Wearing a pair of R.M. Williams says 'I'm ready for anything'. You could be going to the pub, walking into a work meeting or heading out to the farm to milk the cows. Sparkly footwear doesn't quite conjure up the same feelings of practicality. Well, until now — because R.M. Williams have just released a special run of boots in gold metallic. Joining the likes of Saint Laurent, Gucci and Marc Jacobs, the Aussie bootmaker has combined the metallic trend with their timeless aesthetic, adding a gold colour option to their women's Yearling Adelaide boots. As with each R.M. boot, these have been crafted out of a single piece of leather and feature the same elegant stitching and tapered heel of the regular Adelaide range. R.M.s are arguably Australia's most iconic shoe. From a modest start in the Adelaide outback servicing the stockmen and women of the heartland, 85 years later, a diverse range of people still wear the boots — from farmers in the outback, to corporate businessmen, to the style set at fashion week. Australian designer Dion Lee has used R.M.s regularly in campaign shoots and runway shows, even creating his own for New York Fashion Week in 2014. This latest addition to the R.M.'s women's range is only available online via special order, which means it will take about six to eight weeks before they're delivered. At $545 a pair, they're not exactly cheap — but if you're looking for an investment piece, a pair of R.M.s is the very definition of the phrase. Continuing to embrace contemporary styles and adapting to modern fashion without sacrificing their DNA has surely guaranteed the longevity of this historic label. R.M. Williams' gold Yearling Adelaide boots are available to order online here.
After the turbulent year that has been, summer is finally here and it's time to celebrate. One of the easiest ways to do that is with an epic (socially responsible) house party. House parties are the places where friendships are forged, dancefloors are formed and memories are made, and summer is the primo time to make use of your own house and host your friends for a knees-up. With fun in mind, we've joined forces with Hennessy for this foolproof guide to making sure your party has all the elements needed for success. Stay up to date with the developing COVID-19 outbreak in Sydney's northern beaches and current restrictions at NSW Health. FIRST, ORDER THIS HOUSE PARTY PACK No one likes to socialise when they're hangry, so sorting out food should be your first port of call. That's why Hennessy has partnered with three different restaurants to create a series of collaborative feasts. Each comes with a limited edition bottle of Hennessy, ginger ale and a fun snack pack. In Sydney, fried chicken purveyors Butter will supply you and three friends with chicken wings, corn on the cob, mash and ramen-broth gravy, slaw and rolls for $180. In Melbourne, Japanese hot spot Mr Miyagi will sort you and three mates out with pork belly bao, peking duck nori tacos, fried chicken and spiced tuna tartare crackers for $250. And in Brisbane, party people can get around a feast for ten of spring rolls, chicken karaage bao and spiced chicken wings with gochujang aioli from Mr Mista for $230. Each pack also includes party cups, balloons, a deck of cards and a disposable camera to capture all the good times you'll be having. MAKE SUPER-SIMPLE COCKTAILS FOR WELCOME DRINKS Some of the best cocktails are ones you don't even need a recipe for, and the ginger mule is exactly that. Simply pour 40ml of Hennessy into a highball glass and fill the glass with ice. Top up with around 100ml of ginger ale and garnish with a lime wedge or slices of fresh ginger. Voila! Drinks are sorted. You could also consider batching these cocktails in larger quantities for easy serving. Find this recipe and more on Hennessy's website. [embed]https://open.spotify.com/playlist/1CzIHMGk079iUL3947oYnr[/embed] OPT FOR A READYMADE PLAYLIST Instead of fussing about with aux cords or searching for artists, leave the party soundtrack responsibilities to Hennessy. Yep, the cognac brand also has a surprisingly good selection of packed-out playlists for four different moods. Head to the aptly titled House Party curated by music maestros Cool Accidents. It's filled with party-starting anthems from Hello, DMX, Missy Elliott and N.W.A. Or, try out the Beach Club, Sunset Sessions and Pre-Party Mix playlists, which will have you sorted with progressive mixes of slinky house, hip hop and R&B. [caption id="attachment_786101" align="alignnone" width="1920"] Cottonbro[/caption] SET UP SOME PARTY-STARTING GAMES AND ICEBREAKERS Now you've got food, tunes and drinks sorted, it's time to set up some party-starting games and social icebreakers. Putting a little bit of thought into some easy-to-execute games can result in some serious fun. Whip out old-school Twister from the cupboard or try a few rounds of celebrity heads (which you can do with just pieces of paper and pens). Outdoor games are also simple to set-up — borrow a Finska set from a friend or set up some classic backyard cricket. CONSIDER HOW TO TRANSFORM YOUR SPACE Now you've got all the essentials sorted, it's time to think through the flow of the space and decorations. You don't have to go all-out, but considering how people will move and groove through your house is a worthwhile exercise. Set up a designated dancefloor (the playlist will help out with this) and hire some disco lights or smoke machines. Make sure there's seating areas, too, and not placed in thoroughfares. Your guests will pick up what you're putting down and they'll move about the space as you've intended. Hennessy's House Party Packs are available takeaway now till stocks last. To order from Butter in Sydney, head here. To order from Mr Miyagi, head here. And to order from Mr Mista, head here. Top image: Inga Seliverstova
"I want my surfboard." If Nicolas Cage said this to you, you'd take notice. But in The Surfer, that request doesn't go as planned for the character that he's playing, with a group of local surfers just laughing and telling him that it isn't his board. That's how the first look at this Australian-made psychological thriller pans out — which isn't a trailer, but instead gives viewers a scene from the movie. It was back in 2023 that word arrived that the inimitable actor was hopping from playing himself in 2022's The Unbearable Weight of Massive Talent and then Dracula in 2023's Renfield to becoming an Australian surfer in a film called, fittingly, The Surfer. And now, here's your first glimpse at footage. [caption id="attachment_931569" align="alignnone" width="1920"] Radek Ladczuk[/caption] There's no release date for Cage's Aussie stint as yet, nor an actual trailer, but the initial clip follows a first-look image of the actor from late in 2023. Stan, which is behind the movie, will stream it in Australia; however, it will also play in cinemas Down Under first. Before that, it's premiering at the 2024 Cannes Film Festival. Slotting into Cage's resume alongside everything from crooning Elvis songs in David Lynch's Wild at Heart to having everyone see him when they slumber in Dream Scenario, The Surfer isn't the only Point Break remake that needs to be made (forget the terrible 2015 do-over). Rather, it sees Cage star as an Australian expat returning home from America, then getting in a beach battle with that local gang of wave riders. Cage's titular character makes the trip Down Under after years in the US, only to get humiliated by other surfers in front of his teenage son. Cue a turf war, plus Cage's protagonist refusing to leave the beach. Cue the stakes escalating and the movie's namesake having his sanity tested, too. The film shot in Yallingup in Western Australia, just in the single location, with director Lorcan Finnegan (Vivarium) helming and working with a script by screenwriter Thomas Martin. Featuring alongside Cage: an Aussie cast that spans Julian McMahon (FBI: Most Wanted), Nicholas Cassim (The Messenger), Miranda Tapsell (The Artful Dodger), Alexander Bertrand (Australian Gangster), Justin Rosniak (Mr Inbetween), Rahel Romahn (Here Out West), Finn Little (Yellowstone) and Charlotte Maggi (Summer Love). Check out the first clip from The Surfer below: The Surfer doesn't yet have an in-cinema or streaming release date — we'll update you when one is announced. Top image: Radek Ladczuk.
The weather is getting warmer, and we all know what that means: the outdoor cinema season is here. Movie lovers in Sydney are spoiled for choice when it comes to open-air screens — and from the looks of things that doesn't appear to be changing any time soon. Located at the North Sydney Oval, this year's Sunset Cinema kicks off on Thursday, January 18, and will run until Saturday, March 24. The program skews towards more recent films including The Disaster Artist, Wonder, Downsizing and Star Wars: The Last Jedi. They've also put together a top-notch food and beverage offering, in order to keep your stomach from grumbling during the film. Dinner will be taken care of and the site will have a fully licensed bar, serving 4 Pines craft beers and MadFish wines.
The annual floral show Fleurs de Villes is returning to the Royal Botanic Garden Sydney with a vibrant new floral exhibition tailor made for this year's Sydney WorldPride. This follows the success of last year's popular FEMMES exhibition. Running from February 17–26, Fleurs de Villes PRIDE will showcase a series of fresh floral installations made by Sydney's top floral talent, each of which celebrates an inspirational member or ally of Australia's LGBTQIA+ community. This includes the legendary Kylie Minogue and some of Sydney WorldPride's Rainbow Champions like Courtney Act, Keiynan Lonsdale and Deni Todorovic. Visitors to the exhibition can also enjoy colourful flower markets, expert floral talks, demos and workshops and unique Floral Discos — where guests can toast to the start of Sydney WorldPride and party to live DJ tunes alongside the vibrant floral exhibit. In celebration of this kaleidoscopic exhibition, Fleurs de Villes is giving away a one-night stay at the Intercontinental Sydney (valued at $500). This lavish five-star hotel is located right on Circular Quay, boasting views across the famous harbour. The winner will stay in a City View room, getting access to the most luxe facilities — including an indoor pool that looks out over the Sydney Opera House. A decadent breakfast for two is also included. Ready for a luxurious city staycation? Enter your details below. [competition]887514[/competition]
Every month or thereabouts, ice cream chain Gelatissimo unveils a new special flavour. That's why we've been able to tuck into everything from frosé sorbet to ginger beer- flavoured gelato in the past — and Weet-Bix, fairy bread, hot cross bun, cinnamon scroll, chocolate fudge, bubble tea and Caramilk varieties, too. That hasn't changed lately, with a new limited-edition choc-caramel fudge gelato made with Lindt currently on the menu. Even more exciting: you can get the flavour delivered to your door during lockdown as part of a build-your-own sundae. If it's the choc-caramel fudge or the collaboration with Lindt that's tempting your tastebuds, you'll be pleased to know that it's made with molten Lindt chocolate and caramel fudge sauce, and it's rather decadent. Also on offer: a dark choc pistachio flavour, again made with molten Lindt chocolate — this time paired with dry roasted pistachio paste. If you're more interested in the sundae side of things, that just involves ordering a tub of whatever flavours you like — and also picking your choice of cone (including choc-dipped, choc-dipped with peanut and choc-dipped with hundreds and thousands), and also opting for toppings (such as gummy bears, sour straps, mini M&Ms, and hundreds and thousands). You'll have to then scoop it all together, of course, but that's part of the fun. Gelatissimo delivers its take-home packs via services such as Uber Eats, Deliveroo and Doordash, should your lockdown tastebuds now have a hankering for something sweet. And, flavour-wise, options include the new cold brew with oat milk vegan flavour, as well as everything from cookie dough and choc mint to raspberry sorbet and good ol' fashioned vanilla. Gelatissimo's new Lindt flavours and take-home packs are available from all stores nationwide — and via delivery as well.
Australia's music festival scene hasn't had a great run in 2024, with everything from Splendour in the Grass and Groovin the Moo to Harvest Rock and Spilt Milk cancelling — but two end-of-year staples are returning to celebrate 2024 turning into 2025 with live tunes. Victoria's Beyond The Valley and New South Wales' Lost Paradise also have something else in common: plenty of the same acts on their respective lineups. Beyond The Valley dropped its roster for this year first, and now it's Lost Paradise's turn a day later, with Fisher, Tinashe, Royel Otis among the big names doing double duty. Accordingly, if you're looking to travel to a regional spot for a huge music fest on and around New Year's Eve, you have choices. [caption id="attachment_965689" align="alignnone" width="1917"] Jess Bowen[/caption] After initially locking in its Saturday, December 28, 2024–Wednesday, January 1, 2025 dates back in July, Lost Paradise has unveiled a lineup filled with must-see names, all headed to the Glenworth Valley on the New South Wales Central Coast an hour out of Sydney. Flight Facilities doing their Decades mix is another massive highlight. So are Marlon Hoffstadt, Sammy Virji, SG Lewis, Confidence Man, DJ Boring and Kita Alexander, across a multi-day fest that features live music and DJ sets spanning both international and Australian talents, and regularly sells out — 2023's fest did. Tunes are just one part of the Lost Paradise experience. Art, culture, wellness, and food and drink also get a look in, with the 2024 event also spanning Dr Karl getting chatting, yoga and healing arts, craft sessions, workshops and more. So, you can not only farewell one year and see in the next with a party, but by relaxing, feasting and learning something. Making 2024's Lost Paradise extra special: the fact that this year marks ten years for the fest, which has become a go-to way to wrap up one year and embrace the next since 2014 — including if you're keen to camp for its duration. Just as in 2023, this year's Lost Paradise is also opting to steer away from a traditional first-, second- and third-release ticket strategy. Instead, ticket prices gently increase in accordance with demand, while maintaining fair market pricing. It's also committing to sustainability by using almost 100-percent recyclable materials in its decor and staging — and art — while implementing recycling across the site, waste sorting and a pledge for attendees that requires ticketholders to acknowledge their own environmental responsibility. Lost Paradise 2024 Lineup: Arcadia: Fisher Tinashe Royel Otis Caribou Flight Facilities (Decades set) AJ Tracey Confidence Man Teenage Dads The Rions Glass Beams Pretty Girl (live) Neil Frances Flowdan & Neffa-T Lola Young Telenova Kita Alexander Rum Jungle Nick Ward Don West Radio Free Alice Total Tommy Djanaba Casual Fan Surely Shirley Civic Video Micra Krystal Rivvers Micah Jey Green Hand Band Triple J Unearthed winner Lost Disco & Paradise Club: Marlon Hoffstadt Sammy Virji Denis Sulta KI/KI DJ BORING Sg Lewis Tinlicker (DJ set) Interplanetary Criminal Girls Don't Sync Oden & Fatzo (live) Malugi CC:Disco! Sally C Fish56octagon Chloé Caillet Jennifer Cardini Moxie Little Fritter Sarah Story Dameeeela James Pepper Caleb Jackson Elijah Something Who Is Arcadia B2b Half Cut Lost Soundsystem Conspiracy Crew Entity Uncle Ru Disco Dora Chloe Harry Hooper Mash Gabriella Spritz Sasha Milani B2b Fuchsia Sim Select Tokyo Sexwale Dayzzi B2b Daug Cozi Oscill8 Oliiv + more to be announced Shambhala Fields: Dr Karl Aretha Brown You Wouldn't (with Will Gibbs and Pat Clifton) Cooper Chapman Plastic Free Mermaid Emmanuel Asante Rache Moore Gwyn Williams Damon Gameau First Nations Culture with Uncle Phil + more to be announced [caption id="attachment_965685" align="alignnone" width="1917"] Jordan K Munns[/caption] [caption id="attachment_965687" align="alignnone" width="1917"] Byravyna[/caption] [caption id="attachment_965688" align="alignnone" width="1917"] Byravyna[/caption] Lost Paradise returns to Glenworth Valley, New South Wales from Saturday, December 28, 2024–Wednesday, January 1, 2025. To sign up for presale tickets, head to the festival's website — with presales starting on Tuesday, August 27 and general sales on Wednesday, August 28. Images: Jess Bowen, Jordan K Munns, Byravyna and Amar Gera.
In Steven Soderberg's hands, smooth criminals have fleeced casinos, a stripper with a heart of gold has strived for a better life, and unlikely underdogs have fought for the American dream. Now, the man behind Ocean's Eleven (and Twelve and Thirteen), Magic Mike and Erin Brockovich jumps into the hillbilly heist game. It's a welcome return to the familiar for someone who just pulled off a bait-and-switch of his own — supposedly retiring from cinema after Side Effects in 2013, only to make TV film Behind the Candelabra and stellar medical television series The Knick. Without giving too much away, his recent trajectory has more in common with his latest movie than it might initially seem. The fact is, changing one's fortune is a recurrent theme in Soderberg's stories, as are hard-working folks bucking against the system. Logan Lucky doesn't just happily join the fold, but does so with a knowing smile — at one point, a news report even refers to the caper as "Ocean's 7-11". Set in West Virginia, the charming film follows three siblings who decide that sticking up a big NASCAR race is the answer to their problems. Construction worker Jimmy (Channing Tatum) has the insider know-how from working on a site nearby, and the motivation after discovering his ex-wife (Katie Holmes) is moving across the state line with his daughter (Farrah McKenzie). Car-loving hairdresser Mellie (Riley Keough) has transport sorted, which just leaves one-armed Iraq war vet turned bartender Clyde (Adam Driver) to worry about the supposed Logan family curse. But the trio can't blow their way to riches without demolitions expert Joe Bang (Daniel Craig), who happens to be incarcerated. So it is that Logan Lucky becomes a heist flick and a jailbreak film — as well as an exploration of blue-collar workers struggling to get by, a cops versus crims game of cat and mouse, and a touching story about the importance of family. Throw in plenty of affectionate Southern gags and perhaps the best Game of Thrones joke you're ever likely to hear, and the movie proves a jam-packed package of humour, thrills and feeling. Two things are particularly crucial in Soderberg's working-class pseudo-remake of his glitzy prior hits. Firstly, whether surveying shambling abodes, spying rust spots on well-worn trucks, or poking fun at someone's lack of computer skills, Logan Lucky approaches its characters and their socio-economic situation with warmth. Secondly, though it steps through the usual caper conventions — getting the gang together, resorting to backup plans and avoiding the law — it does so with such zest and vibrancy that you'll forget that you've seen this kind of movie countless times before. Ultimately, it all comes back to Soderbergh. There's a reason his return to the big screen is worth celebrating, and it's not just his penchant for characters making their own luck or his ability to pull together a killer cast. Tatum is never better than when he's being guided by the director, but Logan Lucky is a testament to Soderberg's own skills. Not just directing, but lensing and editing (under well-used pseudonyms) as well, he's a craftsman through and through. Come for the zippy comedy about ordinary people mastering their own destinies. Stay for the entertaining filmmaking masterclass. https://www.youtube.com/watch?v=_eqC27nxHJ4
Based inside Oxford Village shopping centre, Ziggy's describes itself as a "modern old-school barbershop" and welcomes both guys and gals to visit for a cut, colour or shave. Whether you're after a classic look or are ready for something a little wilder, the team of experienced stylists and barbers will sort you out. A cut and style starts at $58 for guys and $95 for ladies, with keratin and conditioning treatments, extensions and cut-throat face shaves all on offer, too. Images: Cassandra Hannagan
Tasmania's food scene is filled with incredible tasting experiences centred around local and seasonal ingredients. If you're the kind of traveller who seeks wild flavours that stray from the norm, the island offers a remarkable collection of makers specialising in unique creations made with the very best produce. No matter which corner of Tasmania you decide to explore, you'll find inventive producers carving out their culinary niche. We've partnered with Tourism Tasmania to highlight the region's most imaginative farmers, fishers and distillers, ranging from Australia's original truffle farmers to small-batch potato vodka pioneers. Let's dig in. [caption id="attachment_866630" align="alignnone" width="1920"] Samuel Shelley[/caption] DISCOVER EDIBLE UNDERGROUND MUSHROOMS It's not every day you stumble across a disused 19th century railway tunnel and find incredible gourmet cuisine inside — but that's precisely what visitors discover when they journey to Tunnel Hill Mushrooms in the charming community of Mount Rumney on Hobart's outskirts. With the perfect conditions inside the dark, dank tunnel for growing tasty mushies, this excellent operation specialises in winter strains of oyster mushrooms. Therein you'll find the white, grey and tan oyster varieties alongside shiitake. Head along for a tour of the tunnels to explore this underground farming practice — bookings are essential. [caption id="attachment_866631" align="alignnone" width="1920"] Moon Cheese Studio[/caption] TAKE A SALT SOMMELIER TOUR All good foodies worth their salt (bad pun intended) can appreciate the difference between cheapo table salt and the premium flakes you find in specialty stores. You can deepen your appreciation further with the Salt Sommelier Tour — an exploration into how Tasmania's nutrient-rich waters deliver a superior flavour and texture from one of Australia's finest salt producers, Tasmanian Sea Salt. Throughout this in-depth journey into the world of salt, you'll roam the saltworks to see how this celebrated maker combines age-old techniques alongside clean energy to harvest its pure product. Along the way, you'll be served locally produced small bites topped with a sprinkling of the good stuff. EXPLORE LAVENDER AND OLIVE PLANTATIONS Set on 52 stunning acres in the Huon Valley, Campo de Flori (pictured above) is a destination loaded with indulgent experiences. The property is renowned for its lavender, saffron and olive plantations, all of which you're welcome to explore up close with a guided tour from owners David Peck and Lisa Britzman. If you consider yourself an olive connoisseur you can test out the farm's goods via a tasting and learning experience that delves into each of the property's nine cultivars. You can also wander through rows of award-winning lavender on a walking tour which includes a sampling of Campo de Flori's farm-grown lavender tea and sparkling lavender lemonade. [caption id="attachment_867687" align="alignnone" width="1920"] Stu Gibson[/caption] LEARN THE SECRETS OF TASMANIAN ABALONE Tasmania's brisk southern waters make it home to some of the world's best abalone. The expert crew at Candy Abalone use traditional Japanese drying techniques to produce the luxurious product which you can learn about in detail on an insightful hour-long tour of its impressive facilities. First, you'll receive an overview of the drying and processing rooms before trekking down to the beach to see the oyster lease in action. Punctuated with views of Barilla Bay Oyster Farm and the Coal Valley, the tour concludes with a sampling of organic ginger beer and freshly shucked oysters. [caption id="attachment_866443" align="alignnone" width="1920"] Tourism Australia[/caption] HUNT FOR TRUFFLES Over the years, truffle farming has exploded beyond the borders of Italy and France to eventually arrive on Australian shores. As the first kid on the block, The Truffle Farm in the central northern town of Deloraine launched the national industry by digging gorgeous black truffles out of the dirt in 1999. From there, a booming local movement in produce was born. Join second-generation truffle farmer, Anna, and her chief truffle hunting hound, Doug, for a 75-minute experience that is paradise for truffle aficionados. A selection of tours and experiences will get you familiar with the trufferie, uncover black pearls hidden in the earth and, of course, you can feast on a farm-style lunch platter or gorgeous truffle pizza paired with local wine and beer. [caption id="attachment_866632" align="alignnone" width="1920"] Samuel Shelley[/caption] SAMPLE SMALL-BATCH POTATO VODKA Perched above Marion Bay, the Hellfire Bluff Distillery didn't start out producing vodka, but it sure has mastered it. With the first potato crop planted over 30 years ago, this place has long supplied Tasmanian supermarkets with a top-notch produce — yet rather than feeding the cows with cast-off spuds, an idea for a vodka distillery was conceived. True Tasmanian ingenuity! Today, the distillery has attracted international acclaim for its small-batch, paddock-to-bottle tipples (it was recently awarded Australia's Best Varietal Vodka at the World Vodka Awards in 2022), and also produces gin, coffee liqueur and limoncello — among other drops. With the distillery door open seven days a week, those cruising Tassie's Turrakuna/Tasman Peninsula with a yen for brilliant spirits can't miss a stop at the farm. SAVOUR WASABI CHEESE Ashgrove Cheese has made exceptional dairy products for over two decades. Set between Launceston and Devonport, the sprawling farm's free-roaming cows produce everything from cheddar and havarti to gloucester and feta. However, no visit is complete without a sample of Ashgrove's extra sharp wasabi cheese. Using Tasmanian-grown wasabi to add delicate but zesty heat, it's perfect on an adventurous cheese platter or melted into a steak. Head to Elizabeth Town in northern Tasmania to enjoy a pasture-to-plate menu across breakfast and lunch. There's even a fancy 'high cheese' selection served with tea, coffee and sparkling wine. Who's hungry? Ready to plan a trip for your tastebuds around Tasmania? To discover more, visit the website. Top image: Samuel Shelley
UPDATE, October 19, 2020: Climax is available to stream via SBS On Demand, Google Play, YouTube, iTunes and Amazon Video. A bowl of LSD-laced sangria. A thumping soundtrack. Dancers at the top of their game. With the lurid and kinetic Climax, Gaspar Noé takes a trip into a memorable, manic and murderous all-night party. Loosely based on a true story that dates back to the 90s, it starts with a troupe busting moves, downing beverages and blowing off steam after rehearsals, then discovering that their drinks have been spiked. That said, 'discover' isn't really the best word to describe folks realising that their nightmare is real. It's wholly accurate, however it can't completely convey Selva (Sofia Boutella) and her crew's horrific predicament. Writing as well as directing and co-editing, Noé isn't interested in explaining or describing, so that's about as far as his narrative goes. But, as the Argentine-born, French-based provocateur keeps demonstrating with each successive picture, he loves plunging audiences into hallucinatory and immersive worlds. From I Stand Alone and Irreversible to Enter the Void and Love, every movie on his resume involves a straightforward set-up, followed by a descent into chaos and mayhem of varying kinds. That said, Climax's might just be the most literal. One moment, everyone is eagerly strutting their stuff in a seemingly safe space. The next, an orgy of screams, tears, paranoia, sex, blood and death is the new normal. From a largely non-professional cast that numbers 24, all trapped in a remote hall as snow falls outside, connective threads emerge. Selva isn't particularly happy with anyone, and David (Romain Guillermic) considers himself the ladies man of the gang. Emmanuelle (Claude Gajan Maull) is trying to balance her career with being a mother to the young Tito (Vince Galliot Cumant), while everyone just wants to let loose as Daddy the DJ (Kiddy Smile) hits the decks. Personal squabbles, petty grievances and plenty of baggage all add to a jittery, claustrophobic mood, and that's before the acid takes effect. When the drugs kick in, so too do the group's fears and insecurities, the competitive vibe that comes with performing for a living, and the emotional and physical slaughter. Epitomising the idea that style can equal substance (as he has across his entire filmography), it's how Noé spins this story that mesmerises. Whether he's watching the troupe unleash their stellar dance skills in Climax's hypnotic first half, or charting carnage in its second, there's never a dull moment. There's never an average or unengaging moment either, or one that doesn't want to get a rise out of viewers. All of the director's usual traits are on display, from the propulsive tunes that set a distinctive rhythm, to the fluid and floating camerawork by his now four-time cinematographer Benoît Debie, to his penchant for evocative red lighting. And yet, pairing them with dance is a masterstroke. Noé already has a handful of music videos to his name, including for Nick Cave, Placebo and Daft Punk's Thomas Bangalter (who contributes a new song to Climax's soundtrack), but in mixing fancy footwork and horror, he might've found his true calling. That's not to say that Climax doesn't have thematic bite as it both revels in and dissects hedonism, and posits that creation and destruction are two sides of the same coin. Nor does it mean that Noé isn't up to his usual tongue-in-cheek tricks (he introduces his main players via video auditions screened on a TV, with VHS tapes of boundary-pushing classics like Suspiria and Salò underneath). But the film is an experience above all else. Purposefully overwhelming the senses — and trying to shatter them, too — it pulls you in with a lengthy sequence of astonishing choreography. It gets your toes tapping until they can't stop. Then, it forces its pulsating frenzy into your soul. The result is Noé at his best, and is best summarised by a song by his regular collaborator Bangalter. In a sea of sweat and terror, Climax loses itself, its characters and its audience to dance in the most bold, unhinged and thrilling way. https://www.youtube.com/watch?time_continue=1&v=-ydNrDCw58c
If you haven't made the December pilgrimage to southeast Queensland's Woodford Folk Festival at least once, have you truly celebrated the end of the year to the fullest in Australia? No, no you haven't. Due to the pandemic, however, that hasn't been an option for the past few years — but the beloved festival has confirmed its return to see out 2022 and welcome in 2023. Mark December 27–January 1 in your diary, and prepare to catch a heap of bands, wander between arts performances and get a little muddy. Exactly who'll be playing the fest, which takes place about 90 minutes north of Brisbane, hasn't yet been revealed. But the 2019–20 fest boasted Lior, Horrorshow, The Herd, Kate Miller-Heidke, Electric Fields, Emma Louise, Archie Roach with Paul Grabrowsky, and Kasey Chambers, which gives you an idea of the kind of mix of artists that's usually on the bill. Also typically part of the Woodford experience: over 2000 artists putting on more than 1600 shows across the festival's 25 stages, in venues that range from a 25,000-seat amphitheatre to chilled-out hangout spots. Exactly what this year's figures will hit also hasn't been advised as yet, but this is never a small-scale fest. Indeed, announcing the event's return, Woodford General Manager Amanda Jackes advised that "over the past two years, Woodfordia organisers have delivered 1372 shows with 1032 artists over eight national tours and eight multi-day events, to an audience of 20,000 with overnight visitation totalling 50,192. To put this into context, as only one event, Woodford Folk Festival hosts 1800 shows across 25 stages featuring 2800 individual artists and performers to an aggregate audience of 132,000 with overnight visitation totalling 222,356." Beyond the numbers — yes, Woodford is massive — Founder and Director Bill Hauritz said that "this year will see the festival built from the ground up with new ideas, new programming, a new layout but always maintaining the festival tradition of the key corner stones of what has made it so successful for a long period of time." "In the past we have spent a lot of time planning, sometimes two and three years ahead, which we've been unable to do during COVID times," he continued. "Instead, we've been creative in the space and using the time to both restructure our organisation, always making improvements to our considerable systems." The festival will once again take over its Woodfordia parklands base, which now boasts a lake — and is in the process of getting 20 permanent glamping tents installed. And, as always, the fest's lineup will span everything from music, art, circus and cabaret to yoga, dance and comedy again, plus spoken word, comedy, workshops, bars, cafes and restaurants. If you're already keen to buy tickets, they're expected to go on sale in mid-June. The 2022–23 Woodford Folk Festival will run from December 27, 2022–January 1, 2023 at Woodfordia on the Sunshine Coast. For more information, head to woodfordfolkfestival.com Images: Woodford Folk Festival via Flickr.
For too long the precious black liquid that keeps your brain afloat during 8am meetings on Monday has gotten all the attention. But what about the intricately designed disposable cup? It's easy to forget about (let alone give any sustained attention to) the vessel of cardboard that carries that lovingly brewed coffee to our lips — but we'd be pretty lost without it. Coffee Cups of the World is an unabashed display of one man's beautiful takeaway coffee journey across the world documented on Tumblr and Instagram. "I want people to look at the coffee cups and be conscious of them," New Zealand professional food photographer Henry Hargreaves told Cool Hunting. "The to-go cup is the best piece of advertising for coffee shops, but not everyone gives it enough attention." Until now, that is. Hargreaves (who you might know for his eerie food photography series of death row inmates' last meals) has collected coffee cups from cafes in Europe, the United States, Australia and New Zealand. He has even enlisted a friend from South Africa to send him a bunch and — great news — is now encouraging the public to do the same. See more of Hargreaves's work at the Coffee Cups of the World Tumblr and on his online portfolio. Via Cool Hunting
"A pink, glittery, existential dance party in their heart." That's what Greta Gerwig hopes that audiences will find when her third film as a solo director splashes its rosy — and rose-hued — frames across the silver screen. The movie in question is Barbie, marking Mattel's six-decade-old doll's live-action debut. And, no matter how you feel about the toy itself, the feature boasts no shortage of reasons to get excited: the Lady Bird and Little Women filmmaker guiding the show; the fact that Gerwig co-wrote the film with her Frances Ha, Mistress America and White Noise helmer Noah Baumbach; Margot Robbie not only starring but producing and originating the project; a killer cast, including Ryan Gosling as Ken; and the self-aware sense of humour that's bounced through not one, not two, but three trailers before the picture hits cinemas Down Under on July 20. Gerwig and Robbie know that Barbie is a product with history. First reaching stores in 1959, as one of the first-ever dolls that weren't of babies, the plaything has sparked more reactions than the toy itself sports outfits — and this figurine in all of its many guises has never been short on wardrobe options. As a flick, Barbie aims to unpack those swirling responses and, yes, play with them. The feature's marketing tagline might be adamant that "if you love Barbie, this movie is for you" and also "if you hate Barbie, this movie is for you", but Robbie adds to it. "It's also a film for people who feel indifferent about Barbie. But when I pitched that to marketing, it didn't really roll off the tongue in the same way." The Australian Babylon, Amsterdam and The Suicide Squad actor shared her thoughts in Sydney, as did her Maggie's Plan, Jackie and 20th Century Women star-turned-filmmaker helmer Gerwig. In the leadup to the picture's release, Barbie is going global, with a trip Down Under one stop on the feature's promotional tour. Also visiting: Issa Rae and America Ferrera, with the Insecure and Superstore talents popping up on-screen alongside Robbie. Rae plays President Barbie, while Ferrera is Gloria, one of the film's few non-doll characters. Weeks out from Barbie hitting cinemas, the Gerwig-directed, Robbie-led, Rae- and Ferrera-costarring movie has already achieved a feat that would likely seem unthinkable if any other talents were involved: this is one of 2023's most-anticipated cinema releases. Actually, Barbie scored that status months out — years even, after the Gerwig-and-Robbie pairing was locked in back in 2021. Audiences are eager, but the folks that've been given the chance to bring this Barbie flick to them couldn't be more thrilled, too. Talking about the film at a beachside Bondi event at Icebergs, where the venue's famous pool even scored a temporary Barbie-themed makeover, the team's enthusiasm is palpable. "It's a movie that I think can really cut across generations and gender," notes Gerwig, who advises that the feature has been made for everyone aged eight to 108. Also covered at Gerwig, Robbie, Rae and Ferrera's Australian press conference: making a "wild, bananas Barbie movie", the huge opportunity to play with something so globally recognised, expanding the character, challenging stereotypes, following Wonder Woman's lead and breaking all of the Barbie rules. ON HOW IT FEELS NOW THAT BARBIE WILL SOON BE IN CINEMAS Greta: "At this very moment, just being in this setting and being with all of you — and the beach, and we're in Australia, and all these talented people — I really am feeling like what a spectacular life this is. It's overwhelming and amazing, and I just feel very grateful that Margot came to me almost four years ago and said 'do you want to you write a Barbie thing?'. And I'm grateful that in my postpartum haze four years ago, I said yes. It's just been such an extraordinary confluence of so many people coming together who are just outrageous and smart and talented — and that we got to make this wild, bananas Barbie movie is just an extraordinary blessing." ON WANTING TO MAKE A BARBIE MOVIE IN THE FIRST PLACE Margot: "I was aware that the Barbie IP was floating around, had gone up and running, and hadn't come to full fruition. So we've been keeping tabs on the property, and when there seemed like there was an opening, we jumped at the opportunity. We sat down with the Mattel CEO, Ynon [Kreiz], and that was five years ago, and pitched what we as our production company would want to do with a Barbie movie. And I knew even at that time that I would want to do it with someone like Greta Gerwig. She was the dream writer/director for it. I didn't know if she was going to say yes to it, but there are very few people in my mind that I want to make a Barbie movie with, Greta being the top of the list — and thank goodness she said yes. But the reason we went after the property is because it seemed like a very big and exciting and scary opportunity. It's globally recognised — the word itself is globally recognised. And not only that, people have very strong feelings about Barbie in a lot of cases. So it felt like a really exciting place to start a film, and start with the audience, where they already feel a certain way — perhaps that, at the very least, they have associated childhood memories with it. And it seemed like we could do something special with it." ON BEING A PART OF BARBIE'S ON-SCREEN WORLD Issa: "It was spectacular. Greta approached me and, just in our interview-slash-meeting, told me that she envisioned a world, a Barbie world, where I was President. I was super flattered by that, and also questioned her taste in political leaders. But it's a world that is perfect and beautiful — and seeing her brilliant writing, and the cast attached, it was a no brainer for me. So I was just honoured to to play in the world." America: "It was Margot and Greta's involvement that made me interested in what the script was. It was irresistible to be invited to — to take a peek into the world that these two incredibly talented and intelligent, respected women in our fields were going to do with Barbie. I never imagined myself in a Barbie movie, and I just opened the script and I was laughing on page one and then I was crying — and then I was laughing and crying. I had so many feelings and, truly, my first thought was 'are they even going to let Greta make this?'. I did not go into it feeling invested in Barbie — I didn't grow up playing with Barbies, I didn't feel represented in the world of Barbie — but Greta and Noah's brilliance created a world that made it relevant to me. And it is really exciting to get to be a part of a moment that is expanding such a dominant, influential female iconic character in our global culture, to include more of us. And also to include people with perspectives that aren't necessarily positive and kind toward the very long legacy and history that Barbie has." ON TACKLING A CHARACTER WITH SUCH HISTORY — AND BREAKING ALL THE BARBIE RULES Greta: "I grew up with a mum who didn't love Barbie, which only made me more interested in Barbie. So I had a lot of hand-me-down Barbies — a lot of Barbies who were Kate McKinnon's version, like their clothes were all on backward. That Barbie is very close to my heart. When we signed on to write it and I went to the Mattel headquarters, they opened up all the archives and took me through everything from 1959 till now, and the designers and the people who work there were just really fun to talk to and really interesting. But I would say that actually what we we did is, if there were rules, I think we broke all of them. That was part of it, in a way: 'tell me what your sacred cows are and I will do something naughty with it'. Margot, as a producer, was so instrumental in the whole process of just saying 'I want to make this. I want to make her version of this movie, her vision and and really protect it'. But yeah, if anything, it was an introduction to all the rules so they could be broken." America: "I remember when Greta and I first started speaking, she gave me a list of movies to watch to get in the vibe and the feel and the tone, and actually one of the movies I watched was a documentary called Tiny Shoulders about the expansion of the brand. I learned so much watching that. I did know a little, but through the making of this movie and the little bits of research that are either in the movie or that you caught researching it, it's really phenomenal to get a sense of how long the Barbie legacy has been — and how there have been times in the legacy where she was a revolution, and other times where she was behind her times and she needed to catch up. Just the mere fact that she was the first doll a girl could play with that wasn't a baby doll is something that I didn't really ever know. So there was there was an appreciation right from the start of how long her legacy is and how varied her place in our culture has been." ON CHALLENGING THE BARBIE STEREOTYPE Margot: "I definitely didn't want to portray Barbie as being vapid in any way. The thing about our how our story is constructed is that Barbie can be anything — Barbie can be president, Barbie can be a Nobel Prize-winner, you see all this stuff at the beginning of the movie that sets up how incredibly intelligent Barbie is. But at the same time, she hasn't been exposed to so many of the concepts that she's going to be exposed to in the real world. So it was a fine line between playing naivety without it coming across as unintelligent, because I didn't want it to seem ditsy— and that's just not interesting to play. It's not interesting to watch, either. There are times in the movie where we lean into stereotypes — we literally call my Barbie 'stereotypical Barbie' — so we're very much leaning into some stereotypes so that we can, in a way of being self-aware, play up the comedy, and also have a deeper conversation about some sort of issue. But then there are other times where you're like 'okay, if we play up that particular stereotype, it's going to be boring for people for the hour and 40 minutes that they're watching this movie'. It was an interesting challenge to find 'okay, what how do we portray the fact that she hasn't been exposed to certain things that she's going to learn along the way, but it doesn't mean that she's not intelligent?'." ON GETTING HELP FROM WONDER WOMAN — AND PASSING THAT HELP ON Margot: "Obviously I want the movie to do well because we all worked so hard and we love it so much. But I think it is important when a movie like this does do well — like, if Wonder Woman hadn't done what Wonder Woman had done, I don't know if people would have given us the budget we got to. And if this does well, then the next person who wants to make [something female-led]. It's so important." Greta: "We were just saying this the other day. I think all the time, I was like 'I'm so grateful that Patty Jenkins made Wonder Woman'. And yeah, whoever comes next, it will be..." Margot: "I remember when they were trying to come up with comps [comparable films] for this movie, and there's not that many. And it's important to have them. It makes a difference on the business side of things to have those comps, and have the proof in the pudding that they've made money and done well. Hopefully we can be an extra stepping stone for the next thing." Check out the trailer for Barbie below: Barbie releases in cinemas Down Under on July 20. Images: Barbie press tour photography by Caroline McCredie for Warner Bros/NBC Universal. Barbie film stills via Warner Bros.
When Repressed Records moved from Penrith to Newtown 16 years ago, they knew they were setting up shop in the right scene. Famous for its vast vinyl collection, the store specialises in independent Australian music and always has an interesting range of music from around the world you won't find in your run-of-the-mill music store. Biggest sellers include names like Royal Headache, Eddy Current Suppression Ring, Bed Wettin' and Total Control. Never heard of any of these bands? That's fine — the team behind Repressed are always happy to make recommendations to ease you into one of the most underrated music genres of all time. The store also stocks knick knacks like carry bags and books from local artists — and other niche things.
If you've even the smallest creative bone in your body, Django Unchained will tickle it. Wildly creative, funny, and frightening, true to form yet never predictable, this is one of those films that makes you want to write one of these kinds of films. Set two years before the start of the American Civil War when slavery was still rampant in the south, it's tempting (if also stupid) to think of Django Unchained as some sort of bizarre prequel to Spielberg's Lincoln. Initially the eponymous Django (Jamie Foxx) walks wearied and defeated in a chain gang until he's unexpectedly freed by the eccentric dentist Dr King Schultz (Christoph Waltz). This mannerly yet murderous bounty hunter then offers Django the chance to both exact revenge and make his fortune by murdering white outlaws in exchange for money. With the crosshatched scars of countless lashings on his back a daily reminder of such men's cruelty, Django leaps at the chance and soon proves a natural in the business. His wife, however, remains the property of vile plantation owner Calvin Candie (Leonardo DiCaprio), a character so heinous and sadistic that Tarantino subsequently deemed him 'beyond redemption', and hence a rescue plan takes form. It's perhaps no surprise, then, that this Tarantino tale of slavery and vengeance dials the violence up to 11 from almost the opening scene and never looks back. It does occasionally border on 'look-away' levels of horror; however — just as it was with Inglourious Basterds — this 'revenge porn' sub-genre of cinema uncomfortably satisfies through its savagery. Moreover, Tarantino's preparedness to brutally kill off any (and, often, all) his principal characters without even a moment's notice lends every scene an undercurrent of unpredictable tension that commands your attention. Traditionally, Tarantino's main shortcoming as a director has been his fondness for playing with form in a manner that denies his audiences the opportunity to entirely immerse themselves in the experience. Whether through unexpected soundtrack choices, mid-movie title sequences or just direct conversations with the audience, you're aware you're watching a movie and hence sit entertained but not always engrossed. Those same elements are at play again in Django, but for the first time since Kill Bill, they advance and enhance the plot rather than specifically (and jarringly) draw your attention to it. In short, it's a delightful return to form. https://youtube.com/watch?v=_iH0UBYDI4g
If it involves design and creativity — whether as graphics and illustration, via filmmaking and animation, in photography and visual data, through writing and publishing, in products and advertising, or as part of spatial and motion design — odds are that you'll find it at Semi Permanent. The southern hemisphere's biggest and longest-running festival dedicated to all of the above, it brings together the brightest minds it can find to unpack its chosen topics. And, in 2023, it'll do just that in Sydney again. This fest has spanned more than 50 events in 13 cities with 800-plus speakers and over 300,000 attendees over its past two decades, and it's back this year as part of Vivid Sydney's lineup. Don't just wander around the Harbour City soaking in the lit-up gardens, gigs and Vivid's first-ever food fest come May and June — hit up Semi Permanent to ponder what goes into making Vivid so stunning, as well as the latest trends and themes in design and creativity overall. Taking place at Sydney's Carriageworks for three days between Wednesday, May 31–Friday, June 2, Semi Permanent 2023 features a stacked lineup of speakers, including Irish writer, academic and disability activist Sinéad Burke, who'll explore accessibility — and filmmaker and architect Liam Young, who focuses on the blurring boundaries between film, fiction, design, and storytelling, especially when it comes to musing on what cities will look like in the future. Plus, journalist, writer, artist and producer Mona Chalabi will dive into how data helps us understand the world, while Iranian American designer FISK founder Bijan Berahim is known for highlighting culture, community and commerce via art and design. Also on the bill: Vogue India's Head of Editorial Content Megha Kapoor, Indigital founder Mikaela Jade, Indigenous artist and poet Jazz Money, and artist, illustrator and animator Chris Yee. Film and TV designer and director Filipe Carvalho joins the international contingent, with the Australian Centre for Moving Image's Seb Chan, Gold Coast artist and screenwriter Samuel Leighton-Dore, motion graphics artist's Mikaela Stafford and photographer and performer Wani Toaishara helping fill out the local crew alongside artist and illustrator Jordy van den Nieuwendijk, designer and artist Evi. O and Semi Permanent 2023's host Namila Benson. That packed roster of talent will examine the theme of 'reformation', a particularly topical subject given the events of the past few years. "We thought the world would seek to build itself back as it was, but it's increasingly clear that our collective future cannot—nor should not—look anything like its past," notes Semi Permanent's Global Creative Director Mitchell Oakley Smith. "We live amidst a once-in-a-generation chance to write past wrongs, reform seemingly immutable practices, and redesign the world in a shape we'd like to see." As always, Semi Permanent will span keynote talks, panels, Q&As and workshops, as well as exhibitions, demonstrations and installations. This year, expect those sessions to touch upon futurism, feminism, First Nations culture and accessibility alongside sustainability, diversity, equity and inclusion, all while examining Web3's borderless promises, how remote work helps employees claim back their time, and the dismantling of industrial hierarchies and traditions. "In its place, something new is beginning to emerge: new creative languages, new ways to communicate, to create, organise, disrupt, rebuild. New ways to speak, hear, interpret, understand, and connect. Less barriers to entry, and more possibility for brilliance. With all the chips seemingly thrown in the air — which of these do we catch, and which do we let go?," says Oakley Smith. Semi Permanent 2023 will run from Wednesday, May 31–Friday, June 2 at Carriageworks, 245 Wilson Street, Eveleigh, Sydney. For more information or to buy tickets, head to the Semi Permanent website.
For more than two years, everyone has been asking the same two questions — everyone that's a fan of Stranger Things, that is. They're obvious queries but, if you've been hooked to the 80s-set Netflix sci-fi series since it first debuted in 2016, they're important. Question one: what happens next? Question two: when will we see what happens next? Indeed, when July 2021 came and went, it marked two years since Stranger Things last graced our streaming queues. So, you've been wondering what's become of all the series' characters — especially Hawkins' beloved police chief Jim Hopper (David Harbour, Black Widow) — for quite some time. You'll be pondering into next year as well, because the streaming platform already announced that the show won't be returning till 2022; however, it does keep dropping sneak peeks. Back in February 2020, Netflix provided an initial clip. Yes, that now seems like a lifetime ago. It also dropped a couple more teasers in May this year, and released another one back in August. Need more? The streamer has just unveiled yet another teaser trailer, this time focusing on a spooky spot called Creel House. First, we see it years ago — and then, we see it being explored in its abandoned, dusty and eerie guise by Steve (Joe Keery, Spree), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Lucas (Caleb McLaughlin, Concrete Cowboy) and Max (Sadie Sink, The Last Castle). When you're hanging out for anything and everything related to the show's fourth season, each trailer and teaser drop is exciting — and they all keep threading together pieces that are bound to prove important when new episodes actually hit. Indeed, we already know what happened after season three's big cliffhanger and Russian-set post-script — when Hopper, the mind flayer, the Russian lab below Starcourt Mall and that pesky gate to the Upside Down all had a run-in. And, we know that Hawkins Laboratory is going to feature again moving forward, thanks to clips focusing on Eleven (Millie Bobby Brown, Godzilla vs Kong) and Dr Martin Brenner (Matthew Modine, Operation Varsity Blues: The College Admissions Scandal). Now, with this latest teaser, we know a little bit more as well. Of course, it's worth remembering that when Netflix announced the show's renewal for a fourth season back in 2019, it did so with the catchphrase "we're not in Hawkins anymore". Naturally, we'll have to wait to see what that really means for its full cast of characters — including Joyce (Winona Ryder, The Plot Against America), Will (Noah Schnapp, Hubie Halloween), Jonathan (Charlie Heaton, The New Mutants) and Nancy (Natalia Dyer, Things Seen & Heard). Check out the new Stranger Things season four sneak peek below: Stranger Things season four will be able to stream via Netflix sometime in 2022 — we'll update you with an exact date when one is announced.
It has won 11 Tony Awards and is one of the Obamas' favourite musical, and now Lin-Manuel Miranda's game-changing musical Hamilton is finally coming to Australia. The critically acclaimed hip hop musical, for which Miranda wrote the music, lyrics and the book, is about the life of Founding Father Alexander Hamilton, as well as inclusion and politics in current-day America. As well as its 11 Tony Awards, which include Best Musical, it has nabbed a Grammy Award and even a Pulitzer Prize. After hitting Broadway in 2015, then West End in 2017, and beginning its third tour of the US earlier this year, Australians can finally catch Hamilton — when it makes its Southern Hemisphere premiere at the Sydney Lyric Theatre in March 2021. While this is not new news, with the musical heading Down Under first announced back in May 2019, the fact that it's still planning to go ahead in seven months despite the global pandemic is. And, Aussies keen to head along will be able to snag tickets in just a few weeks. Those who've signed up to the waitlist — or do so before Sunday, August 23 — can get pre-sale tickets from 10am on Monday, August 24. General public tickets will then go on sale at 9am on Tuesday, September 1. Tickets will set you back $70–250 a pop — but there'll be a limited number going for just $10, available as part of the Hamilton lottery. We'll be sure to let you know more details about that when they're announced. [caption id="attachment_731122" align="alignnone" width="1920"] Joan Marcus[/caption] There's no word yet on whether it'll head to other Aussie cities later on — it's possible, other big musicals, such as The Book of Mormons, have. But, if you don't want to risk it, those located interstate should to start planning a trip ASAP — we think it'll be more than worth it. Of course, if you're hoping to make the journey to NSW from interstate, you'll be keeping your fingers crossed that all the internal borders will finally be open by next March. It's not Miranda's first musical to hit Australia, either, his take on the classic 200s film Bring It On: The Musical hit Melbourne in 2018 and quadruple Tony Award-winning In The Heights just finished a short season at the Sydney Opera House last year. In the meantime, you can watch the filmed version of Hamilton with the original Broadway cast on Disney+ — yes, it's as phenomenal as you've heard. Hamilton will make its Australian premiere at the Sydney Lyric Theatre from Wednesday, March 17–Sunday, August 1, 2021. You can sign-up for pre-sale tickets now before they are released at 10am on Monday, August 24 via Ticketmaster. General public tickets will then go on sale at 9am on Tuesday, September 1. Image: Hamilton, Broadway. Photo by Joan Marcus.
The 11th of March 2011 will be a date long remembered as one of Japan's darkest, when an 9.0 magnitude earthquake and a 40-metre high tsunami took the lives of over 20,000 people and destroyed the homes, communities and livelihoods of countless others. To add insult to injury, it will also be remembered as the day the Fukushima Nuclear Power Plant was seriously damaged, the disastrous consequences of which may linger for years and years to come. In the weeks and months since the natural disaster, the affected towns and communities have slowly and painstakingly began the task of rebuiling their lives, homes and communities. And whilst it is unlikely that the Fukushima Nuclear Power Plant will ever open again, its workers and engineers have begun tackling the daunting question of how to clean it up, stabilise the reactors and lower dangerously high levels of radiation. In an unauthorised visit, and at great personal risk, Kazuma Obara became the first photojournalist to enter into the nuclear plant in an attempt to draw attention to the daily life and conditions of the people who work there, with no guarantee of their health and safety. So far, the clean up project at the power station has been characterised by secrecy, misinformation and confusion, not only for the general public, but, as Obara's story tells, for the plant's workers also. Obara's images are sobering, mundane and surreal. And have provided the world with its first images of the day to day reality of the aftermath of the world's bigget nuclear disaster since Chernobyl.
In a must-do this weekend for anyone who thinks a lamb roast and a G&T make a winning combination, Four Pillars Gin will be temporarily combining forces with the Bottle and Beast crew to create a pop-up within a pop-up. From Thursday to Sunday, the Yarra Valley distillery's rare dry gin, which they describe as "a truly modern Australian gin" combining citrus with spice, will be the sole spirit on offer behind the bar, serving as an ideal aperitif before B&B's meat and Riesling main course. Bottle and Beast is a summer pop up in Pyrmont open for just 65 days and closing March 31. Each night a different beast (from pig to lamb to goat) is lovingly cooked over fire and coals by Sydney chef Jared Ingersoll. There's an emphasis on ethically sourced, sustainably raised produce and a selection of yummy side dishes. Diners are encouraged to wash down their food with wine selected by Jason Hoy, whose aim this summer is to "bring Riesling back to the masses". February 20-23 at 11 Pyrmont Bridge Road, Pyrmont. Call 0449 107 036 for reservations.
New year, new list of huge events to look forward to — but only one will make LGBTQIA+ history. That'd be the first-ever WorldPride held in the Southern Hemisphere, which'll hit Sydney from Friday, February 17–Sunday, March 5. And, although Sydney WorldPride announced its massive 2023 lineup late in 2022, it's still adding big-name additions. Joining the program alongside everyone from Kylie Minogue and Charli XCX to Kelly Rowland and Nicole Scherzinger: German pop star Kim Petras. Fresh from nabbing a Grammy nomination for 'Unholy' with Sam Smith, the 'If Jesus Was a Rockstar', 'Heart to Break', 'Future Starts Now', 'Coconut' and 'Malibu' singer will headline Sydney WorldPride closing gig Rainbow Republic alongside the already-announced MUNA and G Flip. View this post on Instagram A post shared by Sydney Mardi Gras (@sydneymardigras) "I'm so happy to be back in Sydney supporting WorldPride! Headlining Mardi Gras was a really inspiring moment back in 2019 and it was one of my favourite Pride events ever, so I'm really excited to see my Australian fans again and take everything to a whole new level," said Petras, announcing the news. She'll take to the stage in The Domain, where WorldPride is hosting both its opening and closing events, as part of a a seven-hour show filled with live music, DJs and dancing — a queer megamix, if you like. On hosting duties: Keiynan Lonsdale (Love, Simon, The Flash, Eden), who'll also perform. Peach PRC, Alter Boy, BVT and Vetta Borne have also been named on the bill. Sydney WorldPride has been announcing parts of its lineup since June last year, including the return of the Sydney Gay and Lesbian Mardi Gras Parade to Oxford Street after the 2021 and 2022 events were held at the Sydney Cricket Ground due to the pandemic. Among the other highlights: pride villages set up in sections of Crown Street and Riley Street, rainbows all around Greater Sydney, a Bondi beach party that'll turn the iconic sandy stretch into a club for 12,000 people, and a Blak & Deadly First Nations gala concert. RAINBOW REPUBLIC SYDNEY WORLDPRIDE CLOSING CONCERT LINEUP: Kim Petras MUNA G Flip Keiynan Lonsdale Peach PRC Alter Boy BVT Vetta Borne Sydney WorldPride will run from Friday, February 17–Sunday, March 5, 2023, with closing concert Rainbow Republic taking place at The Domain on Sunday, March 5. Tickets for Rainbow Republic are on sale now. For more information about Sydney WorldPride, or for general ticket sales, head to the event's website.
In the space of a mere two days to close out May, two tales of two puppeteers join the streaming ranks. Eric is pure fiction, but it's impossible not to think about Jim Henson while watching it, regardless of whether you also have a small-screen date with Jim Henson Idea Man. Creator and writer Abi Morgan — who has previously penned the likes of Shame, The Iron Lady, The Invisible Woman, Suffragette, River and The Split — puts a Henson-esque figure with his own hit TV show for kids at the core of her six-part miniseries. Played by Benedict Cumberbatch (The Wonderful Story of Henry Sugar) in a performance that's bound to receive awards attention, the bearded and lanky Vincent Anderson even physically resembles the man behind The Muppets, Sesame Street, Fraggle Rock, The Dark Crystal and Labyrinth. As evident to everyone watching Eric from Thursday, May 30 on Netflix, its protagonist definitely isn't Henson. Firstly, Anderson is an abusive alcoholic. Secondly, his nine-year-old son Edgar (debutant Ivan Morris Howe) goes missing one morning on his walk to school, which he was supposed to accompany him on as his main contribution to fatherhood. And thirdly, the eponymous Eric is a seven-foot-tall monster muppet who his boy scribbled to life on the page and then starts following Vincent as his mental health struggles after Edgar disappears. But binge-viewing your way through Eric — and it is engrossingly bingeable — means being unable to shake the feeling that Morgan pondered "what if?" about Henson in all of the above scenarios. As a series, the 1985-set Eric is as ambitious as it is expertly acted; neither daring in general nor absorbing portrayals are lacking. The exceptional Cumberbatch sits at the crux of both as Eric asks another "what if?": what if someone experiencing the terror of their child going AWOL wasn't at their best before their life is turned upside down, because heartbreak and horror don't solely blight pictures of perfection? There's force behind his work as Vincent by design, with the audience asked to feel every ounce of his agony and the chaos he wreaks. Cumberbatch finds haunting nuance in the part, too, as subtlety simmers in every key portrayal — from Howe, Gaby Hoffmann (C'mon C'mon) as Edgar's mother and McKinley Belcher III (One Piece) as the cop on the case through to Clarke Peters (Whitney Houston: I Wanna Dance with Somebody) as a neighbour, Bamar Kane (Io Capitano) as an unhoused street artist and Adepero Oduye (Five Days at Memorial) as another mum looking for her lost boy. Eric is also instantly involving and deeply layered as it queries how a bright world can turn unkind, cruel and corrupt. It's an ordinary day when Edgar trundles out his New York City door alone, and routine even in the fact that Vincent and Hoffman's Cassie have been fighting. With the series starting with Edgar's parents fronting the media flanked by police, pleading for their son to come home — Vincent speaks directly to him through the camera — viewers know what's in store before the boy doesn't arrive at class. Morgan and director Lucy Forbes (This Is Going to Hurt), who helms the entire miniseries with poise, can't ever be accused of lacing their tale with inevitability, however. Rather, pain and poignancy are Eric's constants. Swiftly, the Anderson family is plunged into crisis. As he frays visibly and publicly, the already-erratic and egotistical Vincent still can't tear himself away from work on Good Day Sunshine. The show, plus conjuring imaginary friends to life with felt, was the primary glue between the Anderson men (Edgar's bedroom overflows with sketches that resemble his dad's). Vincent isn't merely distracting himself by keeping busy or clinging to something that bonded him with his kid; he becomes obsessed with turning Eric into his show's newest character. At home, their marriage disintegrating, Cassie is certain that reward money from her husband's rich parents (The Big Cigar's John Doman and Anatomy of a Scandal's Phoebe Nicholls), who he's estranged from, will help rustle up information on her son's whereabouts. One of the bold choices that Morgan makes is not just to take a setup that could've fuelled the series by itself — abduction thrillers are their own genre — and add a complicated character study complete with a furry pal manifesting as a man's guilt, regret and sorrow; she also ensures that Eric functions as a portrait of 80s New York, with graffiti and garbage a consistent sight, and the city's homeless population a frequent topic of discussion. Here, enter NYPD detective Michael Ledroit (Belcher III), who is investigating while handling his own baggage. He's still trying to find another disappeared boy from 11 months ago, 14-year-old Marlon (Bence Orere, another newcomer), but with far less support because the child is Black. Ledroit is also a closeted gay Black man in a workplace and at a time that's hardly welcoming, and with a partner (Mark Gillis, Hollyoaks) dying of AIDS-related illness. Accordingly, Eric is a snapshot of a crumbling family, and of a man facing his worst nightmare and mental deterioration in tandem; a missing-person procedural about two vanished boys and the dissimilar attitudes to bringing them home; and a wander through the Big Apple in a distinctive period, and through the inequality engrained in everything from race and class to sexuality and power with those bearing its brunt. Its namesake may seem as if he could've strolled out of Monsters, Inc., albeit with a gruff voice and no aversion to swearing — and "be good, be kind, be brave, be different" might be Good Day Sunshine's motto — but this is always a tale of darkness, pain and the reality that sunny days sweeping the clouds away are so rare that they need to be clung to. In a busy year for childhood buddies on-screen, Eric isn't optimistic fantasy IF or dull horror film Imaginary, though. It also isn't 2018's terrible adult puppet flick The Happytime Murders, which had a Henson pedigree: Brian, son of Jim, plus director of both The Muppet Christmas Carol and Muppet Treasure Island, helmed it. When it swings through clubs where sex sells, examines the impact of gentrification, and unpacks the dishonesty and violence that can colour the thin blue line and the institutions behind it to the detriment of a city, The Deuce and The Wire both appear to be influences (Peters and Doman's supporting parts assist). Puppets don't nest one inside the other, but this series with one at its centre repeatedly proves the TV equivalent of a matryoshka doll. Check out the trailer for Eric below: Eric streams via Netflix from Thursday, May 30, 2024.
If you haven't heard of 28 Hongkong Street before now, don't feel too out of the loop. Sure, it's been voted Asia's best bar for three years running and knocks out some seriously amazing cocktails — but it also operates as one of those mysterious, super secretive, word-of-mouth-only venues, hidden away behind an unassuming 1960s shopfront. Plus, it's been hanging out all the way up in Singapore, 6000 kilometres and an eight-hour flight away. Until now. For three nights this month, 28HKS will be hitting our shores as part of Sydney Bar Week. The brief touchdown on Australian turf will see the Singaporean enigma visit Sydney and Melbourne to take over two of our own hidden cocktail bars and give lucky locals a whirlwind taste of all the cocktail magic. They're not cutting any corners, either. The pop-ups — which will grace Darlinghurst's Henrietta Supper Club on September 18, and Fitzroy's The Everleigh from September 21-22 — will offer a bang-on recreation of the 28HKS concept. Expect those award-winning cocktails alongside a selection of the American-leaning share plates, all delivered by five of 28HKS's mixologists, floor staff and chefs. They're even bringing over the soundtrack to round-out the experience. It's not the first time Australia's had a fleeting taste of international cocktail greatness and, given the success of Attaboy's February stints at The Everleigh and Dead Ringer, and last year's Please Don't Tell pop-up at The Black Pearl, it's probably safe to say that this latest cocktail-wielding visitor won't be the last. One thing's for sure, though — at $20, these tickets won't hang around for long. Snap one up here for the Sydney pop-up, or here for the Melbourne one. 28 Hongkong Street will pop up at Henrietta Supper Club, Darlinghurst, on Sunday, September 18, and The Everleigh, Fitzroy, from September 21-22. There will be two sessions available each night, with each session running for 1.5 hours. Tickets are $20, and include a cocktail on arrival.
It's never too cold to party. At least, that's what the guys behind Snowtunes say. And for its third year, this Snowy Mountains music festival is coming back even bigger — twice the size actually. With the addition of a second night of festivities, the party people have also added a second stage so punters can enjoy live music at one and dance it out at the other, dedicated to EDM. Mark your calendars, snag some tickets and find some snow gear, because September 1 and 2 are fast approaching. Who's expected to take to the stage? There'll be plenty of Aussie-born talent to set your weekend's soundtrack after a day on the slopes, including L D R U, Gang of Youths, Nina Las Vegas, Mashd N Kutcher and Tigerlily. New Zealand-born singer-songwriter Mitch James and French DJ Klingande will bring some tunes from abroad into the mix, too. Really, it's a slam dunk of a lineup. And in between sets you'll be able to grab a drink at this year's Bag Jump Adventure Park, a VIP champagne bar, as Lake Jindabyne gets transformed into the ultimate party snow globe. Stay tuned for any updates and announcements on Snowtunes here.
Concrete Playground recently caught up with Mexican-Canadian tech artist Rafael Lozano-Hemmer. Lozano-Hemmer is famous for art that lurks in public spaces, galleries and even beaches, amplifying passers-by into new creatures with a city-sized will. He's taking over a slice of the as-yet unfinished Museum of Contemporary Art over summer, with his hands-on exhibition Recorders. Lozano-Hemmer mashes-up tech, art and his audience, with an effortlessness that would leave the mechanism invisible — if he didn't then go on to scrupulously explain, in-situ, how his works work. How would you describe what do you do? I work primarily with the intersection of architecture and performance art. Most of my installations are in the form of either displays or lights, or sounds that react to the presence of the public. And to do that there are things like sensors and tracking systems, and biometric scanners which allow the artworks to detect the presence of people. I like always to reveal the mechanisms by which these works function. So oftentimes in my work you get to see the tracking systems, or you get explanations about what equations are at work to make a project happen. I pretentiously call it a 'Brechtian moment'. You remember how in Brecht, all of a sudden all the actors stop and just look at the public and say "Well, you know, this situation is just make believe. This is just a simulation of reality. We are actors. You're the public." So there's this moment where you all get back, anchored in reality. You've said one of the things you liked about an outdoor work of yours was that you had people outside in public, just hanging around and not shopping. It must be very interesting for you, watching the Occupy movements around the world. When it first started in Spain in May it was just so exciting. I'm from Latin America, so oftentimes protests and so on turn out to be these ideology-based, adversarial kinds of movements. And that's not what I saw with the Occupy movement, when it started in Spain. With the indignados ('indignant ones') it was mostly professionals, architects, dentists, students, professors, whatever. And they were just taking over public space. And that was just such a beautiful statement, and they did so in such a sophisticated way. The indignados started in Madrid, where there's a tradition of young people going out and drinking in the streets. There's a sense of ownership of the street. Real estate was so expensive that everybody lives with their parents. And so you needed to go out in order to see your friends. And that produced very lively street life. But it's also just a sense of being seen. It's almost as if the actual protest is the message all by itself. Just a we're here. Yeah. Just this idea of just occupying space is radical. You know, you're there. You're existing. Just spending time, and connecting, and being present, is in my opinion extremely radical. Especially in Latin countries where people used to just disappear under the dictators, the idea of just being there.. That's a really good way to understand the sense of presence and absence, in terms of the political dialogue. It's like "Yeah, what are you going to do? You cannot wipe us out. We think these things, and therefore we are taking space. These ideas take space." I just came back from Art Basel Miami Beach. Which is this art fair. I mean, I'm not a moralist. And I love money. And I love champagne as much as the next guy, but there is something really absurd about a system that only reserves this sort of superior cultural production to this tiny fraction of the population. And I'm telling you this because there was an Occupy Art Basel Miami. There were all these artists. You know, local artists and so on, and educators, camping out of Art Basel Miami saying "We can't afford the 50 bucks it costs to go in. And, even if we could, we would never be able to afford any of the art that is on display here." Something else you try to bring to people's awareness is the surveillance around them all the time. These technologies come mostly from a desire to control the public, a desire to seek out, search and detect suspicious activity. The surveillance aspect of my work is more about acknowledging this kind of darker, predetorial side of where these things come from. But then creating critical or poetic experiences with these very same technologies. I would love people to come out of Recorders with a sense of inclusion, a sense that these technologies are neither this Orwellian, ominous threat — it's already happened — and also not like an infantile, fun, hands on science experiment thing. In between those two extremes, there's a whole range of different poetry that is possible. Image courtesy and © Rafael Lozano-Hemmer. Photo: Ana Cristina Enriquez
Back in May 2013, we brought news of NASA's US$125,000 3D pizza printer to your cyber-doorstep. Now, we've got something cheaper, sweeter and much more personal for you. At the 2014 CES (Consumer Electronics Show), held January 7-10 in Las Vegas, US company 3D Systems unveiled the world's first kitchen-ready 3D food printers, the Chefjet and the Chefjet Pro. Designed with pastry chefs as the target market, the Willy Wonka-esque contraptions can print sugar in three different flavours (cherry, sour apple and mint), as well as milk chocolate. The Chefjet, which will retail for less than US$5,000, can conjure up single-colour goodies, such as cake decorations and fancy sugar cubes. The Chefjet Pro will carry the heftier price tag of US$10,000 but will offer the creative flexibility of full-colour printing and the ability to handle larger volumes. A digital cookbook will take over the role of the likes of Jamie's 30-Minute Meals and Nigella Express. "The machine uses an ink jet print head that's just like the one you would find in your desktop 2D printer," said Liz von Hasseln of 3D Systems. "It spreads a very fine layer of sugar then paints water onto the surface of the sugar, and that water allows the sugar to recrystalise and harden to form these complex geometries." The Chefjet and the Chefjet Pro will hit the commercial market sometime later this year. Via dezeen magazine.
Back when Orange FOOD Week began, the region's culinary scene consisted of little more than a couple of burgeoning vineyards. Now, as the event enters its 35th year, Australia's longest-running regional food festival has an extraordinary array of local chefs, cooks, farmers and restaurateurs to highlight. In 2026, eight of these gastronomic events will be held at Hotel Canobolas, one of Orange's most storied venues. Presented on Friday, March 27, a major highlight of this ten-day festival is Locally Grown with Chef Joel Bickford. Following a sold-out edition in 2025, Bickford will link up with fellow Point Group collaborator, Food & Beverage Director Alex Kirkwood, to serve a four-course feast showcasing seasonal veggies, ethically raised meats and signature ingredients sourced from farms throughout the Orange region. Plus, Fire & Wine will make its festival debut, offering diners an open-air celebration of local produce from within the Canobolas Courtyard. Starting at 3pm on Sunday, March 22, chefs Joel Bickford and Danny Corbet will serve up a curated wood-fired menu inspired by the region's growers. Meanwhile, Orange's top wines will be poured throughout the afternoon, specifically chosen to complement the smoky cuisine. As for the rest of the festival, Hotel Canobolas will be jam-packed with community happenings. For instance, Raw Fizz on Thursday, March 26, provides a chance to drink and mingle with local winemakers, while the annual Night Markets return on Friday, March 28, complete with a delicious charcoal barbecue. Of course, the wider program for Orange FOOD Week is similarly stacked, with close to 100 more activations to explore in and around town.
Not only is Troye Sivan one of Australia's brightest pop stars, he's also a Queer icon with a strong perspective on diversity and inclusion. At Town Hall, he'll be in conversation with Lillian Ahenkan — AKA Flex Mami, the multidisciplinary Sydney-based creative — to discuss "beauty, art and fluidity" as part of Vivid Sydney's Global Storytellers series. Despite being only 26 years old, Sivan has been in the eye of the public since his teens — performing on TV and online from 2006 — and has spoken out about his discomfort around being singled out while also wanting to be a voice for the Queer community. This layered experience forms a unique standpoint, with the creative force sure to have some fascinating insights to share in this intimate event.
Love a negroni? It wouldn't come as a surprise if you do. This classic drink's popularity has gone through the roof in recent years, and is now widely considered the world's most popular cocktail, beating out the likes of the old fashioned and the dry martini. With this in mind, it makes perfect sense that there's high-end bars popping up across town dedicated to this ruby-red concoction. The latest to arrive on the scene is Herbs Taverne, opening Saturday, May 3 on Clarence Street. Led by MUCHO – the same team behind other upbeat venues bars like Cantina OK!, Centro 86, Bar Planet and Tio's Cerveceria – the bar will turn its attention to the bittersweet tipple, using it to anchor the venue's aperitivo and digestivo selection. Behind the bar, guests can explore a carefully curated collection of the world's most iconic, rare and downright delicious amaros, from the dry and earthy to the bright and zesty. Keeping things focused, Herbs menu features 12 core drinks: three riffs on the classic negroni, three aperitifs, three house-blended digestifs, and three original cocktails. Plus, there's a monthly spritz special for regulars looking for something new to sip on. Showcasing a healthy dose of creativity and eccentricity – like the rest of MUCHO's venues – the bar looks to create a lighthearted experience that borders on the psychedelic. While Herbs Taverne's drinks list will certainly have an appreciation for heritage, the menu won't feel stuck in the past. Here, they've filtered classic European drinking traditions through Sydney's eclectic flavour pantry. That means drawing ingredients and accoutrements from across the culinary scene – from Polish delis to Chinese grocers. So, while the drinks might seem familiar, the approach is anything but. [caption id="attachment_797035" align="alignnone" width="1920"] Cantino OK!, K Low[/caption] "Each drink is built to be purely delicious but also surprising," says Jeremy Blackmore, Creative Director at MUCHO Group. "They each have something unexpected, from pairing amaro with parsley, or Gentian with passionfruit, even pairing Calvados and Żubrówka. Sometimes these combinations are more than the sum of their parts. It's these combinations we're looking for." Sure, some of the drinks might be bitter, but don't expect the mood at Herbs Taverne to trend sour. With its subterranean home on Clarence Street set to open seven days a week and run until 2am, the fit-out will have that classic cosy bar feel. However, anticipate a few fun and perhaps even kaleidoscopic twists that take the spot up a notch – just like its much-loved sister venues. [caption id="attachment_952594" align="alignnone" width="1920"] Tio's Cerveceria, Dexter Kim[/caption] Herbs Taverne is set to open on Saturday, May 3, 2025 at 213 Clarence Street, Sydney. Head to the Instagram for more details.
Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it's also been going hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider have been giving the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek are happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they're equally thrilled for her. But ChaseDreams, their little brother's stage name, has always been a constant reminder that their own ambitions keep being outshone — and in a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around that streams from Thursday, May 4 via Binge, they've never been above getting petty and messy about it. Back in that debut run, Kelly and Schneider made a simple but savvy choice: naming each instalment around whatever Chase was doing, whether he was getting a girlfriend or a nosebleed, turning 14 or dropping his first album. The series may be called The Other Two, but even the episode titles put Cary and Brooke to the side, fitting in an extra running joke about their brother coming first. Season two kept the trend going; however, it split most of its monikers between Chase and Pat as the latter's success eclipsed her son's. So, Pat connected with her fans, became number one in the daytime market and, with Chase, all-round killed it. Then a big realisation dropped, with Brooke's work as an entertainment manager — first to Chase, then to Pat — and Cary's thespian quest becoming just as much of an everyday reality. What's season three to do now that the titular other two aren't just hanging around with stars in their eyes and resentment in their hearts? The better question, as Kelly and Schneider know, is what will Cary and Brooke do? They've spent the past few years constantly comparing themselves to Chase, then to Pat, but now they're successful on their own — and still chaotic, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they're faking it or making it, nothing is ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wonders whether her dream gig is trivial after living through a pandemic, she starts contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he gets envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). Striving, seeming like you're thriving but still diving: that's The Other Two's three-season arc. The series has always been as acerbic about getting to the top as yearning for it — Chase has never been all that fussed with his fame, including now that he's 18 — and it doesn't waver in its latest splash. Outlandish situations, grounded insights and emotions: that's The Other Two's realm, too. Pat is at the owning-her-own-network stage of Oprah-dom, but pines for the easy pleasures of a family dinner at Applebees that can only happen through movie magic. Brooke is so obsessed with doing something worthy that she can't see what her nearest and dearest are truly worth. And Cary is both unhappy in a relationship with a more-famous actor (Fin Argus, Queer as Folk) who never slips out character and desperate to do anything himself to stay relevant. Even more so in season three, The Other Two isn't afraid of getting existential, or dark. It's still as cutting about everything from social-media trends and celebrity fixations to ridiculous filler reality shows, however — and as gleefully absurd and surreal. One episode revolves around the quest to drive a photo of Chase's armpit across America because it's his first snap as an adult and it's that coveted. Another sees Brooke literally disappear at a glitzy party when she decides she's ditching the industry. And when Cary craves attention for his straight-to-streaming flick Night Nurse, which was back in action when season two ended and premiering when this season begins, he spends half a day on public transport to get to an interview with TheBrooklynBuritto.com. This time around, The Other Two also finds room for lengthy satires of Pleasantville, Romeo + Juliet, Love, Victor and Angels in America, all via gags that are as inspired as they are amusing. Wes Anderson's penchant for symmetry gets a delicious jibe, and Teen Wolf's Dylan O'Brien, Chilling Adventures of Sabrina's Kiernan Shipka, The White Lotus' Lukas Gage and Shang-Chi and the Legend of the Ten Rings' Simu Liu make game guest stars. The one-liners keep dropping with 30 Rock-esque speed, while the writing is as piercing and astute as Barry at its best. Reliably, Ken Marino and Wanda Sykes remain in vintage form as Chase's manager Streeter and record-label executive Shuli; thanks to Party Down and Curb Your Enthusiasm, both are veterans at skewering show business. Indeed, with York, Tarver, Shannon, Segarra and Jones as well, The Other Two has one of the best casts on TV. The funniest comedy on television deserves to. The show's stacked roster of talent is just as outstanding when season three gets dramatic, including when calling Cary and Brooke out on their egotism, having the ever-charming and -chill Lance get tired of being pushed aside and seeing Pat glean what all this chasing dreams has cost — always with just as much riotous laughs as feeling, of course. Check out the trailer for The Other Two's third season below: The Other Two streams via Binge from Thursday, May 4.
The human brain has been studied inside and out, and its complexities never cease to amaze us. We can make a fist, take a step or turn the wheel all because our thoughts are connected to our actions, but perhaps the new EPOC Neuroheadset will do away with the need for actions altogether. The neuroheadset is a brain-scanning device that allows you to control your computer with your mind. The headset detects brain signals to determine users' emotions and also contains gyroscope technology that reads your position, body movements and facial expressions to accurately communicate commands. Combined with the EmoLens application, the device can detect the emotions you feel as you browse through photos on Flickr and tag the photos accordingly - you don't even touch your mouse or keyboard. If you're bored of that trick, the headset can also use concentration, number of eye blinks or head shakes to determine how you're feeling. Among other applications that can be purchased include Mind Mouse, which allows the user to perform standard computer commands like clicking or double clicking a mouse or even sending an email, and Master Mind, with which users can play their favourite computer games with their minds. The applications and uses are quite limited at this stage, but along with other superhero-inspired technology coming to market, perhaps it won't be long before we can control things with our minds alone. Like a car.
The latest production of National Theatre of Parramatta promises some seriously captivating storytelling. Running from Thursday, July 27, until Saturday, August 5, Fade is penned by playwright Tanya Saracho (Vida, Looking, How to Get Away With Murder) and follows the tale of Lucia, played by Camila Ponte Alvarez (RFDS, Nothing Like the Sun), a Mexican-born writer who embarks on her first TV writing job. Lucia navigates the trials of an all-white and male writing room by befriending the janitor, Abel — played by Caspar Hardaker (Interceptor, Poker Face), a fellow outsider in their Anglo-centred world. As their friendship blossoms, Abel's storytelling seems to make its way into Lucia's scripts – providing a multilayered narrative that is both funny and deeply insightful. Fade serves as an incisive commentary on the challenges of breaking through as an outsider and how far one is willing to go for success. Prepare to dive into the complexities of class, race, and power. It's a must-see for any theatre fan. Fade opens on Thursday, July 27, and runs until Saturday, August 5. For more information and to book your tickets, visit the website.
While Chinese art might conjure up images from centuries past for a lot of us, the White Rabbit collection maintains a focus on contemporary Chinese art created during this century. The collection rotates throughout the year, consistently bringing in new explorations into modern art in China. Beyond the art, White Rabbit also runs its own teahouse, serving up specialities in all types of Chinese tea. The warming teas sit alongside a selection of snacks, including a plate of handmade dumplings. A trip to the White Rabbit immerses you in contemporary and traditional Chinese culture, all without the cost of a plane ticket.
Maybe you loved Knives Out, rightfully so. Perhaps you adore Agatha Christie's books, and couldn't watch the latest big-screen versions of Murder on the Orient Express and Death on the Nile fast enough. Or you might've become a true-crime podcasting obsessive thanks to Serial and found yourself instantly hooked. Whichever category fits — and perhaps several of them do — it's likely that you're a murder-mystery fan. We all are. And, it's just as likely that you adore Only Murders in the Building, the true-crime and true-crime podcasting comedy that proved one of 2021's surprises and delights. We're never too far away from a new murder-mystery in some shape or form, of course, and the second season of Only Murders in the Building knows it — because it's tasking its NYC neighbours-turned-sleuths (and true-crime podcasters) with investigating a second killing. This time, though, the trio of residents in the fictional Arconia in New York are suspects, and they're also the subjects of a competing podcast. That's what the just-dropped new trailer for the show's second season teases, following on from an initial sneak peek a couple of months back. If you missed the first season in 2021, Only Murders in the Building takes a great idea and turns it into a breezy murder-mystery gem. If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then this is definitely the series for you. The show focuses three New Yorkers who basically follow that same process. Here, actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) are all addicted to a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva). They find themselves unexpectedly bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. That's how the first season panned out. Now, Charles-Haden, Oliver and Mabel are weathering the fallout from the last batch of episodes. Complicating their efforts in season two are a trio of factors: their public implication in the death in question; that new podcast about them and this murder; and the suspicions of their neighbours, who think they're guilty. Exactly how that'll play out won't be unveiled until Tuesday, June 28, when Only Murders in the Building returns — but you don't need to be an amateur detective to know that it's bound to be both amusing and twisty. Whatever happens, both Cara Delevingne and Amy Schumer are involved, with the pair joining the cast as guest stars. Check out the latest trailer for Only Murders in the Building season two below: Only Murders in the Building's second season will start streaming Down Under via Star on Disney+ on Tuesday, June 28. Read our full review of the show's first season.
Both Bret McKenzie and Jemaine Clement will be present when Flight of the Conchords make a long-awaited, eagerly anticipated return to television — as part of a one-off live special filmed during the duo's recent sold-out tour. Announced earlier in 2018, Flight of the Conchords: Live at the London Apollo now not only has a US airdate but also an Australian one. The special will screen on HBO in America on Saturday, October 6, and on The Comedy Channel in Australia on Tuesday, October 9 at 8.30pm. As the name really does makes plain, it was recorded in the UK, where Flight of Conchords took their show on the road in March and then returned in late June and early July, following a forced break after McKenzie broke his hand. Yes, it'll be business time, Bowie will be in space and no one will have hurt feelings. Fans can expect to hear the classic tracks that everyone has had stuck in their heads since the folk parody pair's TV series aired between 2007 and 2009, of course, as well as a few new songs. It's also a case of Conchords almost coming full circle, with nabbing a spot on HBO's One Night Stand in the mid-00s one of their big breaks. Foxtel Now subscribers can stream the special live when it airs, but whether it'll be available on demand afterwards has yet to be revealed. In the interim, check out the trailer, as well as the initial HBO date announcement video featuring McKenzie and Clement: https://www.youtube.com/watch?list=PLZQfnFyelTBOQ15kmHSgEbdjzLMWzZpL7&v=xz_-9PlcouE
"Over the past few weeks I've been hunted, haunted and mimicked millions of times across the internet. It's been pure torture. Thank you." So starts the new Netflix video announcing the return of one of the streaming platform's late 2022 favourites, with Addams Family revamp Wednesday officially renewed for season two. Given how much of a hit season one of the Jenna Ortega (X)-starring show proved, this news is hardly surprising. Also, given how popular all things Addams Family have always been — the Christina Ricci-led 90s films have been beloved for decades for good reason, and the 1960s TV show and 1930s The New Yorker comics before that — it's also far from unexpected. Indeed, if you were channelling your inner Wednesday, as we all should, you wouldn't raise an eyebrow in astonishment. If you devoured Wednesday's first season like its namesake and does with all things creepy, kooky, mysterious and spooky, however, you'll be so thrilled that you feel like her perky lycan roommate Enid (Emma Myers, Girl in the Basement). Announcing the renewal, Wednesday season one co-showrunners Miles Millar and Alfred Gough (Smallville) said that they "can't wait to dive headfirst into another season and explore the kooky, spooky world of Nevermore. We just need to make sure Wednesday hasn't emptied the pool first." Giving Wednesday a second spin comes after the first go-around broke the Netflix record for most hours viewed in a single week, then did so again — notching up 341.23-million hours viewed in its first week, then 411.29-million hours viewed in its second. Netflix hasn't revealed when it'll be getting a witch's shawl on and a broomstick you can crawl on yet again, or any fresh additions to the cast, but season two will pick up from season one's big ending — which left plenty of room for more Nevermore antics to follow. And yes, with Scream and Studio 666 s Ortega in the lead again, it will be spending more time at the school for outsiders that the Addams' eerie teenage daughter was enrolled in to kick off the series, as well as offering up another mystery to solve. In season one, Wednesday's titular figure had been terrorising her way through various educational facilities, hopping through eight of them in five years. That's how she ended up at Nevermore Academy, where her mother (Catherine Zeta-Jones, Prodigal Son) introduced her with an apology: "please excuse Wednesday, she's allergic to colour". Morticia actually met Gomez (Luis Guzmán, Hightown) at the school, and thought that their eldest would love it there as they did, but Wednesday's storyline was never going to be that straightforward. With Tim Burton executive producing, plus sitting in the director's chair for the first four episodes — in the job the Frankenweenie, Beetlejuice and Edward Scissorhands filmmaker was clearly born to have — cue high-school chaos, a monstrous murder spree to stop and a supernatural mystery linked to her parents a quarter-century ago to solve. Oh, and a killer goth wardrobe, naturally. Check out the season two announcement video for Wednesday below: Wednesday streams via Netflix, with season one available now and season two arriving at a yet-to-be-announced date. We'll update you with further details about season two when they're revealed. Read our full review of Wednesday season one. Images: Courtesy of Netflix © 2022.
It's not every festival feels like a country weekend fete that just happens to be headlined by say, Courtney Barnett. Fairgrounds, Australia's country boutique camping festival descends on the small NSW town of Berry each December. Taking over the local Berry Showgrounds, Fairgrounds boasts all the trimmings of a major music festival with the essence of a local fair. And this December, it's back for another two-day round. Running over November 30 and December 1, the two-day festival is making a triumphant return. In a huge coup for the small festival in its third year, they've secured big time festival favourites Courtney Barnett and Vance Joy to headline, alongside local legends Pond, Winston Surfshirt and more. Oh, and British punk poet Billy Bragg, US alternative rock band The Breeders and Zambian hip hop singer Sampa the Great will also join the lineup from across the globe. With a strong focus on the local NSW South Coast area, Fairgrounds isn't just about the tunes. Last year local nosh, market stalls and the local swimming pool played equally starring roles at this multifaceted festival — something we're sure made Berry residents pretty happy. Between dips in Berry's local pool (within the festival grounds), punters feasted on local delights, including fresh rock oysters harvested less than half an hour from the festival site. The festival's super-popular long-table dinners will return, too, which take place overlooking the live music. But we know what you're here for. Here's the full lineup. FAIRGROUNDS 2018 LINEUP: Vance Joy Pond Rolling Blackouts C.F. Saba Body Type Oh Pep! Tia Gostelow Courtney Barnett Billy Bragg Winston Surfshirt The Breeders Sampa the Great The Teskey Brothers Waxahatchee Kevin Morby Maddy Jane Carla Geneve Fairgrounds runs November 30–December 1 at Berry Showgrounds, NSW. Tickets on sale from Moshtix at 10am, Monday, August 13. Festival entry starts at $110, with camping $230. Image: Ian Laidlaw and Gabriel Vallido
You don’t call a movie 10 Cloverfield Lane without trying to get your audience guessing. With JJ Abrams in the producer's chair, there's an immediate game afoot. Just how will it connect to Cloverfield, the 2008 found footage creature feature he was also involved in? That's just one of the questions the movie inspires, though in truth it might be the least interesting. Given that the film spends the bulk of its time in a bunker with a suspicious Mary Elizabeth Winstead and a possibly hostile John Goodman hiding from what may or may not be an apocalyptic attack, there are plenty of other things to contemplate. Here's two: is Howard (Goodman) telling the truth when he tells Michelle (Winstead) that he's keeping her underground for her own safety? Or is the paranoid doomsday fanatic using his survivalist obsession for more nefarious means? When an accident brings the two together, Michelle can't help doubting Howard's true motives after she wakes up injured, semi-clad and chained to the wall. He spins a story about global devastation, which fellow cellar dweller Emmett (John Gallagher Jr.) backs up. However, even when the trio settles into a tentative routine of dinners and board games, she can't shake the feeling that something isn't right. Indeed, Michelle might pretend otherwise — and prove determined and resourceful when needed — but there's no mistaking her anxiety and uncertainty. Those emotions aren't hers alone, with 10 Cloverfield Lane forcing viewers to share in her uneasiness. Hiding as much as they make plain, first-time director Dan Trachtenberg and writers Josh Campbell, Matthew Stuecken and Damien Chazelle (Whiplash) sustain a pressure-cooker atmosphere and an air of mystery. Through canny camera placement, fine-tuned framing, savvy editing, a foreboding score and a willingness to take its time, the claustrophobic thriller has great fun teasing its audience. Maintaining a balance of playfulness and suspense also helps counter any similarities to Room or even The Unbreakable Kimmy Schmidt — and while shades of everything from Psycho to War of the Worlds are also evident, the film's path is its own. Forget the shaky visuals and sprawling nature of its predecessor, too. In an effort Abrams has labelled a "spiritual successor" to Cloverfield rather than a sequel, the images are stable, the focus tight and confined, and the menace more psychological than monstrous. Of course, Goodman ensures the threat of physical terror never quite dissipates, in his most substantial role in years. His richly textured performance is only one part of the on-screen equation though, with Winstead's reactions equally as precise and persuasive. Watching the two face off over what's going on and why they're there — with a mostly affable Gallagher in the middle — makes it easy to forget that there's the bigger puzzle of the feature's name to ponder. They're so effective, as is the film in keeping the mood tense and the surprises coming, that 10 Cloverfield Lane proves gripping irrespective of any monster movie ties.
There are few things more civilised than having your friends over for pasta that you made with your own adult hands. It's one of those tasks that feels impossibly complicated, but once you learn a few simple techniques, you'll be fanging fettuccine like the CEO of Barilla. Why not invest in your fancy, adult life and sign up for a pasta making workshop at Cornersmith in Marrickville with Chef O Tama Carey (of Berta fame). Over a glass of wine and a selection of delectable Cornersmith treats, you'll learn how to make two styles of pasta and some tasty seasonal sauce that can be easily recreated at home to thoroughly impress your pals.
It started back in 1956 as a singing contest between a mere seven nations. Now, more than six decades later, Eurovision is a glitter and spandex-fuelled global musical phenomenon. Forty-one countries not only in Europe but from elsewhere compete — hello Australia — and viewers tune in en masse each May to watch, sing along and add new pop tunes to their playlists. But with COVID-19 continuing to spread, the show won't go on in 2020 in Rotterdam as planned. With this year's event cancelled, that leaves a huge Europop-shaped hole in plenty of music fans' lives. Thankfully, while the live contest isn't happening, SBS is screening an alternative. Between Sunday, May 10–Sunday, May 17, the Aussie broadcaster is hosting a week-long Eurovision festival filled with new specials and repeat airings of the Eurovision grand finals from 2015–2019. It all kicks off with Road to Eurovision 2020 on Sunday, May 10, which is hosted by this year's hosts and was actually filmed in the Netherlands in December — and charts the journey towards this year's now-axed event. Then, between Monday, May 11–Friday, May 15, viewers can check out the contests that featured Australia's entrants so far — Guy Sebastian, Dani Im, Isaiah, Jessica Mauboy and Kate Miller-Heidke — with each grand final screening in full. Next, on Saturday, May 16, SBS is putting together a new special called Eurovision 2020: Big Night In. As well as watching along, Aussie Eurovision aficionados can take part. Viewers are asked to head to the SBS website before Sunday, May 3, check out all the songs and artists that would've competed if this year's contest went ahead, and then vote for your three favourites, with the results revealed on the night. SBS' usual local hosts Myf Warhurst and Joel Creasey will be overseeing the show, and this year's Australian entrant, Montaigne, will perform live as well. https://www.youtube.com/watch?v=gr-wWxu4974&feature=emb_logo Finally, on Sunday, May 17, it's time for Eurovision: Europe Shine A Light. All 41 of this year's songs will get their time to shine in a non-competitive format, with the special made in The Netherlands and hosted by Dutch Eurovision presenters Chantal Janzen, Edsilia Rombley and Jan Smit. SBS' week-long Eurovision festival will air from Sunday, May 10–Sunday, May 17 on SBS and SBS Viceland. For further details — or to vote for your favourite 2020 Eurovision acts for Eurovision 2020: Big Night In before Sunday, May 3 — head to the SBS website.
McDonald's has been serving up Big Macs and soft serve cones to Australians for 50 years, so to celebrate the big five-oh, the golden arches are running a series of promotions and adding some new items to the menu. The latest celebratory surprise popping up at Macca's around the country is a special Birthday McFlurry. While the fast-food chain is no stranger to limited-edition McFlurry flavours — good (apple pie) and bad (bubblegum) — this new edition really takes things up a notch. The Birthday McFlurry is packed with bite-sized pieces of the fan-favourite custard pie, alongside a drizzle of caramel sauce and sprinkles to give it that birthday feel. As well as the inclusion of the bite-sized custard pie pieces in the McFlurry, the full-sized pie will return to the menu for anyone that's been missing the crispy custard-filled treat. Earlier this month, McDonald's kicked off its birthday celebrations with a day of 50-cent Big Macs across Australia. And the celebrations aren't stopping any time soon, with more fun surprises set to pop up throughout July and August. Australia's first McDonald's opened in Yagoona in 1971 and has grown to over 1000 stores nationwide in the 50 years since. The Birthday McFlurry and custard pie are available exclusively via Uber Eats from tomorrow, Wednesday, June 30 through until Wednesday, July 7, before becoming available in all Macca's nationwide for a limited time from Wednesday, July 7. McDonald's Birthday McFlurry is available via Uber Eats from Wednesday, June 30 and available in-store and on McDelivery from Wednesday, July 7.
With the FIFA World Cup kicking off shortly, Nike Football has released part three of its #riskeverything campaign. The film – "The Last Game" – is a five-minute animated feature starring some of the world's greatest footballers, on a mission to save football from the hands of a villainous mastermind, The Scientist. Let the games begin.
UPDATE, October 21, 2020: Rebecca is available to stream via Netflix. Primarily set in a sprawling British estate that'd make Downton Abbey's characters envious, starring one of that show's cast members and telling a tale taken from the pages of an iconic gothic novel, the latest version of Rebecca arrives with a splash. A visible one, too; every frame is not only elegant and atmospheric, but often overtly gorgeous. Each second of this Netflix-funded film drips with extravagance. A parade of striking visuals saunters before viewers' eyes, surveying not only the movie's main location, but the luxe furnishings within it, the scenic coastal patch of land it sits on and the finely tailored attire donned by those walking its halls. At every turn, it appears as though no expense has been spared in bringing Rebecca to the screen, and in striving to sweep audiences up in its lavish imagery and 1930s-era story. Alas, while the first part of that equation is easily, almost instantly achieved, the latter portion proves a bigger struggle. Like its source material, Rebecca starts with an evocative line: "last night I dreamt I went to Manderley again". It's uttered in voiceover by a young woman who is never known as anything but Mrs de Winter (Lily James), and who viewers first meet before she takes that moniker, when she's working as a lady's companion to acid-tongued socialite Mrs Van Hopper (The Handmaids' Tale's Ann Dowd) on a trip to the French Riviera. During the picturesque getaway, the unnamed heroine crosses paths with wealthy widower Maxim de Winter (Armie Hammer). Tasked by her boss to pay their hotel's staff to seat him at their table (for Van Hopper's benefit, not her own), her unassuming nature soon draws his attention. Romance quickly blooms — much to the shock of the well-heeled masses similarly summering by the sea — setting Maxim and his blushing new bride en route to the family mansion he vocally treasures. Back at Manderley, however, the second Mrs de Winter can't escape the lingering presence of the movie's titular figure. Everywhere she looks, she sees Rebecca's monogrammed belongings. Every conversation in the house seems to revolve around her as well, especially her tragic passing. With housekeeper Mrs Danvers (Kristin Scott Thomas), all Manderley's newcomer feels is passive-aggressive and sometimes openly aggressive menace — and the fact that the stern employee was absolutely, utterly devoted to Rebecca. Maxim's mood changes drastically, too, and while those unacquainted with Rebecca's twists and turns should keep it that way going in, his second wife is increasingly troubled by the sensation that much is awry. In other words, the film's central young woman — the one that's still living and breathing, that is — is caught in the shadow of her new husband's late previous wife. In the pages of Daphne du Maurier's 1938 novel, on the big and small screens several times since, and in this new iteration, that's a scenario laden with ample psychological thrills. Here, director Ben Wheatley patiently teases out the details, but it's noticeable (and perhaps fitting) that he also subjects his viewers to the same kind of experience endured by his protagonist. From the moment it was announced, Wheatley's film was forever destined to be compared to Alfred Hitchcock's Oscar Best Picture-winning 1940 version of the beloved book. That's what happens when you follow in Hitch's footsteps and, now that Rebecca circa 2020 has reached viewers, that won't change. Wheatley is a stellar filmmaker, and has a resume filled with everything from Down Terrace, Kill List and Sightseers to High-Rise, Free Fire and Happy New Year, Colin Burstead to prove it. But, in his most mainstream, least boundary-pushing effort to date, he has crafted a brooding movie that engages enough, yet never surprises and rarely has a strong lasting impact. That's the case even when it deviates from the famed changes that Hitchcock's version of the story was forced to implement under Hollywood's strict production code at the time (which didn't allow content and plot developments considered morally indecent to reach the screen). This iteration of Rebecca doesn't do du Maurier's adored text or the gothic genre it hails from a disservice. It's perfectly watchable, generally handles the narrative capably and proves near-overwhelmingly handsome, in fact. And still, even for audiences coming to it anew, with zero attachment to an 80-year-old previous adaptation, everything about it proves so expected. It must be terrifying, unsettling, dispiriting and downright soul-crushing to feel as if you're haunted by your predecessor, to have someone doing their utmost to ensure that impression never dissipates and to barely exist to those around you (that James' character isn't given a first name isn't an accident). Rebecca is as moody as it is visually lush, but it can't quite nail that crucial sensation. It tries, though. While the overall movie frequently seems content to serve up a standard period-set melodrama rather than leaning too far into taunting and lurching emotional horrors, Scott Thomas' turn as Mrs Danvers is supremely, disquietingly chilling — to the point that, if casting her in the part was the sole reason this film was made, that's understandable. Too much around her isn't willing to commit as heartily, however. James and Hammer always hit their marks, but do little more, for instance. All those opulent sights catch the eye, too, but as the feature's heroine herself learns, sumptuous packaging alone is rarely ever truly and completely satisfying. https://www.youtube.com/watch?v=LFVhB54UqvQ Top image: Kerry Brown, Netflix.
UPDATE, September 17, 2021: A Star Is Born is available to stream via Paramount+, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. It's been a decade since Lady Gaga's star was born in a cloud of upbeat pop and outlandish costuming, but with her first major film role, it's happening all over again. Stripped of the makeup, outfits and theatricality that have shaped her stage persona since she told the world to just dance, the singer is a revelation in A Star Is Born — both because of and despite the obvious. Belting out heartfelt ballads and throwaway pop alike, she clearly has the voice for the job. That said, it's how she performs when she's not crooning the movie's catchy tunes that's truly special. Like an actor gaining weight or sporting a physical ailment, wiping the gloss off an existing megastar might seem an acting cliche, however Gaga isn't simply playing tourist with normality. The 'Poker Face' popster plays Ally, who works in hospitality by day and unleashes memorable versions of 'La Vie En Rose' in a drag bar by night. An ordinary woman dreaming big, writing her own songs but never thinking that she'll make it, it's a part that Gaga lives and breathes with earthy, unguarded authenticity — almost as though she's been through it herself. The singer is electric in A Star Is Born's early scenes, as boozy country rocker Jackson Maine (Bradley Cooper) catches her club act, convinces her to have a drink with him and sparks fly. When he takes her home the next morning, says goodbye and then calls back to her from his limousine window, Jackson says what everyone watching is thinking: "I just want to take one more look at you". And look he does. Thanks to Jackson, his adoring gaze, and his certainty that Ally has both a genuine voice and something genuine to say, her fantasies start coming true. When he sends a driver to take her to one of his stadium shows, brings her out on stage and they duet one of her songs, the movie's title starts ringing true too. Love blossoms also, but Ally and Jackson's tale is one of rising as well as falling. For Jackson, the combination of alcoholism, hearing loss and childhood trauma leave a wound that only cuts deeper as Ally shines and his career fades. An aspiring talent striving to see their name in lights is one of the oldest narratives in Hollywood's book. In A Star Is Born's case, it dates back to 1937 — or 1932 if you count What Price Hollywood?, whose studio almost sued the original A Star Is Born for plagiarism. Across eight decades now, this sweeping tale just keeps hitting the screen, complete with remakes starring Judy Garland in 1954 and Barbra Streisand in 1976. With Gaga leading the charge this time around, it's easy to see why A Star Is Born keeps glowing. A crash course in the highs and lows of the American dream, it's a fantasy where wishes come true, but where everything has a cost. It's also an underdog story, a star-crossed romance, an account of trying to make it in entertainment, a drama about substance abuse and a warning about fame's many ills. Most of all, A Star Is Born is an unashamed melodrama. While that's a term that's been given a bad name of late, wrenching emotion and heightened drama is exactly what this story calls for. Not only co-starring but jumping into the writer and director's chairs for the first time, Cooper doesn't skimp on sentiment, with every passionate kiss, overwhelming moment and tragic development landing with undeniable force. And yet, his film never wallows in sappiness or spoon-feeds its feelings to the audience – even when it charts blatant plot points that even newcomers to the tale will spot, or suffers from bloat in its mid-section. Seamlessly updating the narrative for the 21st century with co-scribes Eric Roth (Extremely Loud & Incredibly Close) and Will Fetters (The Best of Me), Cooper understands the power of the material. A Star Is Born has been wowing audiences since the 1930s, after all. It helps that Cooper has a knack for visual storytelling, working with cinematographer Matthew Libatique (Mother!). A Star is Born's imagery sings its own affecting tune, with the actor-turned-director favouring shots that are grounded in the emotion of the narrative. Cooper also does his part as performer, both acting the sorrowful part and holding his own when it comes to his vocals. But his biggest gift to the movie is his willingness to let his collaborators glisten. While A Star Is Born is a definite showcase for a debut filmmaker who stars, croons, writes and directs, it gleams brighter thanks to the space and weight given to its cast. Sam Elliott is in astonishing form as Jackson's equally gruff and tender older brother, Dave Chappelle waxes kind and wise as an old pal telling it like it is, and Andrew Dice Clay is warm and protective as Ally's supportive dad. And, jumping from being one of the world's biggest pop stars to playing one of the world's biggest film roles, Gaga is far from the shallow now. https://www.youtube.com/watch?v=ywkF1lj5wyI
If the idea of breathtaking coastal views, unique wildlife and outdoor adventures sounds good to you, it might be time to add Phillip Island to the top of your list. Considering the array of seaside adventures, scenic hikes and world-renowned wildlife encounters the island is home to, it's hard to believe it's less than a two-hour drive from the bright lights of Melbourne. Yet this outdoorsy wonderland is ready and waiting to help you reconnect with nature — especially now that the warmer months have arrived. Set aside a weekend — or tell the boss you're not feeling so great — to take a trip to Phillip Island with your best pals. Experiencing these awe-inspiring outdoor adventures will ensure you feel fully rejuvenated when you get home. Because we could all do with a system reboot after spending a long winter hiding indoors. Read on for a collection of unbeatable activities that you and your mates have to try out. GO KAYAKING AROUND CAPE WOOLAMI Make the most of Cape Woolamai's incredible coastal scenery by linking up with Pioneer Kayaking for an offshore adventure. Across a three-hour guided journey, you'll paddle beneath rugged cliffs to get an up-close glimpse of the sheer pink granite rock that hugs the coastline. Plus, you'll uncover mind-blowing caves hidden within the crag. This fascinating voyage also includes stops at some of Phillip Island's most secluded beaches. With shorter tours also available to destinations like Rhyll Inlet, Churchill Island and Cowes foreshore, there's no better introduction to the island's coastal delights. SET OUT SEAL SIGHTING Set two kilometres southwest of Phillip Island, the aptly named Seal Rocks is home to more than 25,000 fur seals, making it one of Australia's largest colonies. If you're keen to meet these playful creatures, the experts at Phillip Island Seal Cruise offer a two-hour journey to this veritable marine haven. Thanks to a complimentary morning or afternoon tea and a well-stocked bar on board, heading out for an adventure among the waves is a glorious idea. Although the breeding season from October to December is when the seals are most active, it's possible to get up close all year round. FEED YOUR NEED FOR SPEED Phillip Island isn't just about serene wildlife encounters. Add an adrenaline-pumping activity to your itinerary with a 30-minute Thundercat boat ride from Ocean Adventures. Led by Captain Risky (yes, really), you'll admire several impressive coastal spots while getting the inside word on some local secrets as you whip along the coastline. Phillip Island also features a selection of world-class scuba diving spots, accessible only by boat. The Guided Sea Scooter Tour is perfect for beginners, as you'll join up with a PADI-qualified instructor to master snorkelling basics. Plus, you'll learn how to handle the sea scooter like the best of them. HIT THE TRAILS FOR INCREDIBLE SCENERY AND PICTURESQUE VIEWS If you're worried about your sea legs, tackling one of Phillip Island's captivating hikes delivers an equally thrilling experience. The Cape Woolamai Circuit traverses from the island's southern tip to its highest point. Although the full distance combines three walks, ranging from four to seven kilometres, completing a single section is a stellar option. No need to push yourself too hard —you're on a holiday, after all. The Pyramid Rock Walk is another top out-and-back hike, stretching from the cliffs overlooking the Bass Strait to the sweeping views along Berrys Beach. For something shorter, The Nobbies Walk is takes you along the stunning southern coastline. Here, you'll navigate scenic boardwalks and even get the chance to spot a whale or two during winter. PEEP THE PENGUINS AT A PRIVATE BEACH Don't miss your chance to meet Phillip Island's most famous residents when attempting to reconnect with nature. With around 32,000 little penguins calling the shoreline home, there's a great selection of eco-friendly tours that ensure your experience with the famous Penguin Parade is one to remember. Perhaps the most extraordinary is the Ultimate Adventure Tour. Here, you head out to a remote beachfront (equipped with night vision scopes) to see what the penguins get up to after dark. Plus, you'll receive live commentary via a personal headset from the resident experts, ensuring you learn precisely what makes this event so exciting. TEST YOUR BALANCE ATOP THE SEA The beaches of Phillip Island are incredible, with their many surf breaks considered some of the best in Australia. The team at Island Surfboards offers group and private lessons, including boards and wetsuits, to level up your skills and help you catch the waves of your dreams. Stand-up paddle boarding is also perfect for those seeking a less intense beachfront activity. You can rent all the gear at Island's Cowes and Smiths Beach stores. However, the waters around Phillip Island can get pretty choppy, so remember to always surf and swim at a patrolled beach. CRUISE THE COASTLINE ON TWO WHEELS Spanning around ten kilometres from end to end, Phillip Island is easily explored on two wheels. Rather than bringing your own, hop on a Super Cruzer electric bike. Featuring ultra-powerful pedal assist and a seven-speed gear system, these zippy bikes make exploring the island's relatively flat countryside a breeze. With two pickup points available in Cowes, you can set off in any direction to see the sights. Whether you want to check out the Rhyll Inlet State Wildlife Reserve or even trek across the bridge to San Remo, these comfortable e-bikes have more than enough oomph to make your two-wheel adventure fly by. Keen to explore Phillip Island? For more information and to start planning your trip, visit the website.
Happiness is contagious. If you've ever had a bad day, and let's face it we all have, then you know that simply being around uplifting and optimistic people can turn a frown upside down. One small random act of kindness or a few words of encouragement, even if from a complete stranger, can change the way we feel about ourselves, how we treat others and how we approach life each day. The San Francisco Mirrors Project aims to put an extra spring in everyone's step by doing just that, spreading a little happiness. If kickstarted, creator Akin Bilgic will form a public art installation by hanging 3 x 1.5 foot mirrors on walls and buildings throughout the city, each with a single sentence message of inspiration, hope, encouragement or positivity on them. "Track down your favorite teacher and thank them for getting you where you are today" and "Looking good. Ask him/her out for coffee today" are just a couple of the feel-good phrases that will be inscribed on the mirrors. Bilgic's goal is to get passersby to take a moment to look in the mirrors, take the messages to heart and walk away feeling confident and happier, ultimately spreading that happiness to the people they interact with. Although the Mirrors Project will only take place in San Francisco, with a pay-it-forward attitude the installations could easily be spread worldwide.
UPDATE, December 23, 2022: The Batman is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Prime Video. When The Batman begins (not to be confused with Batman Begins), it's with the slaying of a powerful Gotham figure. A shocking crime that scandalises the city, it leaves a traumatised boy behind, and couldn't be more influential in the detective-style tale of blood and vengeance that follows. But viewers haven't seen this story before, despite appearances. It isn't the start of pop culture's lonesome billionaire orphan's usual plight, although he's there, all dressed in black, and has an instant affinity for the sorrowful kid. Behold the first standout feat achieved by this excellent latest take on the Dark Knight (not to be confused with The Dark Knight): realising that no one needs to see Bruce Wayne's parents meet their end for what'd feel like the millionth time. The elder Waynes are still dead, and have been for two decades. Bruce (Robert Pattinson, Tenet) still festers with pain over their loss. And the prince of Gotham still turns vigilante by night, cleaning up the lawless streets one no-good punk at a time with only trusty butler Alfred Pennyworth (Andy Serkis, Long Shot) in on his secret. As directed by Dawn of the Planet of the Apes and War for the Planet of the Apes' Matt Reeves, and co-scripted with The Unforgivable's Peter Craig, The Batman clocks something crucial about its namesake and the audiences that watch him, however. The caped crusader's every move stems from his inescapable grief as always, but no one has to witness its origins yet again to glean why he's become the conflicted protector of his anarchic city. Instead, here he's overtly anguished, upset, broken, broiling with hurt and working his way through those feelings in each affray — a suave, smooth and slick one-percenter playboy in his downtime, he isn't — and it's a more absorbing version of the character than seen in many of the past Bat flicks that've fluttered through cinemas. Why so serious? That question is answered quickly. Also, badging Pattinson's turn in the cape and cowl 'emo Batman' is 100-percent accurate. It's meant to be, because violence isn't just about experiencing or inflicting pain, but also about processing the emotions stirred up. Apply the label to The Batman's unrelentingly dark and rainy aesthetic as well and, once again, it suits. Lensed with such an eye for the absence of light by Australian cinematographer Greig Fraser (a Dune Oscar-nominee) that he's painting with the shadowiest of shadows, this is a grimmer Batman than Christopher Nolan's trilogy, moodier than Ben Affleck's stint, and gloomier than the Michael Keaton, Val Kilmer and George Clooney-starring movies (not to mention the upbeat and campy 60s TV series that gave us the Batusi). Like teen shows, the tone of any given Batman entry reflects the surrounding times, and the tenor here is bleak, bruised and battered. Call the prevailing batmosphere cinema's own bat-signal and that's oh-so-fitting, too. Batman is bruised and battered himself in The Batman. He flinches when jumping from skyscrapers in his winged batsuit, grimaces upon impact and sports contusions beneath his mask before that. In spurts of Taxi Driver-style narration — where he could be one of screenwriter Paul Schrader's lonely men wrestling with the world (see also: The Card Counter) — he seethes about his self-appointed task, past and the state of Gotham, exposing his psychological scars as well. That doesn't change when a serial killer who dubs himself The Riddler (Paul Dano, Okja) and must love David Fincher movies (Seven and Zodiac especially) commits The Batman's opening murder, the first in a chain targeting the city's elite. This other angry mask-wearing vigilante is also waging a war on Gotham's corruption, and leaving puzzles to be solved along the way — with Batman assisting police lieutenant Jim Gordon (Jeffrey Wright, The French Dispatch), and being aided by nightclub waiter-cum-cat burglar Selina Kyle (Zoë Kravitz, Kimi) in turn. What makes one man's angst-riddled quest noble but the other's deranged? As The Batman broods over that conundrum, the line between its titular figure and The Riddler is the finest it has perhaps ever been. Reeves isn't interested in another hero-with-a-sob-story spin on Batman, but in surveying the tragedy that seeps through his grimy and dank rendering of Gotham — yes, even dimmer than in Joker — and plotting the choices that spirit its abandoned residents towards either improving or destroying the city. The longer he chases The Riddler, via altercations with crime kingpin Carmine Falcone (John Turturro, Severance) and club-owner Oswald 'The Penguin' Cobblepot (Colin Farrell, The North Water), the more that Bruce/Batman flies parallel to his new foe. Selina slinks along a similar route, too, as coloured by her own history — plus the missing friend she's desperate to find, which is what connects her with Batman to start with. This many different Batman films and shows in, it isn't easy to make the Dark Knight an entrancing and surprising character again — Christian Bale did, Affleck didn't — but Pattinson's casting is exceptional. Since he stopped visibly sparkling in the Twilight saga, his role choices have been near-impeccable as Cosmopolis, The Rover, Maps to the Stars, The Lost City of Z, Good Time, High Life and The Lighthouse have shown, and The Batman slides seamlessly into his enviable recent resume. There's soulfulness and tension to his portrayal of the Gotham crusader's inner turmoil, not just matching the Nirvana's 'Something in the Way'-meets-'Ave Maria'-soundtracked mood of melancholy, but also rippling in every glance, glare, step, jump and thrown fist. There's also a deep-seated intensity; a willingness to play both Bruce and Batman as weird, awkward and unsettled; and a welcome lack of boundaries between his character's two personas. Reeves hasn't just scored a pitch-perfect lead, though. At just a batwing's flap shy of three hours, his film comes packed more convenient plot developments than necessary, but it has time to cement the savvy Kravitz among the most memorable versions of Catwoman — and to refreshingly play up her sexual tension with Batman. It also ensures that the quietly commanding Wright, hypnotically unhinged Dano and prosthetics-laden Farrell all have room to shine, though The Penguin is hardly a big player. It gives the latest Batmobile a helluva revved-up entrance and breathlessly thrilling car chase, and lets wide-framed, rhythmically choreographed action scenes roll long so that viewers feel the toll they wage on the movie's main man. Spotting everything that influenced The Batman isn't an enigma, of course, and The Riddler would be thoroughly disappointed. But the way that everything is spliced and shaken together, and the mood — and it's definitely a mood — makes this weighty, heavy, sublimely shot, excellently cast, always-engaging blockbuster feel new, and all things Batman with it.
We've all been there at one time or another — in front of that iconic view, the one we've seen a thousand times or more in encyclopaedias, atlases, on the back of postcards, on the television and in our wildest dreams. When it happens, you feel a flutter in your heart and you remember what it felt like to make mud pies as a child; you're elated, carefree and enraptured, all for the most fleeting moment. That's when it happens. You reach into your pocket/handbag/knapsack and pull out your camera. You must remember this moment (that feeling!) forever and ever. The flash goes off once, twice, three times. No, no, that one's blurry. Delete. Take it again! You stand over there. Jump on the count of three! Yes, all of you! At once! OK, here we go one, two... Corinne Vionnet, in an astute observation into the perception of the 'tourist' experience, has made some amazing art out of that moment - that second of pure happiness that is superseded by crazed, paparazzi style photography, leading the sanest of us into a blinding, bulb flashing fury. Sourcing images of some of the world's most iconic sights from the internet, Vionnet's project Photo Opportunities layers hundreds of such images upon each other to create haunting landscapes of profoundly significant earthly wonders. Drawing on the abject, the images appear almost painted, begging questions about reality of experience and perception and our collective cultural consciousness.
