade Belgian chocolate, which, thankfully, is just the right level of sweetness not to overpower the underlining yummy coffee taste. But of course, if chocolate is more your thing, there are milkshakes and waffles all just waiting to be smothered in the stuff. Food-wise the selection is limited, but again collaboration reigns supreme, with pastries sourced from Leichhardt's Penny Fours, cronuts from Brewtown Newtown and sourdough from Brickfields in Chippendale. Filling for said sourdough sarnies comes from Alexandria's Salt Meats Cheese. All in all, while this place might only be a tiny takeaway joint tucked away in a monumental modern Sydney icon and surrounded by countless clothing giants and heartless chains, it's this appreciation of the past and, more importantly, a decent cup of coffee that has already made Kingswood a local for residents and business folk alike. Not bad going at all, we say.
Only idiots pre-judge films. Trailers are increasingly so misleading that the only true test of a movie is when the lights dim and the titles roll. And yes, idiots pre-judged this film. From the moment it was announced, so-called fanboys declared the female-led Ghostbusters a piece of feminist propaganda – helpfully allowing us to identify precisely who to unfollow on social media. The next level of premature opposition came from those who watched the trailers and deduced that this was to be the unfunniest film of all time. OF. ALL. TIME. If there was to be any merit given to the Ghostbusters pre-haters, it came in the form of the scepticism over reboots in general. The original Ghostbusters was made in 1984, yet there's little beyond the giant hair of Harold Ramis and Sigourney Weaver to make it feel dated – a factor that contributes heavily to its re-watchability. Again, though, the same could be said for Tim Burton's Batman (1989), which only sixteen years later would be spectacularly reimagined by Christopher Nolan in Batman Begins. The key word, of course, is 'reboot', which – unlike remakes – have licence to edit the story, characters and setting of the original for a whole new audience. Paul Feig's Ghostbusters is unreservedly a reboot. Indeed, it bears so little resemblance to the first film that comparisons are, by and large, pointless. Beyond the theme song, name and general busting of ghosts, this is a new film for a new generation, led by four comedic heavyweights in their absolute prime. Kristen Wiig, Melissa McCarthy, Kate McKinnon and Leslie Jones are a powerhouse ensemble, embodying four distinctly new and wonderfully defined characters. Wiig's uptight academic with a zero-point flirtation game bounces perfectly off McCarthy's acerbic renegade scientist, while McKinnon's genius inventor is so absurdly odd that only Jones's streetwise Patty could keep the balance in check. They're a courageous and capable collection of heroes supported by an amusing turn from Chris Hemsworth as the team's air-head secretary. The only time gender is ever even touched upon is in a nod to those internet fanboys, with Wiig reading aloud a YouTube comment that declares "ain't no bitches gonna hunt no ghosts". To suggest that this film's shortcomings have anything to do with its leads being women is so plainly dim as to not even warrant comment. After all, let's remember that just five years ago Feig, Wiig and McCarthy delivered the funniest film of the year in Bridesmaids. No, where Ghostbusters unfortunately falls short is in its story – and it's here that comparisons to the original are unavoidable. The original Ghostbusters was a deceptively complex story masquerading as a simple one, with multiple vignettes that not just cleverly, but critically, came together at the film's climactic crisis point. EPA intervention, an overloaded containment unit, bureaucratic interference and the seemingly-irrelevant lives of several apartment dwelling strangers all suddenly merged with both the Ghostbusters' own story and the ever-growing menace from the opening scene in a spectacular (and genuinely spooky) explosion of paranormal activity. By contrast, Feig's Ghostbusters is a disappointingly simple film striving ever so hard to seem more complex. Everything that happens on the supernatural front is the result of a single, poorly-defined human villain whose motivations for bringing about the apocalypse are nothing more than that he was bullied as a child. Compare that with Dan Aykroyd and Ernie Hudson in the original film as they considered, with genuine trepidation, the possibility that Judgment Day was truly upon them. Their fear became ours, and that combination of bona fide supernatural horror with outstanding humour was what made it one of the most successful and enduring comedies of all time. That's what's so noticeably absent in this reboot: the laughs aren't nearly as frequent as you'd expect, and the scary stuff simply isn't. Yes, there are some spectacularly funny moments, with Jones's debut outing as a Ghostbuster during a metal concert being the standout. Still, for a cast of this calibre, you're right to expect more. As for the ghosts, they scarcely feature until the effects-laden finale, one that's over as quickly as it begins. All in all, this is not a film that's going to destroy your childhood like so many clairvoyant haters suggested. Sadly, it's not quite a home-run either. The film's greatest strength, by far, is its cast. The four leads compliment each other magnificently and there's no scene-stealing; each has her moment in the spotlight, yet knows when to let the others shine. The post-credits scene, too, offers a tantalising hint at what the sequel might concern itself with. Here's hoping it happens sooner rather than later. Feig's Ghostbusters is not a particularly memorable film, but it's an excellent step in the right direction and an exciting glimpse of what might come next. https://www.youtube.com/watch?v=w3ugHP-yZXw
This year's music program is SXSW Sydney's most dynamic to date, showcasing a rich mix of talent from both local and international artists. Through an eclectic range of genres, innovative performances and opportunities for emerging artists to shine, live performances are the bedrock of the Fest. Over four electrifying nights, October 15–19, acts from more than 15 countries will perform at venues across Chippendale and its surrounds. With a lineup that includes internationally revered stalwarts, up-and-coming talent and unique collaborative projects, Sydney's music lovers can expect a thrilling experience that reflects the evolving landscape of the music industry. From live showcases to thought-provoking panels and workshops, the program explores the intersection of music and technology, diving into topics such as streaming, artist empowerment, and the future of live performance. Whether you're a passionate music fan, an industry professional or an aspiring artist, SXSW Sydney's 2024 Music Festival offers a chance to connect, learn, and be inspired by the transformative power of music. The Kid LAROI Keynote Address Saturday, October 19, 2–3pm ICC Sydney, Darling Harbour Theatre Featuring an in-depth conversation with the 21-year-old artist about his journey from Redfern to becoming a global star with over a billion streams, the Kid LAROI's keynote session will be one of the defining moments of this year's music lineup. SXSW Sydney will also be collaborating with LAROI to offer a series of professional development workshops and performance opportunities for the First Nations community in Waterloo and Redfern. The Kid LAROI is an Australian singer-songwriter known for his genre-blending sound, which combines pop, hip-hop, and R'n'B. Rising to fame with hits like 'Stay', he has quickly become a global sensation, celebrated for his emotional lyrics and relatable themes, capturing the attention of audiences worldwide 87dance You'll no doubt be familiar with K-pop, but Korea's Indie scene is just as vibrant. 87dance — from Seoul, South Korea — are known for their distinctive loft-funk-chill sound. They gained prominence in the K-Indie scene with their 2019 EP Palchilldance and refined their style in the 2022 EP Soldout Smile. Their singles 'How Can I Forget You Girl', 'Saffron', and 'Ghosts Are Bored' earned them a spot as an Apple Music UP NEXT artist and strong support from Spotify's Fresh Finds. Like many Korean music groups, fashion is an important part of 87dance's identity. The band blends eclectic styles from streetwear to vintage fashion, collaborating with brands like Fred Perry. J-MILLA x Yung Milla — Same Blood Hailing from the Northern Territory, artists J-MILLA and Yung Milla have carved their own paths to success, rising from the lean streets of Darwin's southern suburbs to national attention. For the first time, these two Marranunggu rap king bruthas join forces for an electrifying collaboration of rhyme, dance, and style. Happy Mag describes J-MILLA as "a dominant force in hip hop," while triple j labels Yung Milla as "hot shit," so you can expect Same Blood to be a watershed moment for Aussie hip hop. Voice of Baceprot This boundary-busting trio have been described by Metal Hammer as one of the greatest heavy metal power trios ever, declaring them "the metal band the world needs right now". Widi (bass), Siti (drums), and Marsya (guitar and vocals) first met in 2014 while they were junior high school students in Singajaya, a small village in Garut, West Java, located an eight-hour drive from Jakarta. Their teacher introduced them to their instruments and inspired the band's name; "Baceprot," meaning "noisy" in their native Sundanese. The band gained international attention in 2017 when their performance of 'The Enemy of Earth Is You' went viral. Since then, they have taken the stage at prominent events like Wacken Open Air (2022) and Glastonbury Festival 2024, as well as headlining shows in Bangkok and Kuala Lumpur, and embarking on two European tours (2021 and 2022) and a US tour in 2023. Their debut album, Retas, has also been recognized by Kerrang as one of the 50 best metal albums of 2023. Jeshi This Australian artist has been building an impressive legacy since releasing his debut album, Universal Credit, in May, 2022. This record is known for its multidimensional blend of personal, relatable and humorous themes, earning widespread acclaim from critics and fans. He has collaborated with notable artists like Sad Night Dynamite, Celeste, and Obongjayar, and his music has garnered support from leading fashion and music publications, including Hypebeast, Dazed, and The Guardian. Jeshi has captivated festival crowds at Glastonbury and other major festivals around the world, while also headlining a show in Tokyo and partnering with brands like Nike Air Max and Dr. Martens. I'mdifficult This multilingual, culturally diverse quartet — featuring Ernest (vocals, keyboards), Dotzio (vocals, synths), Eason (vocals, guitars), and Jason (drums) — fuses various styles and languages, reflecting their eclectic backgrounds growing up in both Taiwan and the US. The foursome's 2021 EP, 25, earned significant attention, amassing over two million Spotify plays and reaching 23rd on the Spotify Taiwanese charts. Their latest self-titled debut album, released in late 2023, showcases a mature, cinematic soundscape that critics have dubbed "sophisticated pop". Ixaras This queer indie pop-rock artist and songwriter from Brisbane got her break in 2023, when she made a significant impact on the scene as a triple j Unearthed High finalist, performing at BIGSOUND and Valley Fiesta alongside artists like Mallrat and Miss Kannina. Her track 'sprouts' has racked up 250,000 organic streams to date. Ixaras's music features melodic earworms and thought-provoking lyrics about the complexities of youth and love. Through her all-ages DIY gig company, Anti-Dismal, she has hosted multiple sold-out shows across Brisbane, creating an inclusive space where phones are refreshingly banned. Phoebe Rings This dream-pop quartet from Auckland, New Zealand, is led by songwriter Crystal Choi. Their debut single 'Cheshire' topped BFM's most played tracks in 2020 and hit number one on several student radio stations and alternative charts. Hot on the heels of this success came their self-titled EP, showcasing the band's mercurial mix of avant-pop, shoegaze, city pop and jazz. Their most recent releases have proven just as popular, with their latest single, 'Mandarin Tree', ranking on the Hot 20 NZ singles chart. For the full lineup of the 2024 SXSW Sydney Music Festival, visit the SXSW website.
Nine months after Geoffrey Gurrumul Yunupingu's passing, the Indigenous musician has posthumously achieved a historic feat with his final album. Released this week, Djarimirri (Child of the Rainbow) now sits at the top of the Australian charts, becoming the first record in an Indigenous language to do so. A project that took over four years to come to fruition — and was completed only weeks before Yunupingu's death — Djarimirri presents 12 traditional Yolngu songs and harmonised chants with orchestral arrangements, with the Australian Chamber Orchestra and Sydney Symphony Orchestra providing the latter. "This album is a testament to this great Australian and his family, all Yolngu and the greater Aboriginal population," said Skinnyfish Music's Michael Hohnen, Yunupingu's friend, collaborator and producer. "The history he has made taking a true Australian language and heritage to number one proves the strength of the underlying cultural identity of this nation." Born blind on Elcho Island off the coast of Arnhem Land, Yunupingu was already Australia's highest-selling Indigenous artist before Djarimirri's release. His three previous studio albums — 2008's Gurrumul, 2011's Rrakala and 2015's The Gospel Album — all peaked at third position on the ARIA album charts, with Gurrumul earning triple-platinum status and Rrakala also going platinum. A documentary about Yunupingu's life, which premiered at last year's Melbourne International Film Festival and also screened at this year's Berlinale, opens in Australian cinemas on April 25. Image: 6 Seasons Productions.
What do a twisted woodland, enchanted big-screen stories, the best new art that the Asia-Pacific region has to offer, movies about mad science, the work of Queensland artist Judy Watson, the fashion designs of Iris van Herpen, and an exploration of the importance of plants to Indigenous and Torres Strait Islander peoples all have in common — and with Brisbane, too? They're each featured on the Queensland Art Gallery and Gallery of Modern Art's big 2024 program. GOMA's tribute to fairy tales was announced in 2022, and arrives before 2023 is out; however, as the newly announced full lineup for next year shows, it's just one of many reasons to visit South Brisbane — and, if you're making the trip from elsewhere in Australia, Brisbane in general — before 2025 rolls around. Running from Saturday, December 2, 2023–Sunday, April 28, 2024, Fairy Tales is quite the blockbuster, and comes with movie program Fairy Tales: Truth, Power and Enchantment at Australian Cinémathèque to match. The 100-plus-piece showcase and its corresponding flicks will focus stories that we all lapped up as kids, telling us about otherworldly critters, wishes, spells and more. From venturing into the woods to peering through the looking glass, and also pondering what happily ever after means — while featuring works by Henrique Oliveira, Patricia Piccinini, Jana Sterbak, Kiki Smith, Abdul Abdullah and Ron Mueck along the way, plus a costume worn by David Bowie in all-time classic Labyrinth, pieces from Where the Wild Things Are as both a book and a movie, and threads from 2012's Mirror Mirror by Eiko Ishioka, and more — this showcase is primed to entrance. [caption id="attachment_919713" align="alignnone" width="1920"] Henrique Oliveira / Brazil b.1973 / Baitogogo 2013 / Palais de Tokyo, Paris / Plywood and tree branches / 6740 x 1179 x 2076cm / Courtesy SAM Art Projects, Galerie GP&N Vallois, Galeria Millan / © Henrique Oliveira / Photograph: André Morin / This work is indicative of a new commission by Henrique Oliveira for the exhibition 'Fairy Tales' at QAGOMA.[/caption] Set to arrive while Fairy Tales is still working its magic are both Seeds and Sovereignty and mudunama kundana wandaraba jarribirri: Judy Watson. The first will run from Saturday, March 2–Sunday, September 8, 2024 also at GOMA, and feature artworks about not only Indigenous and Torres Strait Islander peoples bond with plants, but with Country. The second will take over Queensland Art Gallery to celebrate the Queensland artist's career, spanning four decades and highlighting her emphasis on Waanyi Country in northern Queensland, where her family is from. Also on display at GOMA until Sunday, September 8, 2024: sis: Pacific Art 1980–2023, which centres on contemporary pieces from the titular region — with Lisa Reihana, Yuki Kihara and Latai Taumoepeau among the artists with works on display. [caption id="attachment_923891" align="alignnone" width="1920"] Iris van Herpen / Netherlands b.1984 / Hydrozoa dress, from the 'Sensory Seas' collection 2020 / Collection: Iris van Herpen / Photograph: David Uzochukwu / © David Uzochukwu.[/caption] Midyear, Iris van Herpen: Sculpting the Senses will head to GOMA as well, in an Australian exclusive for the massive exhibition about the Dutch fashion designer, as organised by the Musée des Arts Décoratifs. It visits Down Under after displaying in Paris. "Set in direct dialogue with a selection of contemporary works of art, installations, videos, photographs and objects from natural history, the exhibition brings together more than 100 garments created by van Herpen, seeking new forms for femininity and challenging our notions of haute couture. It will include a recreation of van Herpen's Amsterdam studio and a space dedicated to her fashion shows, accompanied by a sound work by Dutch artist Salvador Breed," said curator Cloé Pitiot. "Iris van Herpen is one of the most avant-garde figures of her generation and Sculpting the Senses, organised by Musée des Arts Décoratifs, offers a sensory exploration of the pioneering Dutch designer's multidisciplinary practice. It's a creative universe that merges fashion, contemporary art, design and science," added QAGOMA Director Chris Saines. [caption id="attachment_923890" align="alignnone" width="1920"] Mit Jai Inn / Thailand b.1960 / Planes (Electric) (detail) 2019 / Oil on canvas / Dimensions variable / Installation view, 'Encounters', Art Basel Hong Kong, 2019 / Image courtesy: The artist and Silverlens, Manila & New York / © Mit Jai Inn.[/caption] Then, come Saturday, 30 November 2024–Sunday, April 27, 2025, it'll be time for The 11th Asia Pacific Triennial of Contemporary Art (aka APT11) at both GOMA and Queensland Art Gallery. While it's too early for specifics, artists and collectives hailing from Australia, Asia and the Pacific will have pieces on display — and a cinema lineup, events, live performances and the like will also be on the agenda. As well as its fairy tale flicks, the Australian Cinémathèque has plenty in store. The Magic of Monty Python will celebrate the obvious for two January weeks, then the films of Michael Powell and Emeric Pressburger — so The Red Shoes and Black Narcissus, for instance — will be in the spotlight from February–April. When May hits, those movies about mad science will start rolling until late June, such as The Bride of Frankenstein and The City of Lost Children. [caption id="attachment_923889" align="alignnone" width="1920"] Production still from The Bride of Frankenstein 1935 / Director: James Whale / Image courtesy: Universal Pictures.[/caption] QUEENSLAND ART GALLERY AND GALLERY OF MODERN ART 2024 PROGRAM: GOMA and Queensland Art Gallery: Saturday, December 2, 2023–Sunday, April 28, 2024 — Fairy Tales at GOMA Saturday, March 2–Sunday, September 8, 2024 — Seeds and Sovereignty at GOMA Saturday, March 23–Sunday, August 11, 2024 — mudunama kundana wandaraba jarribirri: Judy Watson at Queensland Art Gallery Saturday, June 29–Monday, October 7, 2024 — Iris van Herpen: Sculpting the Senses at GOMA Until Sunday, September 8, 2024 — sis: Pacific Art 1980–2023 at GOMA Saturday, 30 November 2024–Sunday, April 27, 2025 — The 11th Asia Pacific Triennial of Contemporary Art (APT11) at GOMA and Queensland Art Gallery Australian Cinémathèque: Saturday, December 2, 2023–Sunday, April 28, 2024 — Fairy Tales: Truth, Power and Enchantment Saturday, January 13–Saturday, January 27, 2024 — The Magic of Monty Python Wednesday, January 31–Wednesday December 11, 2024 — For the Love of It: A Curator's Pick Saturday, February 3–Saturday, April 27, 2024 — Technicolor Dreams and Transcendent Reality: The Films of Powell & Pressburger Friday, May 3–Sunday, June 23, 2024 — Mad Science For more information about the Gallery of Modern Art and Queensland Art Gallery's 2024 exhibitions, plus Australian Cinémathèque's 2024 lineup — all of which will occur at Stanley Place, South Brisbane — visit the venue's website. Top image: Still from 'Cinderella' (1922) dir. Lotte Reiniger, courtesy British Film Institute.
Although summer has now passed it's safe to say we're all still gearing to head outdoors for some quality time in the sun. Instead of sticking to your favourite hike or local park in the cooler Sydney days ahead, why not venture a little further afield into the countryside? Spanning ocean and desert, NSW boasts an abundance of local food, live music and breath-taking nature to take in. From the lush Hunter Valley vineyards to the snow-capped mountains of Perisher, there are festivals and events for every taste. And it's all happening in autumn, the season that isn't as hot or busy as summer. Do you need any more convincing? Without some planning, however, your next three months are going to look a little dull. To help you out, we've teamed up with Destination NSW to put together a handy list of top things to do with your entourage just in time for the trees to shed their gold and red leaves.
Drinking sessions at home just got a whole lot more stylish thanks to the arrival of Pord — a new company combining art and wine in a rather gorgeous way. Pord has pooled the talents of three female Australian artists and Victorian winemakers Mitchelton to create its first series of mini wine barrel masterpieces, designed to bring more art and beauty into your everyday life. Each artist has contributed a limited-edition and eye-catching work to grace one of Pord's three-litre barrels, which each hold a neat four bottles' worth of wine. Illustrator Filippa Edghill's monochromatic artwork, titled Ancient Lines, is inspired by nature's curves; Melbourne artist Hannah Nowlan has contributed The Last Resort II from her most recent exhibition; and designer Evi O.'s work Sorbet is a vibrant painting with bold colours and pastels. Customers can select their favourite design and have it filled with one of three Mitchelton wines from the 2017 and 2018 vintages: pinot grigio, shiraz or rosé. Unlike regular bottles of wine, your beautiful barrel will keep wine fresh for four to six weeks after opening — and it can be repurposed. Hand-signed and numbered by the artist, and teamed with a certificate of authenticity, it's the kind of statement piece destined to be the talk of your dinner parties for years to come. And there are plenty more exciting artist collaborations in the works for future Pords. A pre-sale for Pord's covetable launch series kicks off at midnight on Saturday, July 14, with the goods to be delivered in October. The limited-edition barrels will set you back $160 each. Images: Josie Mackerras
Venturing into Prince Wine Store in Zetland should come with a warning: not only will you come out with a bottle or two more than you expected, but you'll also leave armed with plenty of wine knowledge to impress your mates with after a chat with the knowledgeable staff. The store was gifted to Sydney by our Victorian neighbours who have been enjoying the wine expertise from Prince Wine in its two Melbourne stores for over two decades. The independent wine merchants focus on Australian producers plus a selection of imports from France, Italy, New Zealand and California. In addition to the team exercising their encyclopedic knowledge of wine in the retail space, Prince Wine also run a series of wine education courses throughout the year. These range from introductory courses for oenophile amateurs to formal qualifications for those seeking industry recognition. Images: Kitti Gould
Stranger Things is wrapping up with its fifth season, and with one final battle against Vecna (Jamie Campbell Bower, Emmanuelle) in a Hawkins where the Upside Down is no longer just an otherworldly realm. The mood, then, as captured in the just-dropped official teaser trailer for the show's last run: "wherever this blood leads, I need you to fight one last time". A reverberating metal tune (Deep Purple's 'Child in Time'), explosions, a town under military quarantine, a hunt for Eleven (Millie Bobby Brown, The Electric State), Terminator franchise icon Linda Hamilton, tears, hearty embraces, huge stands: this sneak peek at Stranger Things season five has them all. As the trailer demonstrates, it also possesses a sense of occasion. Audiences should already be feeling it, given that this is goodbye to the series, but the show's characters clearly are as well. Yes, Netflix is going big on finales of late, with Squid Game coming to a conclusion in June, too. With Stranger Things, Down Under viewers will be tuning in not once, not twice, but three times for this farewell trip to Indiana — starting in November 2025, then checking in again in December this year, then finally on the first day of 2026. On Thursday, November 27 in Australia and New Zealand, the first four-episode volume of season five will drop. Then, come Friday, December 26, you can mark Boxing Day with the second three-chapter volume. Finally, Thursday, January 1, 2026 will kick off with the last Stranger Things episode ever. Back in June, Netflix also dropped a clip teasing the show's swansong — one filled with looks backwards at the tale that Stranger Things has told so far, which means peering at how young the cast was when the show premiered in 2016, as well as glimpses forward. Accordingly, from what's in store, fans already know that comas, bedside vigils, exploring via torchlight, shaking floors and a key piece of advice — "run" — all feature. Season five makes finding and killing Vecna its main aim, all Eleven has been forced into hiding. The year: 1987. The time: autumn. That's a jump forward from the fourth season's spring 1986 timing. And one way or another, the residents of Hawkins that viewers know and love will have their final experience with the eeriness that's been plaguing their town for years. That's the promise that bidding adieu to Stranger Things, of course, even if the hit Netflix show's end won't be it for the franchise's broader universe. If it feels like there's been a lengthy wait for more — even with the series no stranger to long delays between seasons — that's because there has been. When November rolls around, it will have been almost three-and-a-half years since season four, a gap extended due to 2023's Hollywood strikes. Before that, just under three years elapsed between seasons three and four, and just under two between the second and third seasons. The 13-month gap between seasons one and two seems positively short, then. Late in 2024, Netflix revealed the titles of Stranger Things' eight season-five episodes. If you feel like obsessing over the monikers for clues, you've had eight hints for a while, then. The season will kick off with 'The Crawl', then deliver 'The Vanishing of ...', 'The Turnbow Trap' and 'Sorcerer'. Next comes 'Shock Jock', 'Escape From Camazotz' and 'The Bridge', before it all ends with the enticingly named 'The Rightside Up'. Alongside Brown and Bower, season five brings back all of the other usual faces, too — so Winona Ryder (Beetlejuice Beetlejuice), David Harbour (Thunderbolts*), Finn Wolfhard (Saturday Night), Gaten Matarazzo (Please Don't Destroy: The Treasure of Foggy Mountain), Caleb McLaughlin (The Deliverance), Noah Schnapp (The Tutor), Sadie Sink (O'Dessa), Natalia Dyer (All Fun and Games), Charlie Heaton (The Souvenir: Part II), Joe Keery (Fargo), Maya Hawke (Inside Out 2), Priah Ferguson (The Curse of Bridge Hollow), Brett Gelman (Lady in the Lake) and Cara Buono (Things Like This). As for more Stranger Things-related antics after season five, when creators Matt and Ross Duffer revealed that their sci-fi show was working towards its endgame back in 2022, they also said that they had more stories to tell in this fictional realm. Instantly, we all knew what that meant. Netflix doesn't like letting go of its hits easily, after all, so the quest to find a way to keep wandering through this franchise was about as surprising as Jim Hopper's (Harbour) usual gruff mood. Check out the teaser trailer for Stranger Things season five below: Stranger Things season five will arrive in three parts, streaming in Australia and New Zealand on Thursday, November 27, 2025; then on Friday, December 26,2025; and finally on Thursday, January 1, 2026. You can watch the first four seasons now via Netflix — and read our review of season four. Images: courtesy of Netflix © 2025.
No one might've thought of Joel and Ethan Coen as yin and yang if they hadn't started making movies separately. Since 2018's The Ballad of Buster Scruggs, their latest feature together as sibling filmmakers, the elder of the Coen brothers went with Shakespearean intensity by directing 2021's The Tragedy of Macbeth on his lonesome — while Ethan now opts for goofy, loose and hilariously sidesplitting silliness with Drive-Away Dolls. The pair aren't done collaborating, with a horror flick reportedly in the works next. But their break from being an Oscar-winning team has gifted audiences two treats in completely different fashions. For the younger brother, he's swapped in his wife Tricia Cooke, editor of The Big Lebowski, O Brother, Where Art Thou? and The Man Who Wasn't There, on a picture that couldn't slide more smoothly onto his resume alongside the madcap antics that the Coens combined are known for. Indeed, spying shades of the first of those two features that Cooke spliced in Drive-Away Dolls, plus Raising Arizona, Fargo and Burn After Reading as well, is both easy and delightful. As a duo, the Coen brothers haven't ever followed two women through lesbian bars, makeout parties and plenty of horniness between the sheets, though, amid wall dildos and other nods to intimate appendages, even if plenty about the Ethan-directed, Cooke-edited Drive-Away Dolls — which both Ethan and Cooke co-wrote — is classic Coens. There's the road-trip angle, conspiracy mayhem, blundering criminals in hot pursuit of Jamie (Margaret Qualley, Poor Things) and Marian (Geraldine Viswanathan, Cat Person), dumb men (those crooks again) in cars and just quirky characters all round. There's the anarchic chases, witty yet philosophical banter and highly sought-after briefcase at the centre of the plot, too. And, there's the fact that this is a comedic caper, its love of slapstick and that a wealth of well-known faces pop up as the zany antics snowball. The Joel-and-Ethan team hasn't made a film as sapphic as this, either, however, or one that's a 90s-set nod to, riff on, and parody of 60s- and 70s-era sexploitation raucousness. Cooke, who identifies as queer, helps Drive-Away Dolls draw upon what she knows in its watering holes and three-decades-back timing; the movie was also originally conceived pre-Y2K, when it would've been a contemporary piece if it had made it to fruition. Centring on its paired queer ladies, there's a lived-in vibe among its gleeful chaos, then. Giving the film authenticity and having a freewheeling blast by going in any which way that it can — and swinging from sweet to eagerly cheesy at times (including in its editing) — aren't mutually exclusive for a moment. One of the best surprises of Drive-Away Dolls is how constantly surprising it is and entertainingly spontaneous it feels, no matter how many familiar Coenesque beats and bits viewers can pick out as the romp rolls on for 84 engaging minutes. Among the elbows in past Coen fare's direction is Sanctuary and Stars at Noon's Qualley as the self-assured and keenly talkative Jamie, who could be a relative of George Clooney (Ticket to Paradise) as O Brother, Where Art Thou?'s Ulysses Everett McGill (off-screen, of course, Qualley is her Maid co-star Andie MacDowell's daughter). But she's rarely in tight spot even when she is; letting anything pierce her good time isn't her vibe. Marian and then Jamie's police-officer girlfriend Sukie (Beanie Feldstein, American Crime Story) calling while she's in the throes of lust with someone else doesn't pierce her bubble. The subsequent end of that relationship barely does, in fact, other than sparking her desire for a new backdrop. Contrastingly, Marian always feels like everything is wrong — almost to Inside Llewyn Davis levels — whether she's being asked out by a colleague, annoyed by the word "anyhoo", keeping resolutely single years after her last breakup or deciding that ditching Philadelphia to visit an aunt in Tallahassee is her only option for change. Jamie doesn't just declare that she's tagging along when Marian hits the highway to Florida; she's the reason that the picture has the title it does (which was originally Drive-Away Dykes). If a car requires transporting from one place to the next, customers can put their hands up for discounted — or even free — vehicle hire to get it from A to B via a drive-away deal, which is handy for Jamie and Marian's finances. But after a visit to Curlie (Bill Camp, The Burial) for their temporary automobile, goons Arliss (Joey Slotnick, Plane) and Flint (CJ Wilson, The Blacklist) become their two-steps-behind shadows, working for an insistent fellow crim (Colman Domingo, The Color Purple). They're after a briefcase that's introduced in the movie's opening scene, where it's in the hands of a collector (Pedro Pascal, The Last of Us). Simply attempting to hightail it out of town, Jamie and Marian have no idea what they've inadvertently gotten mixed up in. This is Ethan's debut solo fictional feature without his sibling co-helming. That said, it's his and Cooke's second successive project where Ethan is credited as the director, Cooke edits, but it's clearly a joint effort (the first: 2022 documentary Jerry Lee Lewis: Trouble in Mind). This Coen brother knows how to make all kinds of double acts work, then — and, in this one, Drive-Away Dolls' guiding forces weave no shortage of hookups into the journey. A chihuahua named Alice B Toklas, Henry James novels, cameos by Matt Damon (Oppenheimer) and Miley Cyrus (Black Mirror), a game cast in lead and supporting parts, a wild goose chase, general giddiness, a heap of spice, bars and hotel rooms after bars and hotel rooms, artist Cynthia Plaster Caster: they're all along for this ride. There's ample daffy detours in the narrative, but zero stalling in this riotous affair. With chemistry to burn between them, Qualley and Viswanathan are as pivotal to Drive-Away Dolls as its main behind-the-scenes talents. The film was always going to need a duo who made viewers crave every second in their company regardless of what the script throws their way, including whether Jamie is splashing around her exhibitionist sex-positivity or Marian is yearning for a life less ordinary — and it found them. There's a particular depth to Australian Miracle Workers, The Broken Hearts Gallery and Blockers star Viswanathan's portrayal, despite plunging too deep never being one of Coen and Cooke's aims. Marian wants something beyond the rut that she's long been stuck in. She can't stop being herself, aka the movie's straight man, to get it. She's hardly welcoming of the mania that she's thrust into. Relatable also isn't what Drive-Away Dolls is chiefly going for, but it finds it as well and drives away with it.
If you're vegan, or just generally into vegan-friendly things, then the Vegan Grocer Store is your one-stop shop for food, beauty, fashion and home goods. Starting off as an online-only business, this bricks-and-mortar store on Glebe Point Road has been serving animal-loving and sustainability-minded Sydneysiders since it opened back in 2012. In store, you'll find groceries, wine, instant meals and vegan recipe cards alongside fashion items, shoes and cosmetics — all, of course, cruelty free. Images: Trent van der Jagt
Sue and Russell Parsons opened the Central Coast's gourmet cheese factory eight years ago and in that time it's amassed awards for 12 varieties of cheddar, haloumi, curd cheese and a blue that, we're told, even the most mouldy cheese averse will love. Little Creek Cheese can be found the Old Wyong Milk Factory once stood, which was the first dairy in the country to commercially produce yogurt, and so it also makes a creamy yogurt in the old dairy factory's honour. [caption id="attachment_776741" align="alignnone" width="1920"] Kitti Gould[/caption] You can drop into the factory in Wyong to taste its lemon myrtle and mountain pepper fetta, garlicky labne, or gin-flavoured cheddar (yep) — or any of the other flavours on offer. A 30-minute private tasting with the cheesemaker is $20 per person in which you'll get to sample ten of its cheeses. For a more hands-on tour, book into the Cheese Experience for $110 and you'll get to make your own ricotta and paneer as you learn about the humble beginnings of the artisan cheese factory. Images: Kitti Gould
Mirik Milan knows what it takes to keep the pulse of a city racing long into the night. For the past few years he's held the office of the Night Mayor of Amsterdam, a title given to the head of an advisory NGO tasked with building bridges between various stakeholders, including business owners, residents and government officials, to ensure the hours between sundown and sunup can be enjoyed by one and all. Sounds nice huh? Incidentally, if you're in Sydney right now, sobbing softly into your keyboard, please trust us when we tell you: we feel your pain — especially one day after the NSW Government has decided to 'relax' the lockout times by a mere 30 minutes. For the record, Milan feels your pain too. The former club promoter turned after-dark crusader was in the Harbour City last week as a guest of the annual Electronic Music Conference — and yes, he had plenty to say about the lockouts. [caption id="attachment_578891" align="alignnone" width="1280"] Night Mayor, Mirik Milan[/caption] "The lockouts are a symptom of an undereducated State Government," Milan tells Concrete Playground. "If you want to create behavioural change it needs to come from the grassroots up. If the idea is that you'll create behavioural change by imposing stricter laws on operators, you're blaming operators for a societal problem." "In my opinion, the reason why governments find it easier to clamp down on nightlife and just blame the operators is because that's the cheapest way to deal with it," he continues. "Starting a bunch of initiatives to inform people how to behave and to encourage people to drink less is much more expensive, and the risk of failing is much higher." Nevertheless, Milan believes the rewards of a bustling nightlife are well worth the effort. "Why is it important to have a vibrant nightlife?" asks Milan. "Because it will attract a lot of young, creative people. When you have a lot of young, creative people in a city, you have a lot of creative industries, and this is an engine for economic growth." So what would it take for Sydney to turn its nocturnal fortunes around? Below, Milan shares his tips on how to create a safe, prosperous and energetic nightlife. Let's just hope Mike Baird subscribes to our newsletter. TAKE CUES FROM INTERNATIONAL INITIATIVES THAT HAVE ACTUALLY WORKED Both the NSW and Queensland lockouts were introduced to stamp down on alcohol-related violence. But wouldn't it be nice if there was some way to do this without punishing those of us who can have a drink without throwing a punch? In Amsterdam's bar-filled Rembrandtplein district, the answer came in the form of so-called 'square hosts', whose job it is stop confrontations before they start. "They walk the street every Friday and Saturday night in the nightlife area and they try to de-escalate situations when there's something going on," explains Milan. "Unfortunately, when people have something to drink and they see the police, they see [them] as an aggressor. These square hosts are non-aggressive." Meanwhile, the City of Amsterdam has also developed an app that allows people to report antisocial behaviour to nearby community officers. "It means that complaints are dealt with really effectively," says Milan. "We understand that it can be super frustrating for residents that live around the nightlife square, and every weekend you have the same complaints and problems. With this system, you can [be in] direct contact with the community officer… and [it] really gives the residents the feeling that their problem is being listened to." But according to Milan, the biggest accomplishment of the project has been the introduction of 24-hour licenses. "What was really radical about this process was that for the first time in Amsterdam, licenses were given out not on the basis of whether you had four walls, a roof and a bouncer in front of the door, but on the basis of content," he says. "And when you focus on content you get a different kind of audience. These venues are all multidisciplinary. They have a bar, restaurant, live music, gallery space, some venues even run kindergartens." [caption id="attachment_602520" align="alignnone" width="1280"] Night Mayor Summit, nachtburgemeester.amsterdam[/caption] WORK WITH THE STAKEHOLDERS When it comes to making positive changes, Milan understands that collaboration is key, having discussed countless stakeholder viewpoints in community meetings, one-on-one talks and even at a dedicated Night Mayor Summit, the first of its kind, held in Amsterdam in April 2016. "Bring all the stakeholders together and try to come up with a solution and find a middle ground where everyone can benefit," he says. "Bridge the gap between the municipality, policy makers, small business owners and city residents. We always say by having a dialogue you can change the rules of the game." Milan also recommends fighting opposition with evidence instead of emotion. "We deal with [opposition] by making people aware that the baby steps that we make are reasonable," he tells us. "We like to run pilots, to see if [an initiative] works, to see if it doesn't have too much of an impact on residents, and then [we can make] an educated decision. Often these [initiatives] are tailor made for a certain area, because cities are becoming more and more complex… it's really about working together, and bringing operators and residents together, and seeing what works for your area." Ultimately, it helps that the economic incentive is there. "The value of the nighttime economy has become much more important for cities around the world over the last 10 to 15 years," says Milan. "I've never heard of mayors or city councils who want to kill jobs." [caption id="attachment_560788" align="alignnone" width="1280"] Kimberley Low.[/caption] GIVE PEOPLE THE RESPECT THEY DESERVE While you're never going to be able to get rid of every dickhead, in Milan's experience most people who go out at night want to do the right thing — especially when you treat them like grown-ups. "Send out a positive message," he suggests. "[Tell people] you can go out later, but you have to take care of your community." "For example, the Amsterdam Dance Event attracts 375,000 people to the city in five days," says Milan. "When people come into the airport, the first thing they see [are signs] saying, 'Welcome to ADE, be safe and have a great time.' And I get so many good responses from people saying, 'Wow, I feel so respected, I feel so welcome here, I will take care.''" "Give people the responsibility to take care of themselves," asserts Milan. "Of course, you have to have good legislation in place as well, but give them the right to take care of their community. This is a community that is open minded and willing to listen to these kinds of messages." Top image: Bodhi Liggett.
Do you guys ever think about watching the biggest movie of 2023 in the comfort of your own home? Barbie is a pink-hued dream on the big screen, where everyone should see it once — and it'll beam just as brightly via streaming from Tuesday, September 12. That's when the highest-grossing box-office hit of the year will hit digital, arriving on premium video on demand to rent and buy in Australia and New Zealand. By now, thanks to the pandemic, we all know the fast-tracked drill: these days, films make their way to home entertainment far faster than they used to before 2020. In Barbie's case, like everything from Dune, The Matrix Resurrections and Everything Everywhere All At Once to Elvis, Nope and Don't Worry Darling before it, it'll be both screening in cinemas and shining Kenergy onto your TV at the same time. You'll find Barbie available to stream via all the usual platforms — think: Google Play, YouTube Movies, Apple TV, Prime Video, Fetch, Foxtel Store, Microsoft and Telstra TV Box Office — in Australia and New Zealand. And, of course, you'll find a Greta Gerwig-helmed, Margot-Robbie-starring smash that sports rosy colours, does indeed bring the popular doll to screens, but couldn't be more smart and meaningful about it. Marking actor-turned-director Gerwig's third solo stint behind the camera after Lady Bird and Little Women, Barbie gets its namesake (Robbie, Babylon) struggling with life's big questions — and, when the film's key Barbie and Ken (Ryan Gosling, The Gray Man) drive through Barbie Land's gates to discover what's on the other side, struggling with Los Angeles as well. Splashing as much humour as pastel tones throughout its frames, Barbie is scripted by Gerwig and fellow filmmaker Noah Baumbach — her helmer on Greenberg, Frances Ha, Mistress America and White Noise, and real-life partner — and boasts a cast that's a gleaming toy chest of talent. All those on-screen stars help fill the feature with Barbies, including Issa Rae (Insecure) as president Barbie, Dua Lipa (making her movie debut) as a mermaid Barbie, Emma Mackey (Emily) as a Nobel Prize-winning physicist Barbie, Alexandra Schipp (tick, tick... BOOM!) as an author Barbie and Ana Cruz Kayne (Jerry and Marge Go Large) as a supreme court justice Barbie — plus Nicola Coughlan (Bridgerton) as diplomat Barbie, Kate McKinnon (Saturday Night Live) as a Barbie who is always doing the splits, Hari Nef (Meet Cute) as doctor Barbie, Ritu Arya (The Umbrella Academy) as a Pulitzer-winning Barbie and Sharon Rooney (Jerk) as lawyer Barbie. There's also a whole heap of Kens, including Simu Liu (Shang-Chi and the Legend of the Ten Rings), Kingsley Ben-Adir (One Night in Miami), Ncuti Gatwa (the incoming Doctor Who) and Scott Evans (Grace and Frankie). And, Michael Cera (Arrested Development) plays Alan, Emerald Fennell (The Crown) plays Midge, Helen Mirren (Shazam! Fury of the Gods) is the narrator, America Ferrera (Superstore) and Ariana Greenblatt (65) are humans, Jamie Demetriou (Catherine Called Birdy) is a suit, Will Ferrell (Spirited) wears a suit as Mattel's CEO and Connor Swindells (also Sex Education) is an intern. We expect that you know all of the above already given how well Barbie has been doing in cinemas, where it has also cracked the top 15 of all time — and become the first movie by a solo female director to make $1 billion at the global box office. And yes, we expect that you'll now get 'I'm Just Ken' stuck in your head again (and again and again). Check out the Barbie trailer below: Barbie will be available to stream from Tuesday, September 12 via platforms such as Google Play, YouTube Movies, Apple TV, Prime Video, Fetch, Foxtel Store, Microsoft and Telstra TV Box Office in Australia and New Zealand. It's also still showing in cinemas Down Under. Read our review.
What if you were at a Titanic museum and Céline Dion was there? What if she was not only your narrator, but her songs accompanied the tale that she was telling? What if Titanic, the king of the boat-set blockbuster world, got an off-Broadway musical-comedy parody that went heavy on Dion, then? That's Titanique — and it's coming to Australia. This amusing ode to James Cameron's (Avatar: The Way of Water) movie docks in Sydney from Thursday, September 12, 2024 to make its Aussie debut. Nearing three decades since Titanic first splashed into cinemas, the film's status in popular culture will clearly go on. Near, far, wherever you are, you'll need to set sail for the Harbour City to see Titanique, which is playing an exclusive season at The Grand Electric in Surry Hills. "I am so excited that Sydney will be the next stop on Titanique's international cruise. If you love Céline Dion, if you love the film Titanic and you love having a completely silly night out, then this show is for you. Titanique is a nonstop waterfall of pure joy that will literally melt your troubles away. I can't wait to see you there!" said Tye Blue (RuPaul's Drag Race), Titanique's director and co-writer. "I am so thrilled that Titanique will make its maiden voyage to international waters in Sydney for its Australian debut, and I cannot wait to see that Aussie sense of humour embrace this hysterically funny nautical fantasia when it comes to life down under this September," added Titanique's original producer Eva Price. Titanique will dive back into the story of Jack and Rose until at least early November, with Drew Weston and Georgina Hopson stepping into Leonardo DiCaprio (Killers of the Flower Moon) and Kate Winslet's (The Regime) shoes as Jack and Rose — and Marney McQueen playing Dion. It was back in 2017 that the show premiered in Los Angeles, and in 2022 that it set a course for off-Broadway. It also has berths in Toronto, Montreal and London in its future. So far, the production has three Lucille Lortel Awards to its name, plus two Dorian Awards and the Off-Broadway Alliance Award for Best New Musical, among other gongs. And as for the songs, co-writers Blue, Marla Mindelle (Sister Act) and Constantine Rousouli (Cruel Intentions) — with the latter two originally starring as Céline and Jack — have worked in everything from Dion's 'My Heart Will Go On', of course, to Where Does My Heart Beat Now' and 'A New Day Has Come'. Titanique plays The Grand Electric, 199 Cleveland Street, Surry Hills, Sydney from Thursday, September 12, 2024 — head to the show's website for tickets and further information. Images: NYC Off-Broadway cast, Daryl Roth Theatre, NYC, Evan Zimmerman.
For years, French wine has carried a reputation that's both revered and, let's be honest, a little intimidating. Grand Cru? Appellation d'Origine Protégée? It can all feel like a secret language. But beyond the codes and classifications lies a truth worth rediscovering: French wine is less about labels and more about land. And today, a new generation of producers is making that land speak louder — with clarity, purpose and a surprising accessibility that's finally reaching Australian tables. Read on for our guide to French wines, their Aussie lookalikes and what you should be drinking them with. The Loire: Fresh, Crisp and Perfect With Seafood Sauvignon blanc drinkers used to wines from the Adelaide Hills or Marlborough will find familiarity — and perhaps surprise — in the Loire's restrained, mineral expressions. Stretching from the Atlantic coast to the heart of central France, the Loire Valley produces some of the most food-friendly wines. It's one of the country's most diverse and dynamic regions, and one that pairs beautifully with Australia's seasonal, produce-driven cuisine. Sancerre, Reuilly and Pouilly-Fumé offer crisp, flinty sauvignon blancs that elevate seafood, fresh cheeses and vegetables with vibrant acidity. Ordering oysters at a restaurant? Skip the sparkling and go for a Loire sauvignon instead — it'll slice through the brininess with razor-sharp freshness. Quincy adds a floral, zesty touch, ideal with grilled fish or salads. For reds, cabernet franc brings a lighter touch: bright-fruited, low in tannin and full of charm. Pair it with charcuterie, grilled vegetables or a Sunday roast chicken. [caption id="attachment_1018160" align="alignnone" width="1920"] Parker Blain[/caption] Burgundy: Precision Rooted in Exceptional Terroir Pinot noir lovers from Tasmania or the Mornington Peninsula will feel at home, but Burgundy adds a savoury depth that's worth exploring. If Bordeaux built its prestige on boldness, Burgundy built its legacy on nuance. Here, pinot noir and chardonnay are the stars — two grapes Australians already know well, but in Burgundy they show another side. Pinot noir here is savoury, earth-driven and age-worthy. If you love Tasmanian pinot, you'll recognise the elegance but with less fruit and more mushroom, spice and forest floor. It's perfect with duck breast, mushroom risotto or soft cheeses such as brie. Chardonnay shifts depending on its village — from steely and mineral in Chablis (picture it with freshly shucked prawns and grilled fish) to rich and nutty in Meursault (ideal with lobster, roast chicken or creamy pasta). [caption id="attachment_688735" align="alignnone" width="1920"] Kristoffer Paulsen[/caption] The Rhône Valley: Warmth, Spice and Balance Fans of Barossa shiraz or GSM blends from McLaren Vale will find Rhône reds comfortingly familiar — but with lifted aromatics and distinctly European restraint. Stretching from Lyon to Avignon, the Rhône produces wines that feel instantly relatable to Australian palates: bold yet balanced, sun-drenched but structured. In the south, grenache-led blends like Châteauneuf-du-Pape offer layers of fruit, spice and silky tannins — perfect with chargrilled lamb or slow-cooked vegetables. In the north, syrah reigns supreme: savoury, peppery and elegant. If you love Barossa shiraz, it will feel like its leaner, spicier cousin. Pair it with beef fillet, venison, roast duck or smoky eggplant dishes. Champagne: Beyond the Big Names Champagne might be the classic aperitif, but in France, it's also a food wine. A glass of brut with oysters or tempura? Perfect. A bottle of rosé champagne alongside salmon, duck or a summer berry dessert? Even better. Vintage champagne, made only in exceptional years, pairs beautifully with richer dishes like lobster, scallops or truffle risotto. Extra brut — bone-dry and precise — cuts through fried chicken or chargrilled seafood with ease. For Australians, the closest comparison is Tasmania's boutique sparkling scene, where grower champagnes offer freshness and complexity without the flash. If you normally reach for prosecco or Tassie fizz, try champagne in its many forms — brut for starters, rosé with mains or vintage for something special. The renewed interest in French wine isn't about prestige — it's about connection. Just as Australians have embraced minimal-intervention wines from regions like the Adelaide Hills or Margaret River, they're now discovering that many French producers follow a similar ethos. While big names still dominate shelves, smaller importers are fuelling the renaissance. One such importer is Aptent Gourmet, a Sydney-based team whose portfolio spans the Loire, Burgundy, Champagne and the Rhône — all chosen for their focus on small-scale, sustainable farming and wines that reflect people as much as place. Ready to trial a French drop at your next dinner? Explore our favourite French restaurants in Melbourne and French restaurants in Sydney. Images: Supplied
Gelato Messina is bringing gourmet to the freezer aisle this month. The gelato mega brand has teamed up with Peters Drumstick to go mainstream — bringing its beloved gelato to supermarkets and convenience stores all over the country. Sure, you've eaten many-a-Drumstick in your day, with the brand launching in Australia all the way back in 1963 — whether it was a childhood favourite or now your late-night go-to, it's a long-standing ice cream staple. But now with the Sydney-based gelateria on board, the humble Drumstick cone of your youth has been spruced up — the Messina way. The new cones feature four classic Messina flavour combos, which were initially created in its Rosebery HQ, before being mass produced in Peters' Drumstick factory. Flavours include mango and salted coconut, made with Aussie produce and topped with mango sauce and coconut flakes; vanilla bean and peanut praline, topped with dark chocolate; roasted hazelnut gelato, made using imported Italian nuts; and, of course, dulce de leche, topped with caramel sauce and chocolate-coated biscuits. All four flavours are available at Coles, Woolworths and independent groceries across Australia. Each comes in pop art-style boxes of four, priced at $9.99 per box. As far as convenience stores and petrol stations go, only the mango and salted coconut and roasted hazelnut flavours are up for grabs as single cones for $4.90 a pop. The collab is limited though, so if you want 'em, come and get 'em. Gelato Messina X Peters Drumstick collaboration ice creams are available at supermarkets, petrol stations and convenience stores for a limited time.
Mona Foma, MONA's wild and weird summer music and arts festival, is back for 2018. And this time around, it's set to eclipse all previous incarnations, with the festival adding a program of Launceston events to its usual Hobart lineup. Further to the announcement of the MONA hotel and the move to Launceston back in July, this beefed-up presence also heralds the festival's biggest, most eclectic program to date, thanks largely to funding from the State Government. The Mofo 2018 lineup is a cracker, delivering 11 days of thought-provoking art and music to Tasmania's two largest cities and celebrating creativity and personal expression in all forms. Running from January 12 to 14, the Launceston leg will see singer-songwriter Gotye join the Ondioline Orchestra to pay homage to renowned French electronic composer Jean-Jacques Perrey (January 12 and 13), as well as a dance performance by Canada's The Holy Body Tattoo, scored live by post-rockers Godspeed You! Black Emperor (also January 12 and 13). Mofo's northern run will culminate with a huge, free party on January 14. To follow, January 19 to 21 will mark Mofo's final MONA appearance for a while, so it's exiting with a bang. The museum's outdoor stage will feature performances from the likes of punk poet Moor Mother, all-female Argentinian act Fémina and a collaboration between Tassie bassist Nick Haywood and The Hobart Liberation Orchestra. Martin Blackwell will deliver a 24-hour continuous performance soundtracked by an array of global instruments, while the MONA tennis courts play host to a challenging fashion runway courtesy of SAAKA's Hunger for Gluttony. Elsewhere in Hobart, the Violent Femmes will perform with the Tasmanian Symphony Orchestra, a one-day mini-Mofo will pull together local acts like Comrad XERO, Crypt Vapor and Phillipa Stafford, and the festival's official after-party Faux Mo will take over a huge new waterfront space at MAC2. Mona Foma 2018 will take place at venues across Launceston from January 12–14, at MONA from January 19–21 and across Hobart from January 15–22. Tickets are available here from Monday, October 16.
Is there any social situation more painfully awkward than being in the presence of a couple having an argument? The hair-curling passive-aggression. The teeth-grinding fake smiles. The years and years of squabbles and resentment finally coming to a head. And you, sitting there, wanting nothing more than to evaporate into thin air. Imagine that experience stretched out for two whole hours, and you'll have a rough idea of what it's like to watch Force Majeure. The single worst date movie to come out of the European arthouse circuit since Charlotte Gainsbourg become intimately familiar with a pair of rusty scissors in Antichrist, Ruben Östlund's probe of a marriage in crisis is at once brilliant and impossible to bear. Part piercing relationship drama, part deliciously mean-spirited black comedy, the film follows a wealthy Swedish family on a skiing holiday in France. In the opening scene, we see them lining up on the slopes for an impromptu family photograph. Perfect husband. Perfect wife. Two impossibly perfect kids. But disaster can strike even the most photogenic of families — and in Force Majeure it quite literally does. The four are sitting down to lunch when snow begins to cascade down the mountain. A controlled avalanche suddenly no longer under control, the white wall barrels towards the balcony restaurant. Ebba (Lisa Loven Kongsli) seizes the children in her arms and looks desperately towards her husband, Tomas (Johannes Kuhnke)... just in time to see him running in the other direction. That is, until everyone realises it was all just a false alarm, at which point he slinks quietly back to the table so the four of them can finish their meal. It's an ingenious setup to one of the most uncomfortable films you're ever likely to see. At first, no-one wants to talk about what happened. So it hangs in the air, like a fart you're too embarrassed to admit to. Inevitably, though, it has to be addressed. Forced jokes lead to tight-lipped denials which in turn lead to public accusations. Östlund clearly delights in the opportunity to make his characters — along with his audience — squirm in their seats. Scenes invariably run longer than feels natural, until you're practically begging for the director to cut away. It's especially tough to watch because deep down, you can't help but wonder about what you'd have done in the same situation. Yet the film isn't so much scathing of Tomas's split-second reaction as it is of his refusal to own up to it. As a merciless, darkly comedic takedown of masculine delusion, Force Majeure would make for an ideal double feature with the recently released Gone Girl. Frankly, these Swedes make their American counterparts look positively meant-to-be. https://youtube.com/watch?v=3nTJIc_e6Ns
Husband-and-wife furniture business Reddie has a new showroom next to The Dolphin Hotel on Crown Street. Created by Caroline and Andrew Olah, Reddie specialises in sleek, modern and colourful homewares with an emphasis on durable high-quality materials — all of which will be showcased at this Surry Hills gallery-like showroom. "With our new showroom, we can showcase our products in the way they were intended in a clean and pared-back space. Our products are architectural minimalist in design with a utilitarian approach. We don't follow trends and fads, instead, we focus on clean lines, versatile designs, and beautiful craftsmanship," Creative Director Caroline Olah said. "As customers can tailor products by colour and/or size, the gallery-like space allows them to feel inspired and get creative. The simplicity in the space also creates a gender-neutral environment for our customers." In order to give visitors an experience reminiscent of an art gallery, the Olahs have stripped the building, knocking down walls and giving it a stark white coat of paint, creating a flowing open showroom that accentuates the fun and vibrancy of the furniture. Potential buyers will have the chance to wander through this homely space in the heart of Sydney, discovering the variety of items Reddie has on offer. Alongside its signature chairs, tables and desks, the organisation also produces home accessories by upcycling waste from its furniture production. You'll find wall hooks, umbrella holders, chopping boards, bowls and planters, all made using leftovers from some of Reddie's larger projects.
Two romantic comedies are on the program for the fifth incarnation of Sydney Hills Shakespeare in the Park, presented by inventive and critically loved theatre company Sport for Jove and held at Bella Vista Farm. Adam Cook will direct Shakespeare's Much Ado About Nothing, while Damien Ryan (Hamlet) will tackle Edmond Rostand's Cyrano de Bergerac. Though written 300 years apart — the former in 1598 and the latter in 1897 — the two works have much in common. Both tell the stories of professional soldiers, who have the courage to face the frontline and yet lack the nerve to confess their love. Both explore the use of wit and pretence to conceal vulnerability and fear. Both question the implications of non-conformity. Local secondary students will also be flexing their dramatic muscles via three special performances of brand new play Exit, Pursued by a Bear, delivered through Sport for Jove's education initiative, the Second Age Project. It's a bit out of town, but the quality of Sport for Jove's productions and the lure of a canopy of stars leads to sell-out crowds each year. There's no better way to inject a bit of drama into your weekend excursions.
Since its highly anticipated re-opening back in 2015, Chippendale's Old Clare Hotel has held a firm place as one of the city's best boutique hotels. Reborn from the (metaphorical) ashes of the historic and dearly beloved Clare Hotel, and adjoining Carlton United Brewery Administrative Building, the hotel boasts heritage timber panelling and exposed brick walls, furnished with pendant lighting and vintage furniture. Plus, you can bring your pup along thanks to several dog-friendly suites. On request, they come decked out with extras like handmade pet bowls crafted by Motion Ceramics, Fuzz-Yard plush toys and a miniature retro-style lounge for your pet's sleeping and relaxing. For guests on the go, there's a pet directory listing animal-friendly bars and eateries, and handy dog-walking and dog-sitting services available through the hotel. And your furry mate can even get in on the all-important room service action, with a complimentary menu of in-room pet dining options. They'll find treats like Yummi roo bites for cats and Savourlife beef-flavoured dog biscuits, and dry and wet food, all available 24/7. Other hotel amenities include a rooftop pool and bar, private gym and free bike hire, as well as in-room massage services. Guests can also take advantage of custom-made bicycles to explore the surrounding neighbourhood. At night, simply relax at The Clare Bar — or at the hotel restaurant, Automata (before the beloved Hatted restaurant shuts its doors in December 2022), which gives all guests a cool 20% off. Alternatively, you've got the wealth of delicious dining options just a hop, skip and jump down the road at Sydney's Chinatown. And the best of Redfern and Surry Hills is an easy stroll from your digs. Location, location, location. Now you can book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations everywhere.
The noble crab, with its rock-hard shell, crusty legs and creepy, boggling eyes has a secret: it's delicious AF. Somehow people figured this out (what a surprise that would have been for the first person to crack open that shell and discover that perfect, perfect crabbery), including the seafood-crazy folk at The Morrison. And so, the annual Crab Carnival was born. From March 20 to April 16, The Morrison will be putting crab in everything — we mean everything. Expect conventional crab dishes like fried crab, crab toast and soft shell crab po' boys alongside less conventional offerings like mini crab doughnut burgers washed down with a Crabby Mary (crab doesn't sounds like a word anymore, right?). No crab is left unturned during this four-week festival. Especially if you head down on Thursday nights for the Louisiana crab broil — you'll be able to don a bib, grab a mallet and hoe into a sea of blue swimmer crab, corn on the cob, new potato and sausage.
So you've wrangled some IKEA furniture together and propped a few struggling houseplants in the corner, but your walls are still looking tragically bare. Whether you've just moved into a new place or been in the same apartment for years, art is something that's often left to the bottom of the homewares list. The Other Art Fair Sydney is here to help you inject some colour and energy into your space. The international festival is all about making art inclusive and accessible, with artworks for as low as $100. The multi-day fair will be returning to The Cutaway in Barangaroo for another year from Thursday, October 12 to Sunday, October 15 with a lineup of 120 independent artists, DJs, performances and food and drink options. To celebrate the return of this art-filled affair, we've teamed up with The Other Art Fair to give away a luxe staycation for two. The winner will score two tickets to opening night on Thursday, October 12 along with a $250 voucher to put towards whatever art catches their eye. They'll also get $50 worth of food and drink vouchers to spend while they're there. Then they'll get to kick back in style with a night at the waterside Ovolo Woolloomooloo. [competition]915083[/competition]
In 2023, Australia's east coast joined New York, Hawaii, Mexico and Croatia as a host of Palm Tree Music Festival, the fest filled with folks hitting the decks that was co-founded by Kygo. With one of the event's guiding forces himself leading the lineup — and Tiësto also on the bill — the Down Under debut went down well, so much so that a second spin is on its way. Mark your calendars for December 2024, then, because the festival is returning for round two. 'Stole the Show', 'Here for You', 'Stay' and 'It Ain't Me' talent Kygo isn't on the lineup this time, but The Chainsmokers happily lead the charge instead, ready to bust out 'Closer', 'Something Just Like This' and more. The Grammy-winners' spot on the bill marks Drew Taggart and Alex Pall's first trip to Australia in five years — and get excited about the festival's rendition of 'Don't Let Me Down' because Daya is also on the Palm Tree Music Festival roster. For company so far, Swedish DJ and producer Alesso, the San Francisco-born Gryffin and Harlem's Austin Millz round out the first announcement of acts. Accordingly, everything from 'Words', 'Remedy' and 'If I Lose Myself' to 'Woke Up in Love', 'You Were Loved' and 'Cry' — and also 'Lovely Day', 'Inside Out' and 'Bad Behaviour' — could echo through Palm Tree Music Festival's three 2024 Aussie stops. Just as with its premiere run in Australia, the festival will roll into Sydney, Brisbane and Melbourne, heading to Sydney Showgrounds, Brisbane's Sandstone Point Hotel and Melbourne's Sidney Myer Music Bowl. With its holiday-friendly name, it should come as no surprise that Palm Tree Music Festival takes inspiration from Kygo's stints touring the world. Expect a cruisy vibe set to EDM's greatest and latest, too — this time with the bonus of a summer berth. More names will be announced for the fest's 2024 return Down Under at a later date. Palm Tree Music Festival 2024 Australian Lineup: The Chainsmokers Alesso Gryffin Austin Millz Daya Palm Tree Music Festival 2024 Australian Dates: Friday, December 6 — Sydney Showgrounds, Sydney Saturday, December 7 — Sandstone Point Hotel, Brisbane Sunday, December 8 — Sidney Myer Music Bowl, Melbourne Palm Tree Music Festival returns to Australia in December 2024. Tickets presales start at 12pm local time on Monday, July 8, with general sales from 3pm local time on Friday, July 12. For more information, head to the festival promoter's website. Images: Jared Leibowitz.
If you, like The Who, think you've played every pinball machine there is to play, you'd be dead wrong. This December Sydney's Belvoir St Theatre is bringing you a '70s-inspired pop-up arcade heaven to slake the lust of any pinball wizard. Belvoir's Downstairs Theatre will be transformed into the ultimate basement games room, complete with an original NES (Nintendo Entertainment System) and a bar to quench the thirst that can only come with intense gaming. The beers will be provided by Coopers at $6 a pop, and local lads Poor Toms Gin will be slinging a deliciously retro punch for $10. The Bumper Bar pop-up will run from December 2 right up until Christmas Eve to coincide with Belvoir's last show of the year, Girl Asleep. On top of that, the cash you drop will go to the theatre's Arts Access Program, which provides theatre tickets to students who may not be able to access them otherwise. Then bucks gets you entry to the bar and unlimited gaming, so get those supple wrists working — there's pinball to be played. Belvoir's Bumper Bar will run from December 2-24 in their Downstairs Theatre at Belvoir Street, Surry Hills. For more info visit belvoir.com.au. Image: Wayne Patrick Finn via Wikimedia Commons.
Visitors to the Sydney Opera House might soon be able to stay the night, under a bold new plan being considered by NSW state authorities. According to The Guardian, the New South Wales Department of Planning and Environment is currently mulling over a proposal that would see certain sections of the Opera House — including the Utzon Room, the Board Room, the Joan Sutherland Theatre and the Concert Hall — temporarily transformed into luxury accommodation on a small number of nights throughout the year. Under the proposal put forward by the Sydney Opera House Trust last year, the Opera House could be utilised for "two types of experiential events". The first would offer "up to two nights' accommodation for a maximum of five guests, offered five times per year". The second would offer "up to two nights' accommodation for a maximum of 100 guests, offered on a single occasion per year". According to the proposal, the activation would "provide a unique opportunity for the community to experience the iconic Sydney Opera House in new and innovative ways", while allowing corporate partners to "promote their support of the Sydney Opera House". The idea sounds cool in theory, but has caused some controversy, particularly in relation to the Opera House's corporate partnership with Airbnb. In a submission to NSW Planning, a former Opera House employee called the plan "bold and brazen marketing" and described the partnership with Airbnb "evil genius". Speaking to The Guardian, a spokesperson for the Opera House said that they did not intend to charge visitors for an overnight stay, but would instead utilise the accommodation for "ballots, visitor experiences, competition prizes or promotional activities". It doesn't sound too dissimilar to the types of competitions that accommodation sites Airbnb and HomeAway have run overseas, which have included overnight stays. It doesn't sound too dissimilar to the types of competitions that accommodation sites Airbnb and HomeAway have run overseas, which have included overnight stays in the Eiffel Tower, the catacombs in Paris and Dracula's Castle. And while it could prove a handy option if the Opera House decides to run its all-night Bingefest this year, we'll wait and see if the proposal gets the final sign-off. Via The Guardian. Image: Frances Gunn.
ANZAC Day might be more than a month away, but it's still being affected by efforts to stop the spread of COVID-19. With non-essential events with over 500 people now banned indefinitely, services around the country are being cancelled and reduced in size. The situation differs state by state, with each respective branch of the RSL making a call on their usual commemorations. Of paramount concern nationwide isn't just protecting the general public, but protecting veterans, especially those of an older age who are particularly at risk from the coronavirus. In New South Wales, that means scrapping all public services entirely. The same is the case in Queensland, although it'll look into options to mark the occasion "without placing veterans and the general public at risk". Western Australia and Tasmania are also completely scrapping their plans. [caption id="attachment_665411" align="alignnone" width="1920"] Shrine of Remembrance Flickr[/caption] In Victoria, events will go ahead — but the public won't be able to attend. There'll be a single dawn service at the Melbourne Shrine of Remembrance, which will be conducted "with a small number of official guests and modified to minimise COVID-19 risk"; however, the midday service at the same spot won't go ahead, and neither will the ANZAC Day march. RSL sub branches across Victoria will also be allowed to conduct one commemorative service only, but these will not be open to the public either. If the mass gatherings ban is still in place on April 25, it's likely another major part of ANZAC Day in Australia won't go ahead either: the annual games of two-up. ANZAC Day services will no longer go ahead on Saturday, April 25 in New South Wales, Queensland, Western Australia and Tasmania. In Victoria, all services have been cancelled except a dawn service at the Melbourne Shrine of Remembrance, but it will not be open to the public. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: ANZAC Day at Dee Why RSL.
We've made it to the last day of winter (time to burn your beanies and unpack your togs) and to celebrate Falls Festival has just gifted us with one helluva lineup. Helping to ring in the art and music festival's 26th year is a pretty buzzworthy gang of musical mates headlined by American rapper Anderson .Paak. He'll be taking the stage with his band The Free Nationals, and performing hits off his Grammy Award-nominated album Malibu and maybe a tune or two off his highly anticipated third album, Oxnard Ventura. He's joined on the bill by big names like UK foursome Catfish and The Bottlemen, who'll be debuting some fresh new material at their only Aussie show; Australia's own Vance Joy; Scottish synth-pop trio Chvrches, who'll also be here for NYD celebration Field Day; Interpol, fresh off the back of their new album release, Marauder; and Toto. Toto. Yes, the American rock band behind the masterpiece that is 'Africa' is heading to Falls. While you're feeling nostalgic, you'll also be able to hit up Hilltop Hoods — call dad. True to form, the Falls 2018 local lineup is equally exciting, and every bit as broad. Homegrown acts hitting the stage include the dance-ready Flight Facilities, Melbourne's psychedelic King Gizzard & The Lizard Wizard, Sydney producer Touch Sensitive, Gold Coast native Amy Shark and Heaps Gay DJs & Friends back for another year. This year, too, an impressive 48 percent of acts performing have female artists and, while it's not quite half — and there are still lots of other minority groups that are underrepresented — it's a start. As always, the tunes are backed by a colourful curation of art events, performances, pop-ups, markets, wellness sessions and gourmet eats. It's all happening over New Years at the usual spots in Tassie's Marion Bay, Lorne in Victoria, the North Byron Parklands and the Fremantle Oval Precinct, WA. But here's what you're here for — the full lineup. FALLS FESTIVAL 2018 LINEUP Anderson .Paak & The Free Nationals Catfish and The Bottlemen (no sideshows) Vance Joy Chvrches Hilltop Hoods Toto Interpol 88Rising Feat. Rich Brian, Joji, Niki & August 08 (no sideshows) Flight Facilities Amy Shark DMA's Kind Gizzard & The Lizard Wizard Golden Features First Aid Kit (no sideshows) Ocean Alley Hockey Dad Cashmere Cat (no sideshows) The Vaccines Cub Sport Ruel Jack River Bishop Briggs Mallrat Briggs Touch Sensitive Tkay Maidza Dermot Kennedy Tired Lion Hobo Johnson & The Lovemakers Soccer Mommy Banks Triple One Alice Skye Heaps Gay DJs & Friends + More to be announced FALLS FESTIVAL 2018 DATES Lorne, VIC — December 28–31 Marion Bay, TAS — December 29–31 Byron Bay, NSW — December 31–January 2 Fremantle, WA — January 5–6 Falls Festival 2018 will take place over New Years. Friends of Falls members pre-sale tickets are available from midday Friday, August 31, with General Sales kicking off next Thursday, September 6 at 9am. For more info and to buy tickets, visit fallsfestival.com.
In one of the best new shows of 2022, and a Golden Globe-winner as well, a Chicago sandwich shop served up far more than just meat and bread. Following Carmen 'Carmy' Berzatto (Jeremy Allen White, Shameless) as he returned to run the family eatery after his brother's (Jon Bernthal, We Own This City) death, The Bear's menu also spanned intense kitchen and interpersonal chaos, plus its head chef's dream of levelling up the humble beef-slinging business. When season two arrives this winter, change is well and truly part of the show's spread, with Carmy's renovation and revamp plans at the The Original Beef of Chicagoland underway. As seen in the just-dropped full trailer for the series' upcoming return — which follows an earlier initial sneak peek back in March — neither the show nor its protagonist's life have gotten any less stressful. Trying to bring a fine-diner's level of meticulous to a neighbourhood sandwich shop didn't go smoothly in season one, and endeavouring to completely transform the restaurant was always going to be peppered with mayhem in season two. Get ready to devour requests for cash, tight timelines, constant construction noise, cooking experiments, visits to culinary school, awkward interviews and t-shirt typos. And, of course, an array of dishes being whipped up and instantly whetting appetites off-screen. The new trailer also adds Shiva Baby and Booksmart's Molly Gordon to the cast — and, although he hasn't been seen in season two's early glimpses so far, Breaking Bad and Better Call Saul great Bob Odenkirk will also be guest starring. Gordon and Odenkirk join not only the exceptional White, but the rest of The Bear's impressive roster of talent, such as Ebon Moss-Bachrach (The Dropout) as Richie, aka Cousin, aka Carmy's brother's best friend; Ayo Edebiri (Dickinson) as sous chef Sydney; Abby Elliott (Indebted) as Carmy's sister Natalie, aka Sugar; and Lionel Boyce (Hap and Leonard), Liza Colón-Zayas (In Treatment) and Edwin Lee Gibson (Fargo) among the other Original Beef staff. The Bear was renewed for season two before the show even made its way Down Under, after debuting in the US last June, then reaching Australia and New Zealand via Disney+ at the end of August. Given that it's now a huge hit, here's hoping that audiences here won't experience a delay again this time around when it hits the US on June 22 again. This go-around will span ten episodes, giving viewers two extra servings of Carmy's culinary endeavours. While season one already saddled him more than his fair share of troubles and struggles, there's no way that season two is going to a cruisy dream for the kitchen ace. If you missed the first season, it jumped into the mayhem after Carmy took over The Original Beef of Chicagoland. Before returning home, the chef's resume spanned Noma and The French Laundry, as well as awards and acclaim. That's just the beginning of the story, in a series that truly conveyed what it's like to work in the hospitality industry — including navigating a restaurant kitchen's non-stop pressures. Yes, the mood is anxious from the outset, with The Bear's creator Christopher Storer (who also has Ramy, Dickinson and Bo Burnham: Make Happy on his resume) starting the series as he definitely meant to go on, but still expertly managing to balance drama and comedy. Check out the full trailer for The Bear season two below: The Bear streams via Disney+ Down Under, with season two set to return on June 22 in the US — we'll update you with an exact local season two release date when one is announced. Read our full review of season one.
Have you ever needed to convey an important message to someone in a big way, but sweated to find the perfect gift to do so? Maybe you needed to say 'sorry for being a jerk', 'thanks for being a great mate', or simply 'I love you'. Well, perhaps not surprisingly, there's a store to fix that problem. Initially launching as a website in 2013, the retailer branched out into a bricks-and-mortar in Martin Place's GPO building — then moved to Westfield Sydney in 2020. The store is built around the concept of 'give different'. That means sourcing items that are unique and thoughtfully designed, so you're in very little danger of doubling up on gifts. Products include knives carved from deer antler, hand-woven scarves and handmade resin jewellery from Dinosaur Designs. Gourmet goodies include wheels of Bruny Island cheese and premium single malt whisky distilled in highland Tasmania, which you can taste test in the store. You'll also find colourful wares from the iconic Finnish design brand Marimekko. Images: Joey Clark.
VJing on now-defunct pay TV music channel Channel [V], then hosting Australian Idol, The Bachelor franchise and The Masked Singer: they're dream gigs. So is appearing as yourself on Neighbours and Offspring, narrating Bondi Rescue, popping up on everything from Thank God You're Here to Have You Been Paying Attention?, running successful podcasts and writing a book. Since getting his start in radio in Brisbane, Osher Günsberg has ticked off all of the above and more for over two decades, and has rarely been far from the spotlight — but he's also always wanted to make fun of the news live in front of an audience. That show now exists, complete with the requisite tongue-twister name: NTNNNN: Night Time News Network Nightly News with Osher Günsberg. "It's an old joke, but it works," Günsberg tells Concrete Playground, his enthusiasm evident over the phone. "How many Ns can you make it? I think The Chaser had four and I wanted to get more than that, so I've gone with five Ns." Premiering in January and playing Marrickville's Factory Theatre in Sydney until Friday, February 17, then set for a debut Victorian stint at Malthouse's Beckett Theatre from Thursday, March 30–Sunday, April 9 as part of the Melbourne International Comedy Festival, NTNNNN is a fully improvised live satire of the news of the day. The show's targets don't stop with whatever's earning attention before each gig, however, also parodying the entire news industry plus Günsberg's stardom. "It's just such a ripe field to plough. It deserves fun being poked at it," Günsberg notes. "Essentially, it's a news show. It's like the six o'clock news or the late news, the 10.30 news. And it's the headlines of the day, with my intrepid NTNNNN news team out in the field — on stage," he continues. "It's completely unpredictable. It's news in the way you've never seen it before. It completely takes the piss out of what people want to cling to in times of uncertainty, which is someone being super sure on television — whether it be a leader or a news anchor or someone who's paid to do long-form editorials late at night on television. We have commercial breaks, because you've always got to have commercial breaks. And if you've never been in a TV studio for a filming, the commercial breaks are a very strange time. People at home are watching ads, but you in the studio are still there, and all the TV people are still in the room. So that actually happens." The end result: Günsberg in a comedic role that he doesn't usually get to slip into, and one that's worlds away from hosting The Bachelors and the like. He's also hoping that it's a step towards making NTNNNN an on-screen reality, as he explained in a chat about the onstage show, his own fame, his need to always give 100 percent and the best advice he's ever been given. "I've always wanted to host a live satirical news show. I'm going the long way about it, but yeah, absolutely, would I want to see this on TV one day? For sure. By the time that it gets there, will what we call television exist? Who knows. I'm only interested in building things that scale, so I'm going to see how far I can take it." ON MAKING HIS LIVE SATIRICAL NEWS SHOW DREAMS COME TRUE "I've always wanted to host a satirical news show since I was a kid. I've always felt that satire, particularly satire of news and current events, was as valuable in the public discourse as a really solid, well-researched editorial or a really great newspaper article that exposes something. I think satire has the ability to expose stuff that is usually shrouded in solemnity, for example the solemnity of office. 'Ooh, we can't say that, that person's very important' — but look what they've done, you know? When you use satire, you can break out of that stuff and look at things from a different angle. So I've always wanted to host a show like that, and I've had a few chances here and there — I've done a stint on a panel once or twice. And I guess I figured out that no one was going to walk down my front path knock on my door and say 'hey, we've got this great television show, can you come and host it?'. It was going to be up to me to create it, so that's what I've done. It's the news show that I've always wanted to host — it just isn't on television at the moment. But it plays with all of the language of television and television news, which is ridiculous. It's a product just like any of the TV shows that I make, and it deserves to have a bit of fun poked at it as well. So that's the show we've made." ON WHY MAKING FUN OF THE NEWS IS SO FUN — AND IMPORTANT "I think as the news becomes more and more of a product, in that it's a business — whether it's a website or a newspaper or a radio station, or a television network or program on a television network, essentially that's a product — it needs to rate. It needs to be able to justify the expense of it being created, so hopefully it brings in more money than it costs to make. There are ways to get that to rate. There are ways to get eyeballs onto your content, and it doesn't matter what's in the news — the way the news is framed is to try to push those numbers, which is also worth having a crack at. Those are the laughs that we find, I think: the laughs of just the ridiculousness of how the news is told, and the ridiculousness of the way the systems and the people who are in charge of those systems play the news against itself from one publication or one network to another. There's a way that you'll get quoted on one particular network and then the very same press conference will have a completely different soundbite, because that is the lens through which those networks view the situation. I think it is in exposing those moments and having fun with that, those are where the laughs are. So it doesn't matter what's in the news cycle, there's always something funny — there's always something to laugh at." ON TAKING THE PISS OUT OF HIMSELF AS WELL "I've been working in TV for nearly 25 years. It's ridiculous that I'm even still on air, so I think it's important — most of this is me taking the piss out of myself as well. I think I'm this ridiculous character on television, and I really enjoy taking the piss out of the way that I do some of the jobs that I do on television. I know I'm very good at them, but that's not everything about me. So it's funny for me to take the piss out of the person I become when I do those jobs — I think it's quite funny for me to have a crack at him, too. There's a lot to work with. I think there's this mystical idea of a person on television. I enjoy busting the bubble of what people think life is like when you have a job like the job that I have. Because there's only one person who's actually really living the mega mega mega mega dream, and that's the man who's the smartest with his money than any of us — that's bloody Larry Emdur. Me, I'm paycheque to paycheque, and I think that's hilarious — and well-worth making fun of. I was in television before the global financial crisis, and maybe there was a time when I was getting paid that kind of money. But, that was also a time when I was drinking very heavily, and I was doing really dumb stuff, so all that money's gone. And they don't pay that kind of money anymore, so it's pretty funny. I am going do whatever job people want me to. I have kids and a mortgage. I'm in the business of topping up my super and making sure I pay off my mortgage. I'm making sandwiches after this. I've got two podcasts going on, I'm trying to get this live show happening — I've got not enough room on my stove, there's that many irons in the fire." ON THE PATH TO NTNNNN "I'm nearly 50, and what you want in life changes over time. When I was working in radio at B105 in Brisbane, what I wanted in radio is certainly not what I want in radio now. Through this show, am I exorcising that need to question authority or challenge the status quo that I just adored watching people on television do when I was a kid? Yeah! I think that's important. Systems should be challenged, status quos should be challenged, because that's how you refine them. There's always 'ooh, you can't say that about the Prime Minister' — but you can. And it's useful when you do, if you do it in the right way. I'm thrilled to be calling back to that 14-year-old watching TV at night in Brisbane, feeling he was being naughty hearing someone say something about the leader of the country that he in his heart felt was also true. ON THE BEST PIECE OF ADVICE HE'S EVER RECEIVED "I lived in America for about ten years, and my manager was an absolute legend of the game over there, a bloke by the name of John Ferriter — a really big bigwig. I was so lucky to get in with him, and he's the one who told me that only you know how hard you've worked to make your dreams come true. He's right. Because you can tell everyone around you, 'oh, I didn't get into that course' or 'oh, I didn't get the job' or 'oh, he doesn't want to go out with me'. And people will go, 'yeah, no problem, moving on'. But you're the only one that knows 'did I actually pick up the phone enough times, did I put the work in, did I study hard enough, did I train hard enough?'. You're the only one that knows that, and you're going to have to be okay with that. That means that whether you're going for a job on television, or you're going for a job at the coffee shop down the road, or you're studying for your grade ten exams or your grade 12 exams, or you're trying to pass your apprenticeship certificate, or you're going for uni — or you're trying to meet someone and convince someone to fall in love with you, or you're trying to date somebody — only you will lie in bed at night knowing how much effort you actually put in. For someone like me, I am no good if I haven't put in everything. So I'm pretty stuck, I've got to do it as hard as I can, because I can't rest if I don't." NTNNNN: Night Time News Network Nightly News with Osher Günsberg plays Marrickville's Factory Theatre in Sydney until Friday, February 17, and will then head to Malthouse's Beckett Theatre from Thursday, March 30–Sunday, April 9 as part of the Melbourne International Comedy Festival.
A bustling little corner of lunchtime and late-night activity in Bondi, Mamasan is Moulin Rouge-meets-1920s Shanghai. Pull up a plush seat in your very own Bondi opium den and start ogling the menu, a tempting fusion of Taiwanese street food and Japanese deliciousness — the chef grew up in Taiwan before living in Japan. Alternatively, you can perch at the bar and let the bartenders talk you through the excellent sake, whisky and Japanese plum wine lists. Try them straight or in a signature cocktail. Like the Jap Dak, a twist on the daiquiri, with Okinawa Rum Rebellion Shochu, cloudy Aragoshi Umushu plum wine and fresh lime juice; or the Japanese Penicillin, with 12-year-old Yamasaki whisky, ginger, lemongrass and honey. Drop by on Sundays for the Mamasan markets, where Asia-inspired artists and designers put their wares on display. And keep an ear out for live jazz gigs, which happen every now and again.
Last month, Douwe Egberts surprised weary air travellers with their yawn-activated coffee machine. Before that, Pepsi set up a vending machine that exchanged drinks for Facebook likes, rather than cash. Now, Amstel Bulgaria has taken the concept to a new level, with a vending machine that gives a beer to anyone who can stand still for three minutes. As you can see from the video, it's not necessarily as easy as it looks. Checking your mobile phone, for example, can prove to be something of a thirst-prolonging distraction. Despite our modern propensity for restlessness, however, Amstel did manage to give away 1,344 beers over the course of 16 days, which equates to a daily average of 84 giveaways and a total of 67 hours of rest time. The machine was placed in Sofia, Bulgaria's capital, where drinking in public is still legal. The promo is a collaboration with creative agency NEXT-DC, whose goal is 'to keep the conversation between brands and their customers alive and inspiring'. [via PSFK]
You've heard about the awesomeness of nap desks. But what about a whole nap bar? In a move that has us turning green with envy, French furniture company Smarin recently held a pop-up in a Dubai warehouse where visitors could stop in for a much needed snooze. Part of the Art Dubai and Design Days Dubai events, the temporary installation featured various foam lounge chairs of different shapes and sizes, along with pillows, herbal teas, essential oils and woolen ponchos. The space was lit by circular lamps that would switch on and off at five-second intervals in a manner designed to resemble slow, relaxed breathing. "I had the idea for the Nap Bar because when I'm walking in big cities, sometimes I take a break with a coffee but actually I need more of a real break," Smarin founder Stephanie Marin told Dezeen. Now before you quit your job and book a flight to the UAE, you should know that the nap bar pop-up actually finished up last week. Hopefully some clever entrepreneur was paying attention, because there is definitely a market for this kind of thing here in Australia. But until that becomes a reality (Virgin Active's sleep pods are a little too clinical for us), check out our list of creative ways to nap on the job. And now if you'll excuse us, all this typing has worn us out. Via Dezeen.
Perhaps nourished by the torrential rain Sydney has been experiencing, a Lego forest recently sprouted in Martin Place. Featuring big-kid versions of the tiny plastic trees and flower sets we played with as kids, the installation marks the first activity of this year's Lego Festival of Play. 15 of the large-scale tree and flower models dotted the concrete, creating bright splashes of color in our currently dreary grey city. Onlookers didn't let the weather get them down, grabbing umbrellas and rain boots to take a stroll through this whimsical forest. After all, you're never too old, and it's never too rainy, to get out there and play. The Lego forest will soon be on the move, to other to-be-disclosed locations throughout Australia.
Completed in June 2024, the $4.3-million upgrades to Wollemi National Park's popular glow worm tunnel aren't much to look at. That is to say, the improvements to the once-slippery pathway and the new handrail preventing accidental stumbles into web-covered walls have been discreetly designed to keep visitors' eyes fixed above them on the bioluminescent light show taking place on the disused rail tunnel's craggy ceiling. Installing the new safety features had to be painstakingly executed under extraordinary conditions to preserve the peace of the resident glow worm colony. Workers had to transport more than 350 tonnes of materials by hand through dense rainforest for more than a kilometre and any materials too heavy to be carried had to be flown in by helicopter. To mitigate the risk of fume emissions, excessive vibrations or chemical spills damaging the delicate tunnel habitat, none of the typical equipment that might usually be deployed on a construction project could be used — only hand-operated tools. Special lighting solutions, using only red light — a colour the glow worms are unable to see — were also installed to allow workers to see in the otherwise pitch-dark, 387-metre-long tunnel. Time-lapse cameras tracked changes in the colony's glow intensity to monitor the worms for signs of stress. Thanks to these efforts, park officials were confident that the worms remained blissfully unaware of the construction taking place just metres away. [caption id="attachment_969812" align="alignnone" width="1920"] The Wollemi National Park Glow Worm Tunnel prior to the upgrades.[/caption] While making upgrades to the tunnel were challenging, they were also necessary. The tunnel, which was once part of the now-defunct Wolgan Valley Railway line and has been disused since 1932, is an ideal habitat for the glow worms because of the small stream that runs through it. However, slippery conditions posed a potential risk to visitors coming to view the natural wonder, so a new raised walkway built on top of the stream now offers a far safer environment while preserving the running water that is so essential to the habitat's conditions. Beyond the tunnel, there have also been major improvements to facilities throughout the Glow Worm Tunnel precinct to make its somewhat remote location within Wollemi National Park more accessible. These include the completion of 5.7 kilometres of upgraded walking tracks, new picnic tables, a new toilet block and an expansion of the car park. An estimated 50,000 visitors are expect to make use of the new facilities annually. "The new path through the wonderful Glow Worm Tunnel makes it safer and easier for visitors to access and importantly, minimises disturbance to the glow worms," NSW Minister for the Environment Penny Sharpe said. "I want to congratulate the team from NSW National Parks and Wildlife Service for conducting this work under such delicate conditions and keeping the glow worms safe in the process." The Wollemi National Park Glow Worm Tunnel is now open to the public. Visit the Wollemi National Park website for more details. Images: NSW National Parks and Wildlife Services.
We Steal Secrets is the story of Wikileaks, and from the outset it fast becomes apparent how little you know of an organisation dedicated to transparency and the sharing of information. Directed by Alex Gibney (Enron: The Smartest Guys in the Room), the documentary mirrors the real-world by focusing on two key individuals: Wikileaks' Australian founder Julian Assange and Bradley Manning, the US soldier whose disclosure of classified documents thrust Assange onto the world stage. The stories of the two men are told with surprising sensitivity, particularly in the case of Manning, who — on account of his ongoing incarceration — is represented exclusively by typed words on a screen. Sent over the course of his deployment in Iraq, the catalogue of Manning's brief online exchanges with various hackers reveals an extraordinarily lonely soul unable to reconcile serious questions about both his own identity and what he perceived to be the ongoing cover-up of atrocities by the US Government. "I want people to see the truth," he wrote, just before leaking hundreds of thousands of classified documents to Assange. "It affects everyone on earth." In all, We Steal Secrets: The Story of Wikileaks achieves a fine balance in its depiction of two men whose lives became inextricably linked and, thereafter, changed almost certainly for the worse. We Steal Secrets: The Story of Wikileaks is in cinemas on July 4. Thanks to Universal Pictures, we have 10 double in-season passes to give away. To be in the running, subscribe to our newsletter (if you haven't already) and then email hello@concreteplayground.com.au with your name and address. Read our full review of We Steal Secrets here. https://youtube.com/watch?v=SdezJrNaL70
